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Catalogue 2A

Private & Confidential:


For viewing by members of the Ashurst Emerging Artist Prize 2019 Judging Panels Only

Document Owner/Originator: Conrad Carvalho


Email: Conrad@oaktreeandtiger.com
www.artprize.co.uk
Office: +44 207 460 4873
Catalogue4 ID0250
Artist ID: 0250

Artist Name: Patrick Brien


Website: www.patrickbrien.com
IG: https://www.instagram.com/_patrick_brien_/

Artist Statement: I make works that are in conversation with the history of abstraction. I often assemble my
paintings in a layered manner, relying as much on surprise and intuition as upon a predetermined plan or sketch.
There is a complimentary relationship between hard edge shapes that are cerebral or pre-planned and the more
improvisational, emotive
gestures in my work. The compositional structures of my drawings and paintings are reliant upon the stacking of
shape, line, pattern and texture. The space is organized
chaos. The viewer is invited to enter into the spatial field, to meander through and duck under floating elements.
The bank of images, components, or marks from which
I draw to make my work are as varied as art historical references, drawn sketches, screen shot glitches, and
smartphone camera notations. None of this is required to be understood or identified by the viewer in order to be
enjoyed. I am interested in the mechanics of how we as humans see and at what we choose to look.

I am keenly interested in the intersection of manual, technique based making and images and objects that can be
produced by current technology. Since the veil of interface based design has now been irrecoverably enmeshed into
our manner of looking at the world around us, my research practice is to inquire into and disassemble our
relationship to this technology in order to understand how we see.

Notes:

1
Artwork 1 Title: Hoisted the Flag
Artwork 1 Dimensions: 107 x 88 cm
Artwork 1 Medium: oil and acrylic on canvas
Artwork 1 Commentary: 2018
Artwork 1 Image:

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Artwork 2 Title: Orbital Debris
Artwork 2 Dimensions: 61 x 46 cm
Artwork 2 Medium: oil, acrylic and spray paint on canvas
Artwork 2 Commentary: 2018
Artwork 2 Image:

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Artwork 3 Title: That Which Gives Rise To and Orients
Artwork 3 Dimensions: 107 x 76 cm
Artwork 3 Medium: acrylic and spray paint on canvas over panel
Artwork 3 Commentary: 2018
Artwork 3 Image:

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Artwork 4 Title: Lasso
Artwork 4 Dimensions: 25 x 25 cm
Artwork 4 Medium: acrylic on panel
Artwork 4 Commentary: 2018
Artwork 4 Image:

5
Catalogue4 ID0252
Artist ID: 0252

Artist Name: Chantal Hediger


Website: www.chantalhediger.com
IG: Chantal Hediger

Artist Statement: During the last twenty two years my artistic expression has moved from pure abstraction over
figurative painting to a combination of those two different genres. I use acrylic paint, pigments, and oil colors in my
present works. My abstract figurative motifs are inspired by nature, Africa, roots, trees, studies of human nature
and interactions. Sometimes I work from sketches, at other times I am guided by my emotional memories. Clear
processes change with chaotic creation – often in the same work. It is like gambling. The losses allow me to
search, exchange, experiment, fight and in the end reconcile and discover. It is of lesser significance to me to
present an accurate image of an object in the artistic process of creating my works, but of paramount importance to
present an emotional expression leading to a human element revealed in forms, colors and lines.

Notes:

1
Artwork 1 Title: Hands I
Artwork 1 Dimensions: 100x80x2cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Sensitivity meets mystery. The secrets of our lives lie in the palm of our hands. They are
storytellers and safekeepers. Hands – organs of performance, symbol of expression, device of identification. Show
me your hands and I tell you who you are...

Artwork 1 Image:

2
Artwork 2 Title: Movement I
Artwork 2 Dimensions: 120x70x2cm
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: The body is a prison for our soul. The powerlessness is unbearable, to move is impossible, to
find peace of mind is a challenge.

Artwork 2 Image:

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Artwork 3 Title: Movement II
Artwork 3 Dimensions: 120x70x2cm
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: Liberate yourself from your self created bondage. Free your mind, body and soul and start
to move and fight for your freedom.
Artwork 3 Image:

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Artwork 4 Title: Shout it out loud
Artwork 4 Dimensions: 120x100x2cm
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: Make your voice heard. Trust in yourself and get rid of your self-created boundaries.
Artwork 4 Image:

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Catalogue4 ID0253
Artist ID: 0253

Artist Name: Emma Tweedie


Website: www.emmatweedie.art
IG: https://www.instagram.com/emmatweedieart/

Artist Statement: Emma Tweedie is an Irish artist with a practice now based in London. She creates semi-
autobiographical pieces of work that are realised through coastal and landscape responses as a direct result of
having grown up in Northern Ireland. Landscapes were uses as a vehicle for escapism. The finished results are often
contemporary and dynamic but all based within the landscape or seascapes of her native homeland. The palette of
colours Emma works with very much reflects local areas, and she uses all manner of medium in her 'artist’s
toolkit'; everything from Irish linen, to recycled paper, claypaint, watercolour, acrylics, inks, pencil, pastel and
translucent and metal leaf mediums.

“I never realised until later in my painting career how many of my influences come from the past. From the
colour palette I use, to the materials used and mark-making, the legacy impact of having grown up amidst intensely
beautiful landscapes surrounded by a crumbling city are prevalent in my work. These artistic expressions house
complex ideas carefully concealed within deep layers of mixed media. My work provides an escape, a connection
point with the past but with a contemporary approach.― Emma Tweedie

Notes:

1
Artwork 1 Title: DELAMONT II
Artwork 1 Dimensions: 65cm H x 65cm W depth 0.2cm
Artwork 1 Medium: Irish Linen, 500gsm Fabriano paper, Claypaint, Acrylic Inks, Concentrated Watercolour, Indian
Ink, Watercolour, Oil Pastel, Pencil, Gesso, Watercolour Ground Medium
Artwork 1 Commentary: Delamont Country Park is located on the shores of Strangford Lough in County Down, near
Killyleagh. Here I have chosen the view of the ploughed field which leads up to to the tallest megalith in Ireland
which was erected in 1999 using the power of 1000 volunteers. My mother used to take me and my sisters here
during the 1970's and early 1980's when my father worked for the Belfast Telegraph. Hidden in the layers of mixed
media is a story from the paper dated May 1974 when a 12 year old boy was hit in the hand with a bullet after a
soldier's rifle was accidentally fired at an Army post. I remember the impact the story had on me at the time, and
every time I look out over the lough. Brexit and the impact it is having on the border issue in Ireland has meant a lot
of my feelings dating back to the time have resurfaced. As my father worked at the newspaper I saw every night the
news stories from the time.
Artwork 1 Image:

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Artwork 2 Title: FIVE FINGER STRAND
Artwork 2 Dimensions: 65cm H x 65cm W depth 0.2cm
Artwork 2 Medium: Irish Linen, 500gsm Fabriano Paper. Claypaint, Acrylic Inks, Concentrated Watercolour, Indian
Ink, Watercolour, Oil Pastel, Pencil, Gesso, Watercolour Ground Medium, Acrylic Spray Paint
Artwork 2 Commentary: This beach and its dunes are located on the Wild Atlantic Way in Donegal and are amongst
some of the highest dunes in Europe. You can walk for ages before you reach the beach and hear the roar of the
surf. It was another place I used to go with my family to escape the terrorist events of the 1970's and early 1980's on
Northern Ireland where I grew up. In this image, I have woven a story in between the layers of mixed media which
relate to a comment made in the Belfast Telegraph in which the journalist comments about how "The people of
South Africa under apartheid are less divided than ours", showing just how divided the province was and how it was
viewed internationally at the time.
Artwork 2 Image:

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Artwork 3 Title: SANTORINI LEMON
Artwork 3 Dimensions: 122cm H x 66cm W depth 0.2cm
Artwork 3 Medium: Acrylic and Oil pastel on Fabriano Paper
Artwork 3 Commentary: Based on a trip to the Greek Island also known as Thira I once made with my grandmother
where we were stranded overnight in a lemon grove and ate sardines caught by the lemon grove farmer, cooked
over the fire. My grandmother travelled all over the world as she was a window of 30 years and she was infamous at
meeting interesting people. On this occasion she had hired a tandem bike and we rode around the island, but then
missed our boat connection and had to stay overnight. then This piece captures the colours and shapes of that night
in my mind.
Artwork 3 Image:

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Artwork 4 Title: KENYAN TRIBAL MASK
Artwork 4 Dimensions: 29.7cm W x 42.0cm H
Artwork 4 Medium: Lino Cut Print With Water Soluble Block Printing Ink on Heavyweight Cartridge Paper 190gsm
Artwork 4 Commentary: Following a trip to Africa in 2016, I became good friends with my guide who took me to visit
a tribe in the Masai Mara where I made friends with one of the wives called 'Elizabeth'. I am only 4 ft 11 tall so they
all thought it was funny I was so small. This mask was hanging in one of the huts in their camp and I did some
sketches of it. When I returned to the UK I undertook some lino prints to capture the essence from my sketches. This
is the first in the series.
Artwork 4 Image:

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Catalogue4 ID0254
Artist ID: 0254

Artist Name: Sarah Victoria Spence


Website: sarahvictoriaspenceart.co.uk
IG: @sarah_victoria_art

Artist Statement: I am an emerging mixed media artist working in oil, acrylic, enamel and poster spray paint, collage,
digital, and encaustic medium. I am passionate about experimenting with different media and finding interesting
and unusual combinations of materials that can be used in my work.
I enjoy injecting a mischievousness into my work that contrasts oftentimes directly with the serious subject matter
I’m dealing with. I look at social, cultural and political topics usually with a mythological, mystical, biblical or
otherworldly twist. I want to find the ethereal space of a parallel universe, a place where reality and the imagined
become confused, and unsettle the viewer who then becomes compelled to unravel the voice within the picture.
I am also a live artist and enjoy working at festivals and events creating Street art such as the Brixton Mardi Gras at
Brixton Pop. I also undertook a residency at Canary Wharf and an internship In Kent in summer 2018 to broaden my
experience and practice.
I have recently taken an affordable art space in Kent which has enabled me to work consistently and develop my
practice. I am exhibiting at several shows in London and Kent this winter.
I am keen to get my work out there as I have a passion for the art I make, and I strongly believe I have something
positive and fresh to give within the art world.

Notes:

1
Artwork 1 Title: Digital Gods
Artwork 1 Dimensions: Series of 3 pieces 85 x 60 x 1.5 each
Artwork 1 Medium: Acrylic, gouache and spray paint, oil pastel on Fabriano A1 paper
Artwork 1 Commentary: Digital Gods is series of three Greco-Roman Gods brought into the modern era, each
charged with ancient belief systems of spirituality and mysticism. The secret and sacred rites and rituals in the era
were reserved for initiates of religions and religious schools and underpinned the worship of Gods such as Demeter,
Ares and Dionysus and held supernatural qualities for believers. These, it is now thought were often of a sexual
nature and included the humiliation and submission of the initiate. The works mark a link with modern times to the
rituals and rites of modern-day groups, not religious, not necessarily sexual, but cult orientated, mysterious and
covert such as gang and street artist affiliations, or sexual deviant groups, and the hidden identities of many of
today’s sub-cultures. The idea of the ancient gods brought into the 21st century world of the secret and the
sacred appeals, as the cultural and sociological meanings and associations behind group rites and rituals have not
changed in millennia, those of belonging, honour, feelings of being chosen and sub-culture affiliation giving the
appearance of an elevated human condition, mistrusted and feared, as witchcraft once was, now known as urban
myth.
Artwork 1 Image:

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Artwork 2 Title: The Angel Came and Conquered
Artwork 2 Dimensions: 104 x 80 x 2 cm
Artwork 2 Medium: acrylic, poster paint and gold leaf on canvas
Artwork 2 Commentary: The angel came and conquered and left the woman to her penance. She rose and threw him
out. The woman then became the sinner. This is the Gospel according to what really happened...
The story behind the artwork retells the age-old narrative of seduction and abandonment. The ambiguity of the
faceless figures reflects millennia of duplication of the same scenario that we find throughout history, in mythology
and legend, from biblical times to the present day.
Artwork 2 Image:

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Artwork 3 Title: My Bleeding Heart
Artwork 3 Dimensions: 102 x 76 x 1.5 cm
Artwork 3 Medium: acrylic paint, gouache wash, collage, gilding wax on canvas
Artwork 3 Commentary: My Bleeding Heart. Relationships, the hidden ones and the secrets we may all hold at one
time or another in our lives. Layers of lust, desire, guilt and conspiracy. These layers are often present in the many
platforms we build with those we encounter online and form sexual attachments with. Platforms that conspire to
destroy us as the mind builds hopes and fears, angels and monsters around those never met imagining a variety of
identities and distorting a reality of ordinary people making contact online.
Artwork 3 Image:

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Artwork 4 Title: Icarus is Risen
Artwork 4 Dimensions: 53 x 99 x 2 cm
Artwork 4 Medium: Acrylic paint, watercolour, wallpaint on canvas
Artwork 4 Commentary: The picture includes prehistoric aboriginal symbols. Symbols for man and woman and
"Icarus" figure are taken from an aboriginal cave painting. This painting was made in response to how "settlements"
(3 circle symbol - again aboriginal) of today are the norm and have suppressed natural instincts to migrate as a
course of life. Much of humandkind is conditioned to expect, everything is brought to us and we no longer need to
seek, hubris abounds. Nomadic instincts are systematically quashed and those who do need to or wish to seek
safety, food and shelter are ostracised, demonised and unwelcome in an openly complacent world.
Icarus is risen.
Artwork 4 Image:

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Catalogue4 ID0256
Artist ID: 0256

Artist Name: Dinah Case


Website: dinahcaseart.com
IG: @dinah1613

Artist Statement: My work is formed by familiar environments, mainly in Essex and London. The Thames Estuary and
surrounding countryside is a strong influence, the mix of industry and countryside, the pockets of nature that can be
found and the tension between the natural world and urban life, how they co-exist.

I use paint, collage and mono printing to produce my work, my titles are non specific allowing the viewer to respond
and determine the image in a more personal way.
I am interested in the abstract concepts of my landscapes, colour, tones, shapes, textures, dimensions, light & space
rather than a representation of a view. I attempt to convey the beauty and substance evoked in me by the places
and my appreciation of them.

Notes:

1
Artwork 1 Title: Blue Landscape
Artwork 1 Dimensions: 63cm by 63cm by 6cm
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: This painting is about the shapes and colours formed on the landscape on a cold winter day,
the sun was golden and the colours that intense glow that comes just before you lose the light. I wanted the shapes
to rise and fall from the surface, solids and voids, shadows and light.
Artwork 1 Image:

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Artwork 2 Title: Baby its Cold Outside
Artwork 2 Dimensions: 53cm by 73cm by 6cm
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: Winters walks in the freezing weather earlier this year, looking down over one of my
favourite hills, one of the few in this part of Essex. The fields and water were laid out cold, flat and still, colour
bleached by the sky and snow.
Artwork 2 Image:

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Artwork 3 Title: Out The Front
Artwork 3 Dimensions: 63cm by 63cm by 6cm
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: Out the front of my studio the sunlight casts the buildings down the street in shadow. I feel
the strong shapes broken by light reflection on water and windows. The picture plane is broken up by the telephone
wires and cables in the street, I love these lines breaking the view into sections. The busy street juxtaposed with the
wild stillness of the estuary.
Artwork 3 Image:

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Artwork 4 Title: Green Hill
Artwork 4 Dimensions: 43cm by 63cm by 4cm
Artwork 4 Medium: Acrylic on board
Artwork 4 Commentary: Late on a summer evening with long shadows and shapes defined in the dusk, I have played
with the shapes made by the fields and lakes, I've piled these shapes on top of each other giving the image a flatness
like medieval fresco paintings, it brings a simple stillness to the image.
Artwork 4 Image:

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Catalogue4 ID0257
Artist ID: 0257

Artist Name: Ashley Hanson


Website: www.ashleyhanson.co.uk
IG: ashleyhanson.art

Artist Statement: In all my work, I am intrigued by the dialogue and tensions between image and the flat
painters’ space and between the different realities of information and imagination. Since 2011, the main- focus
of my practice has been a response to the written word (Paul Auster’s novel ‘The New York Trilogy):
explorations/evocations of narrative, location, character, images, emotions and ideas provoked by words, blurring
the lines between fact and fiction.
The sixty-three ‘City of Glass’ paintings (to date), form a series of scale, intrigue and invention. Many of the
paintings in the series reflect my ongoing fascination with the diptych format, allowing variations of an idea which
mirror Paul Auster’s manipulations of truth, identity and chance.
One never knows how an artist will react to another interpreting their work, but after sending a catalogue to Paul
Auster, via his agent in New York, I was thrilled to receive the following response:

Dear Mr. Hanson,

Incredibly moved by your magnificent paintings. They are strong and


beautiful -- and haunting. To think that my book could have inspired such
vivid colors. I am very happy.

All best thoughts to you,


Paul Auster

In 2018, I started a new series ’20 Books=20 Paintings’, each painting inspired by a different crime-novel from
around the world, whose identity will remain secret until the series is complete. If the viewer wishes, they may
become ‘detective’ themselves, with clues suggested/buried in the paint…

Notes:

1
Artwork 1 Title: City of Glass 10 - (StillmanStillman)
Artwork 1 Dimensions: 120x200x4
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: This painting explores the idea of 'detective' Quinn's dilemma about which Stillman to
follow at Grand Central Station. The split canvas represents the choice: the viewer becomes Quinn flitting from
figure to figure, forced to choose...A cinematic piece.
Artwork 1 Image:

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Artwork 2 Title: Cleave Diptych: City of Glass 23 - (Stare), City of Glass 22 - (The Fall)
Artwork 2 Dimensions: 120x210cmsx3
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: CLEAVE: to join together, to break apart.
‘It was out of the rind of one apple tasted that good and evil leapt forth into the world, like two twins cleaving
together’

LEFT PANEL: Stillman stares through a ‘cleaved’ Manhattan into the room where he has kept his son locked up
in the dark for nine years in his experiment to find God’s true language before The Fall…

RIGHT PANEL: Red/green: the apple of Eden, Big Apple…a cleaved Manhattan, a verdant paradise…
or the dark room where Stillman's son has clawed into the wall...

Artwork 2 Image:

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Artwork 3 Title: AusterAuster Diptych: City of glass 57 - (as the crow flies...), City of Glass 58 - (Noir)
Artwork 3 Dimensions: 120x170cms
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: Author Paul Auster places himself in the novel: the ‘Auster Detective Agency’ and a
writer ‘Paul Auster’, living on Riverside Drive…

Further blurring fact & fiction, these paintings make visual a journey ‘as the crow flies’ between
‘fictitious’ Paul Auster’s apartment and ‘real’ Paul Auster’s home in Park Slope, Brooklyn.
‘Noir’ references both colour and the genre of detective-fiction. Hudson River or building or both?
Interminglings of image and location, map-truth and painting-truth…

Artwork 3 Image:

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Artwork 4 Title: Central Park Diptych: City of Glass 62 - (WestSideStory), City of Glass 61 - (EastSideStory)
Artwork 4 Dimensions: 40x130x4cms
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary: Paintings in the 'book-format' but books that don't close, posing the question: painting or
object?
EastSide: The duality of the ruled-lines in Quinn's notebook and the grid of the streets. A switch: rather than
'detective' Quinn plotting Stillman's walks onto a New York streetmap, this time the artist transcribes Quinn's
journey home from E 69th St, when his money finally runs out...

On the West Side: ‘saturated colour, working in density and proportion. The dominant verticality/stripes is
disrupted but more visually satisfying because of it. The backward step with the green at the end of yesterdays
session forced me to look again at the purple. What is detail? It is what happens at the end of a painting to bring
focus and refinement and difference and added complexity and above all, clarity. The addition of snaking Broadway
helps the painting a lot - the curve of Riverside Drive no longer stark and isolated. A small area of heavier, knifed
purples to break up the flatness... a pattern of 'hovering' green printed city blocks... a new yellow glow on the
extreme right ... an almost hidden long 'banjo-pier' shaped mark, revealed again by scrubbing away , now
contributing....a long central horizontal, coming forward, cutting the space, pulling the two sides
together...lines/marks with beauty and precision, formal necessity and context...triple whammy...the streets where
Stillman walks, the boundaries/borders of 110thSt, Riverside Park, 72ndSt and Amsterdam Ave.
With the twin purple angled piers there are possibilities of the illusion of a receding space, the New York canyon
thing again, the idea reinforced by cooler colours 'beyond'. The view through buildings...are we getting closer to
depicting Quinn's observation post in the alley, watching the entrance to the apartment on E69thSt?’

Artwork 4 Image:

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Catalogue4 ID0258
Artist ID: 0258

Artist Name: Paola Santagostino


Website: https://paolasantagostinoartist.wordpress.com
IG: https://www.instagram.com/paola.santagostino

Artist Statement: I started painting again at the height of a long career as a psychoanalyst, but it was a much older
and earlier love. I worked in Psychosomatic Medicine, discovering the links between mind and body and the roots of
physical and mental wellbeing, I published many books, wrote hundreds of articles and conducted courses.
Dedicating myself full time to painting has meant for me to open a new cycle of life in which my scientific knowledge
intertwines with my artistic research. Looking at an abstract painting our mirror-neurons activate and follow the
movements of the artist's brush, so they reproduce the emotion that has moved those gestures. With my paintings I
want to convey a feeling of joy, vitality and openness to the infinite possibilities of existence, so they are realized in a
way that transmits that kind of energy and emanates it into the surrounding space.
I realized two full series of paintings: in PENSIERI the elliptical circles are a 'stream of thoughts' that run after each
other and overlap creating a state of mind. In DISCORSI my signs are a sort of 'writing' done with closed eyes and left
hand (to stimulate the intuitive right side of the brain) during a shamanic dance involving the whole body. They are
sentences connected to each other: the central line indicates 'the thread of a conversation' while the thinner signs
are the related minor topics, the colours correspond to the symbolism of the theme and of its single parts.

Notes:

1
Artwork 1 Title: THOUGHTS OF GREEN HOPE 2
Artwork 1 Dimensions: 120X100X4
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: I deeply love this painting: it glows from the walls of my psychoanalyst studio and radiates a
great energy. It belongs to the series "PENSIERI": a continuous flow of ideas that overlap and generate a precise
state of mind. In this case it is very easy to understand the emotions behind: joy and hope. And indeed I painted this
canvas in a very happy moment of my life, in which joy was bursting in my heart and I was overflowing with hopes
that filled me with enthusiasm.
Looking at an abstract painting, our mirror-neurons are activated and follow the movements of the artist's brush,
thus reproducing the emotion that moved those gestures: it is a physiological transmission directly from unconscious
to unconscious that set the foundations of the empathy and subliminal understanding of an art's work. With my
paintings I want to convey a feeling of joy, vitality and openness to the infinite possibilities of existence and life and
this work is a demonstration: it is impregnated of happiness and clearly emanates it throughout the room.
The technique I used is acrylic colours, repeated overlaps of the elliptical sign to give the idea of a continuous 'flow'
of thoughts. The choice of colour was deeply reflected upon: many different shades of green: why? Because green is
the colour symbolically related to hope and new life, here an intense emerald green, quite dark because I am not
exactly a young sprout. 'Green' thoughts as in the happy beginnings of a new phase and hopes 'green' as just born,
unripe, fresh but vulnerable as the first spring shoots ...

Artwork 1 Image:

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Artwork 2 Title: SOUL DEPTH 2
Artwork 2 Dimensions: 120X100X4
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: This painting shows a turning point in my artistic research. It belongs to the "PENSIERI"
series: a continuous flow of thoughts that overlap each other, generating a certain state of mind. But up to here I
have assigned to the colour of each single ellipse the task of expressing symbolically the emotional quality of the
thought it represents, and to all the signs the task of indicating the emotional situation, the state of mind. Here,
however, I completely inverted the logic and for a precise reason: the thoughts are only small limited elements that
"emerge" from a much wider and deeper background, consisting of the physiology of the body and the infinite mass
of mental processes that do not reach the level of consciousness. Thoughts are only subtle and superficial traces,
which emerge from the solid substratum of physical life: even when thoughts are silenced in sleep or deconstructed
in dreams, life continues. Inverting the colours I intend to underline the concept that life is much deeper and wider
than our thoughts: in this painting the signs do not stand out on a white canvas, but emerge, sometimes only
slightly, from a dark depth below.
“SOUL DEPTH― shows exactly this: a superficial flow of thoughts, some subtle and other powerful, some short
like lightning and others as deep as blades, that flow endlessly on the surface of our consciousness, letting us
glimpse a much wider and more mysterious depth, which lies below the threshold of our awareness and opens onto
an infinitely vast sea of stillness and silent silence ...
The technique used is acrylic colours, with the continuous overlaps of ellipses typical of the series of paintings
PENSIERI, but here the signs are more precise and essential for the use of a single colour. The black with blue-purple
shades of the background has been chosen to symbolically indicate the unfathomable depths of the physiological
base from which the thoughts emerge, like small white curls of foam on the surface of a profound ocean.

Artwork 2 Image:

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Artwork 3 Title: ANNUS MIRABILIS 2
Artwork 3 Dimensions: 120X80X4
Artwork 3 Medium: Mixed media on canvas
Artwork 3 Commentary: This painting belongs to the series 'DISCORSI': whole speeches on a certain topic. Here my
signs are a sort of 'writing' done with closed eyes and the left hand (to stimulate the intuitive right side of the brain)
they are ‘sentences’ connected to each other, painted during a kind of shamanic dance involving the whole
body. The strong central line with oil bar, indicates 'the thread of discourse' and links together the various concepts
while the thinner signs written with different materials (oil bar, pastels, felt-tip pens, pencils) are the related minor
topics. The colours correspond to the symbolism of the main theme and of its single elements. In very small but
readable characters I then add some considerations or provocative questions.
'ANNUS MIRABILIS' is dedicated to Albert Einstein’s 1905: the year in which he published six fundamental
papers: this year helped him earning a Nobel Prize (later in 1922) with the famous formula E = mc2. I think that in
the life of each one of us there are little 'annis mirabiles' in which we create something that already contains the
seeds of our best future evolution. It may be the year in which we write a book, or we paint a canvas that marks an
important turning point in our artistic language, or simply the year in which we take decisions that set foundations
and conditions for future large-scale developments.
This painting is about one of my little 'annis mirabilis' in which I took important choices that gave a clear direction to
my life: every long journey begins with a first small step..
I opted for the green colour as basic tone to brush the main phrases with acrylic colours because every ‘annus
mirabilis’ is full of hopes and promises and the green colour symbolically represents them. And I used many
different shades of green: darker when I referred to initiatives based on a wisdom stabilized over time, lighter when I
talk about innovations and experiments. The red-orange points indicate the important turning points of that year,
meaningful events rich of many consequences. At last with white oil bar I connected all the main points, and then I
wrote some very small but readable sentences with observations and questions...

Artwork 3 Image:

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Artwork 4 Title: BIRTH OF AN IDEA
Artwork 4 Dimensions: 120x80x4
Artwork 4 Medium: Mixed media on canvas
Artwork 4 Commentary: How is a new painting born? Where does inspiration come from?
This painting belongs to the series "DISCORSI" and analyses the creative process from its origins to subsequent
developments, from the emergence of a first intuition to a more defined image up to the practical realization of the
works with the entire set of choices related to colours, shapes, composition and details. Here my signs are a sort of
"writing" done with the left hand and the eyes closed (to stimulate the intuitive right side of the brain), are "phrases"
connected to each other, painted during a sort of shamanic dance that it involves the whole body. The most
pronounced central line (in oil bar) indicates "the thread of a conversation" and links the various concepts while the
subtler signs (in various media) are related secondary topics.
The colours correspond to the symbolism of the theme and its individual elements: the shades of blue and dark
purple which I chose to paint the main phrases are symbolically linked to intuition, to that mysterious faculty from
which all the creative processes come. The phrases written in blue and purple speak of the emergence of the idea
from the depths of the unconscious, of the early stages of the creative journey in which the project is still vague but
gradually acquires form and substance. The red-orange points indicate the moments, when the idea is embodied and
becomes a concrete project: now the choices and actions are taken, the crucial moments in which the colours and
shapes are decided, and the brush starts moving...
But even during the practical execution of the painting, in my type of technique, intuition returns to the foreground
and guides my hand to arrange the signs and coordinate the sentences, constantly changing colours and materials
according to the thread of the speech. Every single colour has been chosen for its symbolic meaning; every
dimension of the writing indicates the greater or lesser importance of the subject, even the media (oil bar, acrylic,
pastels, graphite, ink) have been selected for the symbolic value of their chemical composition and history.

Artwork 4 Image:

8
9
Catalogue4 ID0260
Artist ID: 0260

Artist Name: Lidia Lidia


Website: http://lidialidia.com/
IG: https://www.instagram.com/justlidialidia/?hl=en

Artist Statement: Lidia is a multidisciplinary artist who works with installation, video, photography, performance and
activism. Using strong and sometimes disturbing images in combination with extensive research, Lidia highlights the
societal frameworks that shape the lived reality of many women and girls.

Her work aims to produce beautiful images to communicate uncomfortable narrative generally rooted in social
injustice and inequality.

Lidia believes passionately in the feminist statement that ‘the personal is political’ and that through art it is
possible to shape society.

Notes:
Vimeo = https://vimeo.com/302609372

1
Artwork 1 Title: Madonna & Child
Artwork 1 Dimensions: 77 cm x 62 cm
Artwork 1 Medium: Installation/photography
Artwork 1 Commentary: Donald John Trump became the 45th President of the United States of America on January
20, 2017.

In 2018 the Trump administration opposed a global resolution to encourage breast-feeding.


This event and the perception that Mr Trump has of himself and of women, have been the inspiration for this work.
Artwork 1 Image:

2
Artwork 2 Title: Girls' World - The Dolls'House -
Artwork 2 Dimensions: 84.1 x 118.9cm
Artwork 2 Medium: Installation/photography
Artwork 2 Commentary: Sex trafficking exists globally. Sex traffickers use force, violence, threats, lies, debt bondage,
abuse of power and other forms of coercion to compel adults and children to engage in commercial sex acts against
their will.

About 4.5 million people are the victims of forced sexual exploitation, the vast majority of which are women and
girls. Of those, about 2 million are children. Every year.

Artwork 2 Image:

3
4
Artwork 3 Title: Girls' World - The Cutting Season -
Artwork 3 Dimensions: 84.1 x 118.9cm
Artwork 3 Medium: Installation/photography
Artwork 3 Commentary: Female genital mutilation (FGM) comprises all procedures that involve partial or total
removal of the external female genitalia, or other injury to the female genital organs for non-medical reasons .
It is estimated that more than 200 million girls and women alive today have undergone female genital mutilation in
the countries where the practice is concentrated.
More than 3 million girls are estimated to be at risk of female genital mutilation annually.

FGM does not have race, religion or nationality. The practice is found in Africa, Asia and the Middle East, and travels
within communities from countries in which FGM is common making it a migratory torture.
Artwork 3 Image:

5
6
Artwork 4 Title: Congratulations!
Artwork 4 Dimensions: Running time: 1 minute
Artwork 4 Medium: Animation/Video
Artwork 4 Commentary: Economic growth is the main purpose of capitalism which drives the global society and
shapes the world.

To produce and to consume are imperative to capitalism and therefore to our societies.

Within this framework the trade of arms is flourishing as a worldwide industry and is a major contributor to some
countries' economies, despite the fact that this industry is in clear conflict with human rights.

https://vimeo.com/302609372
Running time: 1 minute
Artwork 4 Image:

7
8
Catalogue4 ID0261
Artist ID: 0261

Artist Name: Ana Vanessa Urvina


Website: www.anavanessaurvina.com
IG: @anavanessaurvina

Artist Statement: My artwork emerges from the interpretation of my surroundings which are the Tropics. The
overflowing and exotic nature of Venezuela has always surrounded me, producing in me a sense of fascination and
amazement towards it. I get my inspiration from the direct observation of this nature, specifically from the tropical
gardens that are spaces of great biodiversity.

I make sketches where I break down plant and animal elements into smaller parts, I bring them together, take them
apart and rearrange them turning them into micro worlds that I transfer to the canvas, wood, paper or installations,
using diverse materials such as acrylic paint, inks, chalk, oil pastel, acrylic or wood sheets.

These natural forms go from being leaves, branches, seeds, hanging plants, or shrubs, to become strange organic
forms that coexist with fantastic landscapes and hybrid beings. Poetic forms that seek to look at a landscape in
another way, understanding its colors, shapes, dimensions and implications for those who inhabit it.

Notes:

1
Artwork 1 Title: Tropical habitat o Bioterio tropical
Artwork 1 Dimensions: 80x60x9 cm
Artwork 1 Medium: Acrylic box, acrylic paint on shapes of polystyrene
Artwork 1 Commentary: Installation painting inside an acrylic box inspired by the idea of a Bioterio. Also, this work
born from the multiple species of bromelias and its habitat.
I tryed to recreate that kind of ecosystem playing with shapes, colors and different heights.

Artwork 1 Image:

2
Artwork 2 Title: Jumbled blues
Artwork 2 Dimensions: 1.72x1.36 meters
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary:
This piece explores the ide of the garden as a concept that orders nature.
Can a garden give order something as abundant as nature of the tropics?
Artwork 2 Image:

3
Artwork 3 Title: Hanging tropics
Artwork 3 Dimensions: 1.50x1.74 meters
Artwork 3 Medium: Acrylic paint on wood
Artwork 3 Commentary: This work is an installation painting that immerses the viewer in a kind of jungle, a world of
abstractions that are inspired by trees, waterfalls and hybrid monsters, seeds and plants.
Artwork 3 Image:

4
Artwork 4 Title: Walking through the garden
Artwork 4 Dimensions: 2x2.50x4 meters
Artwork 4 Medium: Acrylic paint, acrylic shapes, wood, polystyrene shapes, nylon
Artwork 4 Commentary: This installation immerses the viewer in a allegoric garden. The idea is to walk, cross and
touch these figures.
Reflect ans let yourself be seduced by this proposal.
Artwork 4 Image:

5
Catalogue4 ID0262
Artist ID: 0262

Artist Name: Rosanna Gaddoni


Website: www.rosannagaddoni.com
IG: https://www.instagram.com/rosannagaddoni/

Artist Statement: Having seen and experienced so much about the human condition during my travels and in my life,
my art is about emotions, vulnerability and humanity and every aspect of the visual expression, which involves
images, colors and conveys emotions, is attractive and compelling to me.

Abstract is for me a natural language, and more than words it can reveal and shape my thoughts, feelings and
intentions. In the abstraction, the vibrations of colors are tuned to a deeper level in connection to my inner emotions
and to the viewer’s ones, without any figurative distraction.

The palette has the density of the red blood, which is the spirit revolting and carrying a hope, and the heaviness of
the deep blue, which represents the hopeless pain, the immense lack of life, the moment before annihilation. The
fog of unconsciousness and confusion is diluted in a worthless white colour which represents the interval of time
between strong events and thoughts that move my emotions.

Everything is dynamic and unstoppable.

In the background, another layer is in gold which evokes a lost paradise of perfection and fulfillment, whose
existence is perhaps a deception of my childish mind.

Gold is present in all my paintings because it symbolizes the ultimate hope in our core, a lost paradise

I mainly work with mixed media using oil and acrylic painting, because their different texture and brightness enhance
the contrasts and dramatic effect concerning human condition and emotions, that I want to communicate. I also use
gesso to create depth and movement when the dynamic of the painting needs to be underlined. Oil pastels are also
used in some cases, when I want to perform more depth and nuances.

I make art for people who are willing to receive a message concerning humanity as social, individual, emotional and
spiritual experience, so they can be inspired and innerly questioned and challenged about themselves, their lives, the
others, the visible and invisible world around us.

Notes:

1
Artwork 1 Title: Sublimation
Artwork 1 Dimensions: 70 x 50 x 0,3
Artwork 1 Medium: mixed media, oil and acrylic paint on canvas board
Artwork 1 Commentary: This artwork comes from the observation and expression of our inner core, which is full of
passions, pain, pathos, fears, emotions, all boiling together and hurting us sometimes with their wildness. To avoid
the struggling we could be tempted to be someone else and avoid facing it. But I think that the only way is to
perforate the numb feelings which protect us from the deep emotions and look at them, clearly exposing them,
trying to sublimate their ferocity into warm energy.
The painting is made with mixed media Oil painting and Acrylic painting on canvas board
Artwork 1 Image:

2
Artwork 2 Title: Punishing Voice
Artwork 2 Dimensions: 70 x 50 x 0,3
Artwork 2 Medium: mixed media, gesso, oil and acrylic paint on canvas board
Artwork 2 Commentary: This work is inspired by the battle with our inner saboteur which speaks with a punishing
voice and condemns our vulnerability and humanity.
It is a discouraging distortion, which darkens emotions and thoughts, rules over energies and keeps the destiny in a
gloomy cage. We are not that voice and we have to get rid of it.
I chose a mixed media technique, acrylic and oil, with acrylic in the background, where the inner core is symbolized
by gold. The contrasts represent the battle between us, the punishing voice, our defenses, and the pain it causes.
Artwork 2 Image:

3
Artwork 3 Title: Brainfog
Artwork 3 Dimensions: 70 x 50 x 0,3
Artwork 3 Medium: mixed media, oil and acrylic paint, oil pastels on canvas board
Artwork 3 Commentary: This painting describes the human experience of numbness which we also call brainfog.
Your inner noise turns into the sound of muffled voices.
Your vivid emotions get blurred and your mind slowly stops hurting you.
Slowly you surrender to the living in a familiar distortion.
Artwork 3 Image:

4
Artwork 4 Title: Like swords
Artwork 4 Dimensions: 40 x 50 x 0,3
Artwork 4 Medium: mixed media, oil and acrylic paint, on canvas board
Artwork 4 Commentary: Life events can be brutal and overwhelming and pass you through-and-through.
Like swords. "Like swords" is a painting which captures a reflection on difficulties which we encounter in life.

Flashes of colours cross the canvas with the strength of their intensity, like emotional events cross life and they
overwhelm it with their power and the brutality of swords.

Artwork 4 Image:

5
6
Catalogue4 ID0263
Artist ID: 0263

Artist Name: Susan Bunn


Website: https://www.susanbunn.co.uk/gallery
IG: https://www.instagram.com/susansilverbunn/

Artist Statement: British born painter Susan Bunn is based in London, specialising in landscapes with a surreal
quality. Fascinated by the interplay of light and colour and the way they evoke mood and emotion. Shortlisted for
the Royal Academy Summer Exhibition 2016. Most recent show in August 2018, at the Oxo Gallery with ‘A River
Runs Through It― with over 4,500 visitors.

Notes:

1
Artwork 1 Title: Blue is the Night II
Artwork 1 Dimensions: H50 X W70 X D5
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: “Blue is the Night II“ Surreal walk through a forest scene bathed in blue moonlight.
The misty light oozes over the landscape. Textured trunks soar and surround you, and moonlight glints off the silvery
trunks.
The painting incorporates the mood and light of its surroundings. I revisited this piece over a period of 10 months
needing the time to build the textures and layers of translucent blue.
Artwork 1 Image:

2
Artwork 2 Title: Red Shed
Artwork 2 Dimensions: H80 x W100 x D4.5
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: Red Shed, inspired by the salt flats of the Sussex coast. I love the wide-open space and
weather you observe rolling in unobstructed. I combining the wild windswept area, part land, part sea with one of
my current themes of ramshackle old sheds, shack and huts. Peeling paint, crumbling weathered timbers and rusted
panels give hints to its history and fallibility. We build, but nature always re-claims in time
Artwork 2 Image:

3
Artwork 3 Title: Wiry Birch Trees
Artwork 3 Dimensions: H 75X W30 cm sq / H90 X 30cm sq / H110 x W30 cm sq
Artwork 3 Medium: Mixed media sculpture
Artwork 3 Commentary: Wiry Birch Trees, stylized wire tree sculpture exploring the use of industrial materials in a
natural form.

The structures were assembled in stages. They are stylised version of birch trees, each tree takes 2 to 4 months to
construct.
Artwork 3 Image:

4
Artwork 4 Title: Long Shadows
Artwork 4 Dimensions: H 24 x W30 x 1.5 Cm
Artwork 4 Medium: mixed media on canvas
Artwork 4 Commentary: Long Shadows, layering in with the paint with silver and gold leaf to reflect mood and light
of the surroundings.
Artwork 4 Image:

5
Catalogue4 ID0265
Artist ID: 0265

Artist Name: Hilary Kidd


Website: www.hilarykidd.com
IG: @hilary.kidd_art

Artist Statement: My work is abstract and has a graphic quality, with elements of natural and geometric forms. I am
drawn to pattern, surface, grids, texture, colour, line. I work with shaped and sculpted cardboard packaging formed
into blocks, which are printed onto paper and plywood without a press. I like mixing media – mainly print, but
adding paint, pens, collage, 3D, thread. My ideas are mainly process/material-driven.
I graduated with a BA in Fine Art from University of Hertfordshire in 2016. A common thread running through my
work was the use of honeycomb cardboard packaging. My final show consisted of blockprints on long sheets of
paper and plywood, and tall standing cardboard sculptures.
Since graduation, I have continued experimenting with packaging, working with cardboard tubes, boxes, and
corrugated paper. I block print onto cut-up tubes and assemble them into small sculptures. I like the qualities of
plywood, which I think complements the linear qualities of the blockprints.
In order to expand my printing options, I am experimenting with drypoint and monoprint processes. I am interested
in changing 2D prints on paper into 3D by folding, after being impressed with examples at a recent MA show. I have
started making making drypoint prints with this in mind.
I like photographing natural and man-made objects set in unusual contexts.
I have a studio at The Chocolate Factory in Wood Green London and participated in a successful Open Studio event
recently.
Favourite artists are Ian McKeever, Richard Long, Rebecca Salter, and Geta Brătescu.

Notes:

1
Artwork 1 Title: 'Reflections on Plastic'
Artwork 1 Dimensions: 33 x 45 x 1cm (framed)
Artwork 1 Medium: Photography
Artwork 1 Commentary: I am fascinated by the lovely colours and shapes of plastic containers - even though I know
our wasteful use of plastic is bad for the environment. This was a top from a shampoo bottle that was hinged and
could stand up on its own. I photographed it in our kitchen with the fridge freezer in the background. I loved the
reflection in the kitchen worktop and the way the lid seemed to take on a new life of its own.
I originally called it 'Plastic Reflections' but then decided that 'Reflections on Plastic' gave it another meaning.
Artwork 1 Image:

2
Artwork 2 Title: 'Shoebox Sculpture'
Artwork 2 Dimensions: Shoebox size
Artwork 2 Medium: Blockprint and marker pen on glued cardboard tubes
Artwork 2 Commentary: I started collecting cardboard toilet roll tubes from my studio’s toilets. Having this
material made me start thinking about experimenting with cutting and printing onto the curved surfaces. This led to
assembling them into structures. I printed on the convex and concave surfaces with sculpted cardboard blocks. The
printing created cell-like patterns on the surfaces of the tubes, which gave them life and movement. Bonding two
convex surfaces together required some experimentation, and the assembled structures had to balance. I liked the
idea of a lightweight sculpture that could be moved into different positions and planes, and carried easily in a
shoebox.
Artwork 2 Image:

3
4
Artwork 3 Title: 'Gridlock'
Artwork 3 Dimensions: 42.50 x 35.50 x 1cm (framed)
Artwork 3 Medium: Blockprint on paper
Artwork 3 Commentary: I had been experimenting with printing with the waffly edges of cardboard boxes. Then I
started to form the cardboard into angular shapes - reminding me of Meccano pieces. I printed with them, using
acrylic paint. I wanted to make lines that were clearly delineated but overlapping, with three areas deeply
overprinted. I wanted to keep the outside areas fairly open, but with a defined edge. I started with one colour - and
added two more to create depth and interest. This print was enlarged to billboard size for a Los Angeles station
exhibition. This gave me the idea to digitally enlarge other work so that I could sell more images of the original.
Artwork 3 Image:

5
Artwork 4 Title: 'Flying Colours'
Artwork 4 Dimensions: 30cm diameter x 2cm deep
Artwork 4 Medium: Blockprint and paint on plywood
Artwork 4 Commentary: I felt that the forms in the honeycomb cardboard would fit well into a circular context. I
came across circular plywood panels on an art materials website and felt immediately that these would be a good
shape and surface to print on. I made some trial pieces on circles of corrugated cardboard. I wanted the printed lines
to flow from a single point on one side. I added some acrylic paint in amongst the brown printed lines, but didn’t
want to add too much – I wanted the delicacy of the lines and some of the plywood surface to show through. I
added a smaller thicker piece of plywood on the back, so that when it is hung on the wall there is a shadow behind it.

Artwork 4 Image:

6
7
Catalogue4 ID0266
Artist ID: 0266

Artist Name: Lucia Rusinakova


Website: www.lightandtransience.com
IG: @luciarusinakovaart

Artist Statement: I am an artist who works in multiple mediums and uses painting and abstract collage to express
ideas of transience, journey, materialism, personal identity, and legacy.

In 2011 – during and after my battle with cancer – my life and my creative work faced a major transformation,
and painting became an integral part of my recovery and creative expression.

I enjoy "improvising" and experimenting with the medium, form, structure and texture. One of the recurring themes
in my recent work is "transience," and "re-discovery" (recycling of previously used scraps of paper, cardboard, wood,
etc.).

My most recent endeavour is to explore ideas of time, space, energy and particles, as well as a concept of "reality."

Notes:

1
Artwork 1 Title: The World is Changing
Artwork 1 Dimensions: 30x80x1.5
Artwork 1 Medium: Acrylics on canvas
Artwork 1 Commentary: This piece is one of my recent experiments with acrylic spray paint and flow medium
exploring the movement of paint as it dries and creating a fluid end effect.
Artwork 1 Image:

2
Artwork 2 Title: Stratosphere
Artwork 2 Dimensions: 30x80x1.5
Artwork 2 Medium: Acrylics and paper on canvas
Artwork 2 Commentary: One of the pieces using texture and layering to explore the subject matter of mountains.
Artwork 2 Image:

3
Artwork 3 Title: Pulls
Artwork 3 Dimensions: 70x70x2
Artwork 3 Medium: Acrylics on canvas
Artwork 3 Commentary: One of my pieces exploring abstract expressionism.
Artwork 3 Image:

4
Artwork 4 Title: Winter Blues
Artwork 4 Dimensions: 60x60x1.5
Artwork 4 Medium: Acrylics on canvas
Artwork 4 Commentary: Another piece experimenting with paint flow and spray paints.
Artwork 4 Image:

5
Catalogue4 ID0268
Artist ID: 0268

Artist Name: Eoin Mcevoy


Website: www.eoinmcevoy.net
IG: @mcevoy.fineart

Artist Statement: After completing an apprenticeship with the controversial figurative painter Odd Nerdrum, in
Norway, I relocated to Scotland and began to move away from the classical, baroque style of painting I had trained
in, instead leaning towards a more expressionist approach to painting and drawing.
Beginning to paint on un-primed cardboard as a means to free up the painting process, my confidence in the
materials was furthered by visiting an exhibition at the National Galleries Scotland of paintings on cardboard by
Joseph Beuys, whom in turn had taught Odd Nerdrum.

After leaving Edinburgh for Paris, I refocused on working directly from the human figure and landscapes painted
from life using new materials, including oil mixed with marble dust and resins on cardboard and canvas. This working
method has stayed with me since relocating to London and the energy of a new city has altered the course of the
work.

Notes:

1
Artwork 1 Title: Girl in bed
Artwork 1 Dimensions: 50 X 70 CM
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: Painted in Paris in the summer of 2018, this is the first figurative work painted directly from
life in over three years -since my time as an apprentice with Odd Nerdrum in 2013. The light of Paris, being so
different from Northern Europe, inspired me to paint directly from life. This is also the first nude painting I have
made.
Artwork 1 Image:

2
Artwork 2 Title: Girl with a phone
Artwork 2 Dimensions: 70 X 85 CM
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: Painted in Paris in the summer of 2018, this second nude follows on from the first and I
continued to attempt to capture the light of Paris directly from life.
Artwork 2 Image:

3
Artwork 3 Title: Shock Corridor No.2
Artwork 3 Dimensions: 122 X 92 CM
Artwork 3 Medium: Oil and marble dust on canvas
Artwork 3 Commentary: This is a second version of a painting made in a building in the neighbourhood of Pantin, on
the outskirts of Paris, where I was working at the time. This second version was the first work made after moving to
London, painted from the original painting using a new mixture of Oil and marble dust to give more life and energy
to the essential idea of the original. After visiting the Tapies Foundation in Barcelona I was inspired to create
paintings with a more visceral impact. The original painting was inspired by the dark interiors of buildings in Pantin,
as well as Goya's 'Asylum.' The title of the painting is borrowed from the 1963 film of the same name.
Artwork 3 Image:

4
Artwork 4 Title: Study After Titian - Ecce Homo (1558 -1560)
Artwork 4 Dimensions: 122 X 92 CM
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: Study after a lesser known study for Ecce Homo by Titian (1558-1560), which was hanging at
the National Gallery of Ireland. As it is my favorite painting, I was disappointed during a recent visit to the
refurbished National Gallery to realize that the painting is no longer on display. I wished to attempt a version of this
painting, larger than the original, but in my own way as I did not want to make a direct copy or illustration of the
original.

In the original painting, because it is a sketch, you can see Titian's changes during the painting process, I wished to
recreate this energy.
Artwork 4 Image:

5
6
Catalogue4 ID0269
Artist ID: 0269

Artist Name: Abdul Rashid


Website: N/A
IG: abdulrashid806

Artist Statement: I Abdul rashid assistant professor government college nathdwara rajsamand rajasthan India. I am
not a birth born artist BT I WANT to become a famous artist. I am an emblem artist my emblem is pencils. I have
shown a journey colour lessto colourful. Just I was awarded by state art award by antrang art society tonk. I was
made many wall painting. I organised my hand made greetings one man show in 2007 in our village. And also I run a
small gallery in our village to encourage and develop creativity in student of rural areas. I participated in many
exhibition in jaipur. My journey still continue...............

Notes:

1
Artwork 1 Title: LIFE and colours
Artwork 1 Dimensions: 91/91
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: My painting title is LIFE AND COLOURS. Life can complete any time so we all are surrounded
by beautiful colors in 24 hours. Any colour can come suddenly in any time. Like joy,happiness, success, grief,
etc.every black line crossed by white lines means evilness destroyed by goodness in our life.
Artwork 1 Image:

2
Artwork 2 Title: Struggle of an artist
Artwork 2 Dimensions: 91/76
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: This painting gives a beautiful msg how an artist struggles in life.
Artwork 2 Image:

3
Artwork 3 Title: HUMAN rights and equality
Artwork 3 Dimensions: 91/76
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: This painting is the msgs that human rights working style in the world. It
Artwork 3 Image:

4
Artwork 4 Title: Positive v /s negative
Artwork 4 Dimensions: 91/76
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: Life is the race between positive and negative. This painting tells us good and bad effect of
positive and negative thoughts.
Artwork 4 Image:

5
Catalogue4 ID0270
Artist ID: 0270

Artist Name: Benjamin Brown


Website: benjaminarthurbrown.com
IG:

Artist Statement: Benjamin Arthur Brown is and Artist and Writer from Essex who lives and works in London. His
expanded practice circles arounds subjects of conspicuous consumption; the ever expanding limits of reality, fiction
and the body through mechanical and technical means and a humorous take on social and art historical traditions
and the hierarchies of taste and style.

Notes:

1
Artwork 1 Title: Lean Green and the Headache Blues
Artwork 1 Dimensions: 183x142x5
Artwork 1 Medium: acrylic on Poly-Cotton with Kitchen-safe Blue plasters
Artwork 1 Commentary: With the ‘hazzz’ series of paintings I employ simple but loaded motifs, patterns and
colour combinations to create characters, or situations rather than mere images. The pattern and colours are
coopted from ‘danger’ tapes used in the commercial and industrial sectors, but they are parodied. They
become a reference to art history: hard edge painting or op art. This combining of worlds forces them to expose a
certain lack of humanity: a distancing, or barrier to an image, an obstacle or simply a wall that must be navigated.
They also speak of taste and class. There is a suggestion that something lurks behind, contained by these patterns
and bright colours. This is the power of a promise, infinite possibilities held under a shiny surface, desire, dreams,
anxieties. On the flip side, the paintings looks out and they seem to entice the viewer in but also reject their
advances and slip through comprehension: they are flat, aggressively so. Little punctures appear on the glossy
surface. Like cracks in a phone screen, splintering and revealing the mechanism and its fallibility. Plasters and stickers
used to puncture. Something for the eye to settle on. Or are they, too, just used to cover something up? A limp way
of masking a mistake? An admission of guilt. The flaws of the maker revealed with the slip of a wrist, a bump or graze
covered with a bandage. Honesty busts on through. An absurd mimicry of abstract painting.
Artwork 1 Image:

2
3
Artwork 2 Title: HAVEANICEDAY!
Artwork 2 Dimensions: 20x40x50
Artwork 2 Medium: Hand Printed 'Logo' on Plastic Bags (Originally 500 made)
Artwork 2 Commentary: Humour is extremely important as an initial accessing point for works that might have
deeper motives. The handmade versus the mass produced is a recurrent theme through my work as a way in which
materials can expose not only themselves but also the hand or heart of the maker.
The plastic bags look out with a smile, iconic yet mute. welcoming the smile seems vacant. the face can't quite bring
itself to meet the audiences eye. instantly reproducible, the time and labour invisible, extinguished behind the
materiality of the object itself. it waits for a plinth or a trip to Lidl.
Artwork 2 Image:

4
Artwork 3 Title: all most, quite, nearly didn't make it
Artwork 3 Dimensions: 183x142x5
Artwork 3 Medium: Acrylic on Poly-Cotton with 'Caucasian'Skin-tone plasters
Artwork 3 Commentary: With the ‘hazzz’ series of paintings I employ simple but loaded motifs, patterns and
colour combinations to create characters, or situations rather than mere images. The pattern and colours are
coopted from ‘danger’ tapes used in the commercial and industrial sectors, but they are parodied. They
become a reference to art history: hard edge painting or op art. This combining of worlds forces them to expose a
certain lack of humanity: a distancing, or barrier to an image, an obstacle or simply a wall that must be navigated.
They also speak of taste and class. There is a suggestion that something lurks behind, contained by these patterns
and bright colours. This is the power of a promise, infinite possibilities held under a shiny surface, desire, dreams,
anxieties. On the flip side, the paintings looks out and they seem to entice the viewer in but also reject their
advances and slip through comprehension: they are flat, aggressively so. Little punctures appear on the glossy
surface. Like cracks in a phone screen, splintering and revealing the mechanism and its fallibility. Plasters and stickers
used to puncture. Something for the eye to settle on. Or are they, too, just used to cover something up? A limp way
of masking a mistake? An admission of guilt. The flaws of the maker revealed with the slip of a wrist, a bump or graze
covered with a bandage. Honesty busts on through. An absurd mimicry of abstract painting.
Artwork 3 Image:

5
6
Artwork 4 Title: ALAS+ALAS
Artwork 4 Dimensions: 10x25x30
Artwork 4 Medium: intervention on 'Sliders'
Artwork 4 Commentary: As with much of my sculptural work this comes from a simple yet potent pairing of humour
and banal or domestic objects. 'Sliders' have gone from a comfortable, durable everyday item to a staple of street
fashion and custom footwear. it became popular for people to have their name emblazoned across their toes with
sliders. The work subverts expectations - in place of a name is a phrase more commonly associated with romanticism
or the parody of. is it the shoe themselves given a voice? is it an internal voice of the wear? is it just a joke?
Artwork 4 Image:

7
Catalogue4 ID0273
Artist ID: 0273

Artist Name: Uma Aslam


Website: umaaslam.com
IG: https://www.instagram.com/umaaslamart/

Artist Statement: I am a self-taught artist based in Cheshire. I have been painting for almost 20 years. I began to take
my artistic career more seriously after my move to the East of France, in the year of 2003.Some years later,I was
fortunate enough to have the opportunity to move location and open a gallery/studio space in the North of Spain .

I draw much of my inspirations from my personal spiritual experiences, nature and the universal elements around us.

I love using bold bright colors symbols and forms in my work. Sometimes a painting will appear to me with a blink of
an eye and at other times I am guided by my intuition to paint.Every experience I have is unique and therefore I will
try to convey that upon my canvases.

My aim as an artist is to create beautiful, powerful works of art, that will have an impact on the viewer, in a most
positive and beneficial way, as well as to uplift and brighten any space. I also hope that I can be remembered for my
contribution as an artist for many years to come.

Notes:

1
Artwork 1 Title: Starburst
Artwork 1 Dimensions: 80x70cms
Artwork 1 Medium: Oils on acrylic background on canvas
Artwork 1 Commentary: This particular painting relates to the Kundalini energies available to us all.Once tapped into
it can awaken one to many miracles and awakenings of the soul
Artwork 1 Image:

2
Artwork 2 Title: The Triangle
Artwork 2 Dimensions: 81x100cms
Artwork 2 Medium: Oils on canvas
Artwork 2 Commentary: Part of my' Love For Geometry' Series 2012

On exhibition in Italy until the 26th of January 2019.


Winner of numerous awards.
Artwork 2 Image:

3
Artwork 3 Title: Ghosts can Dance
Artwork 3 Dimensions: 61x46cms
Artwork 3 Medium: Oils on canvas
Artwork 3 Commentary: Winner of Art and Beyond Magazine NY
Inside cover.
December 2018 edition.
Artwork 3 Image:

4
Artwork 4 Title: Crystal Palace
Artwork 4 Dimensions: 92x61cms
Artwork 4 Medium: Oils on canvas
Artwork 4 Commentary: I was inspired to do this painting as I have always
been fascinated by the forms,structures
and colors of certain crystal and have always used them for personal healing and meditational
purposes for as long as can remember.
Artwork 4 Image:

5
Catalogue4 ID0275
Artist ID: 0275

Artist Name: Martha Panagiotopoulou


Website: https://www.marthapan.com/
IG: https://www.instagram.com/_martha_pan_/?hl=el

Artist Statement: Inherent in the extremes of the humanly possible, is a violent movement towards the ether.-

Within the complexity of existence in the Anthropocene, I attempt to formulate an ode to the experience of the
human passage through the cosmos, which tries to express itself through the dynamics of binary oppositions and the
spiral evolution of time.

Cosmogony is identified in the poetics of the material and not in some idealistic metaphysics. Anthropogenically
shaped materials create a dialogue with natural materials, sharp elements converse with the fragility of light, and
the gravity of solid masses are in discourse with the precarious condition of that which is hovering.

The dialectic of the opposites creates the diversity of the world, composing it through random coincidences and
intentional choices. The fragmented composition and the distance between the forms are used in order to
accentuate the relation between the elements and the entity of the whole.

Reflections expand the present and create a parallel world where everything can be possible, recalling that the world
we perceive might not be the only real one. What I am seeking is the opening of a crack towards a world which
grows into the already familiar one, as well as the acceptance of our relation with the unknown and the great
openness of the cosmos.

Movement and change are used to map the fleeting nature of time. How can we engrave on a material body the
intangible, anguish and eros? How can we make visible what cannot be measured?

Our bones are thirsty for the extravagance of their heavenly destruction.-

Notes:

1
Artwork 1 Title: Midas Touch
Artwork 1 Dimensions: 20 x 150 x 150 cm (Dimensions variable)
Artwork 1 Medium: olive tree trunks burned by wildfires, acrylic paint (gold) ​
Artwork 1 Commentary: Who is holding the sword and who is pretending to be the lamb?
Far beyond, are the wolves who meet with the mountains and the full moon, when the great ecstatic sun of things,
carries the self-propelled flame which generously lights the big and small voids above the dark abysses.
How do we define the value of a situation?
Greed and death.
Every act holds within it, perfectly connected, it’s chained results.
Are we condemned to a constantly recurring recast of the myth?
Flammable material.
Artwork 1 Image:

2
3
Artwork 2 Title: Wormhole, Shortcut to your world in danger
Artwork 2 Dimensions: 60 x 60 x 80 cm (Dimensions variable)
Artwork 2 Medium: steel, mirror, candle, glass balls, feather, rocks, wire
Artwork 2 Commentary: “I collect pebbles stamps
caps from medicine bottles broken glasses
corpses from the sky
flowers
and anything good
that in this wild world,
is in danger―, Miltos Stahtouris

During your wild fall towards the imminent, everything is a long trip and everything unfolds as if it was a neonate,
day by day.
Into the bridge of the hyperboloid of two sheets, the compass turns into a bipolar flame
and gives light to what remains strange to the logical.
Passageway to the unknown.
We faithfully accept, the splendid instinctually given order of irregular chaos.
Beyond, and on the other side.
Fragile warriors of wilderness.
Artwork 2 Image:

4
5
Artwork 3 Title: 2050: Hell, we are bound to heaven Icarus
Artwork 3 Dimensions: 90 x 47 x 27 cm (Dimensions variable)
Artwork 3 Medium: steel, candles, Objet Trouvé
Artwork 3 Commentary: The greatest beauty is carried within the promise of birth.
Above the chaos of the infinite hovers the fact of existence, deeply and innocently warlike.
Disagreement is a dialogue in motion.
Flowers permeate the earth’s surface in search for the caress of the great fire flame.
The charm of matter is the only spirit.
The only sin is to deny the present, in the name of fear of an approaching death.
Only the flame is not afraid of the present- and the winged lovers of the sun.
Our bones are thirsty for the extravagance of their heavenly destruction.
Artwork 3 Image:

6
7
Artwork 4 Title: Contact (Innocence is a fearless creature endlessly falling into the unknown)
Artwork 4 Dimensions: 10 x 30 x 30 cm (Dimensions variable)
Artwork 4 Medium: steel, nails, rocks, wood, velvet fabric
Artwork 4 Commentary: In the silence of the deep blue velvet abyss
we’ ve been waiting in anguish, for our imminent murder.
We are falling from a high cliff and down bellow a huge crowd with sword-like hands is barely visible, swimming in a
dark-blue sea.
In a moment, we are saved, and start flying hand in hand. Gradually, we turn into a lightweight bird of stone.
We are a random throw of dice above the abyss which is longing to catch fire from the gleaming light of a future
charm and to transform the rock cliffs into an infinite immaterial fall.
Artwork 4 Image:

8
9
Catalogue4 ID0277
Artist ID: 0277

Artist Name: Minju Kim


Website: www.minjukim.co.uk
IG: https://www.instagram.com/minjukim_art/

Artist Statement: Drawing on personal experience with inspiration from the human anatomy and psychoanalytic
theory, I explore human desire as a main subject matter alongside the concept of life and death. Human desire and
body are inextricably linked from birth until death in a continuous loop. In my theory, all things stem from desire; the
object of desire varies depending on what a person craves and how desire appears throughout their lifetime.

The human figure is a recurring theme in my work and my obsession with the body started when I was young as I
experienced a rare body condition and medical examinations became part of my daily life. It was natural for me to
be aware of the fragility of the human body and I began to channel its connection with the mind and desire into my
works.

I believe the consciousness and corporeality are inevitable elements of human life. In diverse media my work
attempts to embody the sublimation of the human desire into perpetuity

Notes:

1
Artwork 1 Title: Mechanical Flesh Black
Artwork 1 Dimensions: 183 x 122 cm
Artwork 1 Medium: Acrylic paint and paint marker on canvas
Artwork 1 Commentary: Mechanical Flesh is a series of paintings on canvas. Inspired by anatomy charts, ultrasound
pictures and cell images, Minju Kim creates a unique landscape of body where life and death runs in a continuous
loop.
Artwork 1 Image:

2
Artwork 2 Title: Mechanical Flesh Red
Artwork 2 Dimensions: 183 x 122 cm
Artwork 2 Medium: Acrylic paint, paint marker,gold leaf and gliding wax on canvas
Artwork 2 Commentary: Mechanical Flesh is a series of paintings on canvas. Inspired by anatomy charts, ultrasound
pictures and cell images, Minju Kim creates a unique landscape of body where life and death runs in a continuous
loop.
Artwork 2 Image:

3
Artwork 3 Title: Mechanical Flesh R1
Artwork 3 Dimensions: 82 x 82 cm (framed)
Artwork 3 Medium: Acrylic paint and paint marker on canvas
Artwork 3 Commentary: Mechanical Flesh is a series of paintings on canvas. Inspired by anatomy charts, ultrasound
pictures and cell images, Minju Kim creates a unique landscape of body where life and death runs in a continuous
loop.
Artwork 3 Image:

4
Artwork 4 Title: Mechanical Flesh R2
Artwork 4 Dimensions: 82 x 82 cm (framed)
Artwork 4 Medium: Acrylic paint and paint marker on canvas
Artwork 4 Commentary: Mechanical Flesh is a series of paintings on canvas. Inspired by anatomy charts, ultrasound
pictures and cell images, Minju Kim creates a unique landscape of body where life and death runs in a continuous
loop.
Artwork 4 Image:

5
Catalogue4 ID0279
Artist ID: 0279

Artist Name: Lisa Batts


Website: https://www.chaosandthread.com
IG: chaosandthread

Artist Statement: I am interested in exploring the inner rooms of our mind that hold our darkest, most private
meditations. Emotional interruptions that intercept each other, and the cross-pollenating of every feeling at one
moment in time, are explored as a whole rather than considered on an individual basis. The concept that shadow
energies exist internally and provide a natural contrast between the notion of darkness and light, also influences my
work.

The uninhibited self and the esoteric self are represented by loose and free paintwork controlled by meditative
thread-work. The simple square as a visual reference to the esoteric shadow self, is often found in my work.
Whether it appears as a solid form, covered by thread or boarded by thread; or whether it appears purely as thread-
work in a net-like construction; a feeling of safety and security are mentally and visually felt. The uninhibited is left
exposed and the esoteric hidden away.

Throughout my practice of combining predominately acrylic paint with various threads, I am endeavouring to give
applied art equal standing and value to that of purely painted work. By balancing both the elements of paint and
stitching, I am undertaking to give each component equal merit and meaning without one dominating the other. I
believe 'decorative function' draws the viewer in. It isn't for its own sake. It is an attempt to move the observer
deeper and engage them with the very essence of the work.

Notes:

1
Artwork 1 Title: Moment in Time
Artwork 1 Dimensions: 70cm x 50cm paper
Artwork 1 Medium: Acrylic paint, graphite, ink, metallic/foil/cotton on paper
Artwork 1 Commentary: In this piece I am walking a tightrope between fussy and no control - a snapshot of an
internal moment in time. Interruptions, peace, disturbance, distraction, harmony and wholeness existing at once.
Artwork 1 Image:

2
Artwork 2 Title: Essence Two
Artwork 2 Dimensions: 50cm x 50cm x 4cm
Artwork 2 Medium: Acrylic paint, metallic/foil thread on canvas
Artwork 2 Commentary: 'The energy of the mind, is the essence of life.' - Aristotle.

Artwork 2 Image:

3
Artwork 3 Title: Inside Awake
Artwork 3 Dimensions: 76.2cm x76.2cm x 4cm
Artwork 3 Medium: Acrylic paint, metallic thread on canvas
Artwork 3 Commentary: An expression of the free, uninhibited parts of the human psyche living alongside the
compartmentalised aspect of our inner world.
Artwork 3 Image:

4
Artwork 4 Title: Essence
Artwork 4 Dimensions: 50cm x 50cm x 4cm
Artwork 4 Medium: Acrylic paint, cotton/foil thread on canvas
Artwork 4 Commentary: The unconscious mind co-existing with interruptions and interceptions. The shadow self is
boxed in with dark thread in this piece - protected and private.
Artwork 4 Image:

5
Catalogue4 ID0283
Artist ID: 0283

Artist Name: Silke Weissbach


Website: www.silkeweissbach.com
IG: https://www.instagram.com/silke_weissbach/?hl=de

Artist Statement: Silke Weißbach (1984, Germany) creates multimedia-installations that take usage of painted and
sculptured elements besides computer-generated material of videos and sound. Her artistic research is situated in
fields of science, philosophy, and literature and questioning the current state of the individual existence concerning
the ambiguity and manipulation of our technology-, materialistically- and hierarchical driven world.
By transforming and colliding material in unexpected ways, the artworks examining the relationship between
meaning, colour, shape and space and challenging the viewer‘s perception by creating nonlinear narratives and
mysterious patterns that come as part of a projections screen for our needs, desires and wishes and how we
perceive these ideas in our multi-layered one person ego.
Weißbach studied painting at the University of Fine Arts (HfBK, Painting) and University of Applied Science (HAW,
Painting) in Hamburg and is now in doing her Master of Arts (Painting) at the Royal College of Art in London.

Notes:
Vimeo = Artwork 1 = https://vimeo.com/306789092 Password: SW100, Artwork 3 = https://vimeo.com/266667608

1
Artwork 1 Title: When We Collided, 2019
Artwork 1 Dimensions: 275 x 275 x 150
Artwork 1 Medium: MultimediaInstallation
Artwork 1 Commentary: Documentary Video of the Artwork can be seen here:

https://vimeo.com/306789092

Password: SW100
Artwork 1 Image:

2
Artwork 2 Title: It Is You Who Leaves, It Is I Who Remain_2018
Artwork 2 Dimensions: 210 x 160 x 2cm
Artwork 2 Medium: Painting
Artwork 2 Commentary: Acrylic, Charcoal, Graphite, and Silicone on Linen
Artwork 2 Image:

3
Artwork 3 Title: Paradise Lost, 2018
Artwork 3 Dimensions: 200 x 140 x 50
Artwork 3 Medium: Painting & Video on Sculpture
Artwork 3 Commentary: Acrylic, Silicone and Neon Light on Canvas
Video, Sound, Colour on Plaster and Flour

Video can be seen here:

https://vimeo.com/266667608
Artwork 3 Image:

4
Artwork 4 Title: But Then, Who Exactly Are We Anymore
Artwork 4 Dimensions: 200 x 200 x 50 cm
Artwork 4 Medium: Sculpture
Artwork 4 Commentary: plaster, paper, silicone, metal dust and charcoal
Artwork 4 Image:

5
Catalogue4 ID0285
Artist ID: 0285

Artist Name: Rosso Emerald Crimson


Website: www.rossoart.net
IG: www.instagram.com/rossoartist

Artist Statement: Rosso’s art revolves around the construction of women’s identity in our contemporary
society. Through portraiture and self-portraiture especially, she explores and addresses feelings and taboos
connected to gender identity, sexuality, beauty, relationships, motherhood.
Deeply fascinated by classicism, Rosso attempts to emulate a contemporary version of realism which, while rooted
on classical painting techniques, departs from the mere representational approach. The female figures are
predominant in her paintings and are placed within timeless spaces made up of dreams, childhood memories and
pure fantasies.
Painting mainly with oil, she adapts her process according to her thematic subjects and her mood, varying from an
energetic and spontaneous "alla prima" painting style, to carefully planned compositions which are built in layers
over time.
Born in Sicily (1978), Rosso lives in London since 2004. Primarily self-taught, she trained briefly at the Prince Drawing
School and at the London Atelier of Representational Art (LARA) in London and has been painting full time since
2016. She won the “Emerald Winter Pride Art Award― in 2016 and “The Holly Bush Emerging Woman
Painter Prize 2017―. In 2018, she was selected to participate in the national TV series “Sky Portrait Artist of The
Year 2019―. She has exhibited mainly across London such as at the Mall Galleries, Bloomsbury, The Strand Gallery
and currently some of her work is displayed at the Underdog and Zebra One gallery in London.

Notes:

1
Artwork 1 Title: Frippery
Artwork 1 Dimensions: 115x100x5 cm
Artwork 1 Medium: oil on board
Artwork 1 Commentary: In this sarcastic self-portrait, the artist, camouflaged among a series of frivolous objects,
depicts herself with dolls-like features, mimicking the Victorian dolls she is surrounded by. With their perfectly curly
hair and porcelain baby faces, these dolls project an ambiguous representation of a strange idealistic femininity.
“Frippery― indeed highlights and ridicules the sex object culture, a culture in which women are victims of a
very biased image of female beauty and increasingly reduced to sex objects themselves.

Artwork 1 Image:

2
Artwork 2 Title: The Play Room
Artwork 2 Dimensions: 105x140x5 cm
Artwork 2 Medium: oil on linen
Artwork 2 Commentary: In this very intimate family portrait, the artist explores inner feelings about motherhood.Â
A comfortable corner of a bedroom is adorned with toys and filled with playful puppies and kittens. The little girl is
absorbed in her own beautiful world next to the mother who, while safeguarding her family through her direct
glance towards the viewers, is depicted upside down, in this way contributing to the joviality of the moment.
Through the constant playfulness involved in educating our children, the parental responsibilities are lightened by an
incredible gift: the rediscovery of the inner child.
Artwork 2 Image:

3
Artwork 3 Title: Dreams Are Wishes That Your Heart Makes
Artwork 3 Dimensions: 90x105x5
Artwork 3 Medium: oil on board
Artwork 3 Commentary: One of my childhood strongest memory is connected with the chorus “Dreams Are
Wishes That Your Heart Makes―: it was Cinderella’s most famous riddle she sang while waiting for the perfect
true love to save her from her miserable life. Wanted or not, that of Cinderella is one of the most powerful myth to
have informed our cultural, especially feminine, identity. While shaping many teenagers’ dreams, Cinderella’s
tale has also laid the foundations for many adulthood’s frustrations and disillusions. The lady in the picture,
immersed in a chaotic domestic scenario, symbolises that Cinderella which somehow hides inside many of us: the
viewer is asked to decide weather this particular scene, with all its appendix emotions, takes place before or after
meeting Prince Charming.

Artwork 3 Image:

4
5
Artwork 4 Title: Reflections
Artwork 4 Dimensions: 72x102x5 cm
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary: “Reflections― belongs to a series of self-portraits which reflect on issues pertaining
the construction of gender identity and the “feminine―. The painting is a retake of Velasquez’ very famous
“Venus of Rockeby―. Just like in the original, a reclining naked woman is using the mirror to stare and
somehow provoke the viewers, thus transforming this object from a mere symbol of vanity into a political tool. As
the woman reflected appears to have moustaches, the mirror here is used to assert a new idea of femininity which
not only departs from stereotyped ideas of female beauty but also goes beyond traditional binary gender
classifications, in clear defiance of our patriarchal society.
Artwork 4 Image:

6
7
Catalogue4 ID0286
Artist ID: 0286

Artist Name: Oliver Kellert


Website: www.behance.net/oliverkell2e55
IG: @oliverkellertart

Artist Statement: Oliver is a British Artist based in St Albans Herts.


He is a young emerging artist, studying Art.
Work is rich in colours He specializes in abstract contemporary art.
Oliver’s work is very personal and often cryptic, not always obvious to the viewer and causing you to look at
every detail.
Oliver explores portraiture, and figures in a surreal, contemporary abstract style. All based on his thoughts and
feelings.
Recent work has been inspired by Basquiat, his favorite artist recently visiting his exhibition in Paris.
Oliver loves working on large canvas, painting vivid colours and adding detail with oil pastels.

Notes:

1
Artwork 1 Title: Dance
Artwork 1 Dimensions: H125xW94xD4cm
Artwork 1 Medium: Acrylic and oil pastels on canvas
Artwork 1 Commentary: Listening to Music, creating my dance. The face and words in my head.
Artwork 1 Image:

2
Artwork 2 Title: Broken Man
Artwork 2 Dimensions: H90xW60xD4cm
Artwork 2 Medium: acrylic and oil pastels on canvas
Artwork 2 Commentary: Broken, tired in thought and feeling.
Artwork 2 Image:

3
Artwork 3 Title: Fighting the Fever
Artwork 3 Dimensions: H125xW94xD4cm
Artwork 3 Medium: acrylic and oil pastels on canvas
Artwork 3 Commentary: Stuck indoors, fighting the fever, willing it to pass. Bored and tired. Created this while
wishing Glandular fever to leave.
Artwork 3 Image:

4
Artwork 4 Title: Watkins
Artwork 4 Dimensions: H125xW94xD4cm
Artwork 4 Medium: acrylic and oil pastels on canvas
Artwork 4 Commentary: Sexs Drugs and rock and roll.
Artwork 4 Image:

5
Catalogue4 ID0287
Artist ID: 0287

Artist Name: Peng Zhang


Website: www.art-77.com
IG: pengz_art

Artist Statement: Memories about the rural life of my village are the point of focus in my work, these include
familiarity, closeness, and togetherness, as well as simplicity, slowness, physical labour, and nature in my village.
Through the subjects I visualise in my folk works(installations and drawings), I try to evoke viewers’ yearning for
the rural life.

I dive into my past and attempt to capture moments that I have experienced from a young age. The images refer to
my memories from the village, Shijian Cun, where I grew up as a child in the countryside of South China.

My work is characterised by its earthly tones that reflect this landscape. During the making process, I imitate the
postures of the farmers by bending over or kneeling on the ground. My material relation with charcoal, canvas,
fabric, clay and soil is of essence: mirroring the farmers’ the relation amongst the farmer, their land and nature.

With my work, I not only give a glimpse into my personal background, but also turn my focus towards the present
moment, I feel, that the number of people who lack experiences of countryside life is increasing.

Notes:

1
Artwork 1 Title: Paradise Garden. I
Artwork 1 Dimensions: 300*500cm
Artwork 1 Medium: charcoal, ceramic, canvas
Artwork 1 Commentary: My parents’ garden was ever the paradise for me, where I had a good childhood. I did
lots of funny things inside, in different time: imitating parents to plant, constructing earth castles, drawing cartoons
with charcoals I got from kitchen oven, playing games with friends and so on. I have relocated the garden here to
show my childhood base. During working, I bent my body over, like a farmer, to “plant― vegetables and make
ceramic toys on the canvas.
In last summer, I laid this piece of canvas outside and followed the summer schedule of farmers in my village,
working before the sunrise and after the sunset. Consequently, the canvas with drawing was like the soil being
affected by nature: the rain tracks, bird poops and so on.

Artwork 1 Image:

2
3
Artwork 2 Title: Paradise garden. II
Artwork 2 Dimensions: 300*500cm
Artwork 2 Medium: charcoal, ceramic, canvas
Artwork 2 Commentary: In my village, each family has their own gardens where they can plant vegetables for
feeding themselves. My parents always plant seasonal vegetables in the garden in different time. Last summer, they
planted string beans, pumpkin, bitter gourd and so on. I “planted― them out on my canvas soil with ceramic
toys on in the Netherlands.
Artwork 2 Image:

4
Artwork 3 Title: Farmers
Artwork 3 Dimensions: Size Variable
Artwork 3 Medium: willow, bricks
Artwork 3 Commentary: As a farmer artist, I always bend over my body like a farmer to work. Farmers in my village
bend over to cultivate in their fields all day long as well, with their faces toward the land and the back the sky, which
is still common these days. However, I find that the agriculture in Netherlands, is becoming increasingly
technologically advanced. The bended willows with bricks surrounded symbolize the phenomenon that the
advanced technology has facilitated farmers to cultivate in the farmlands.

Artwork 3 Image:

5
Artwork 4 Title: Memory Envelopes
Artwork 4 Dimensions: 8*8cm*300
Artwork 4 Medium: clay
Artwork 4 Commentary: Da Paji was my favorite game during my little age. It carries the memory of my childhood.
The original game is made of paper. I concretize the memories into ceramics, laying them out on the floor orderly , in
order to clarify them and prevent them from fading out from my mind.

Artwork 4 Image:

6
Catalogue4 ID0288
Artist ID: 0288

Artist Name: Deiniol Williams


Website: www.deiniolwilliams.uk
IG: deiniolwilliamsceramics

Artist Statement: Deiniol’s ceramic practice explores the dichotomy between rhythm and discord, balance and
disorder. Bringing together raw and unrefined materials and incorporating them into the clay, he seeks to find the
harmonious point between the rhythmic flow of the potter’s wheel and the disruptive and chaotic inclusions
within the modified clay.

Many of the inclusion materials Deiniol uses are collected from the ancestral family farm in Wales. These inclusions
which are mixed into the fabric of the clay pushes Deiniol's throwing skills to the limit. The act of throwing becomes
a careful balancing act between the clay's tendency to tear and collapse, and the control needed to create the forms.
It requires complete focus with every movement considered otherwise the form will not survive.

Notes:

1
Artwork 1 Title: Geodisc BHWK8-012
Artwork 1 Dimensions: 35x35x7
Artwork 1 Medium: Ceramic
Artwork 1 Commentary: The geodisc series is an experiment into creating ceramic discs which utilise geological
stones from different locations as a recording mechanism. Throughout all stages of the discs creation the stone
inclusions radically affect the form; they disrupt the throwing process, and tear, crack and puncture the structure
during the drying and firing.
Artwork 1 Image:

2
Artwork 2 Title: Geodisc BHWK8-011
Artwork 2 Dimensions: 35x35x6
Artwork 2 Medium: Ceramic
Artwork 2 Commentary: The geodisc series is an experiment into creating ceramic discs which utilise geological
stones from different locations as a recording mechanism. Throughout all stages of the discs creation the stone
inclusions radically affect the form; they disrupt the throwing process, and tear, crack and puncture the structure
during the drying and firing.
Artwork 2 Image:

3
Artwork 3 Title: Geodisc BHWK8-193
Artwork 3 Dimensions: 36x36x8
Artwork 3 Medium: Ceramic
Artwork 3 Commentary: The geodisc series is an experiment into creating ceramic discs which utilise geological
stones from different locations as a recording mechanism. Throughout all stages of the discs creation the stone
inclusions radically affect the form; they disrupt the throwing process, and tear, crack and puncture the structure
during the drying and firing.
Artwork 3 Image:

4
Artwork 4 Title: Geodisc BHWK8-194
Artwork 4 Dimensions: 36x36x6
Artwork 4 Medium: Ceramic
Artwork 4 Commentary: The geodisc series is an experiment into creating ceramic discs which utilise geological
stones from different locations as a recording mechanism. Throughout all stages of the discs creation the stone
inclusions radically affect the form; they disrupt the throwing process, and tear, crack and puncture the structure
during the drying and firing.
Artwork 4 Image:

5
Catalogue4 ID0289
Artist ID: 0289

Artist Name: Benji Thomas


Website: benjithomas.com
IG: benjithomasart

Artist Statement: My practice stems from curiosity in the transformative potential of image-making. The oddities and
strangeness and chance encounters within everyday life are my main focus; if it triggers a double take, it is a
contender for a subject. My photographs are always taken in direct reaction to the moment and I never stage
anything, because the act of observing and using reality is central. Often, the process of painting is a retrospective
look into why that subject first appealed, and an attempt to amplify the less considered qualities. I would like people
to be surprised by how close my work is to reality, because it is, and all I attempt to do is nudge it into an alternate
dimension.
I use Parker Quink ink and household bleach, employing traditional brushwork, spray bottles, airbrushes, and other
implements to harness the totally unpredictable nature of the two chemicals' interactions. Fundamentally, one
simple black pigment and a destructive chemical is quite restrictive as a medium, but over the last few years I have
found ways to create a limited but effective palette from combining different dilutions of both components. I take
inspiration from artists like Peter Doig, Max Ernst, and George Shaw, artists with poetic insight into the mundane
world. The two prior artists' work demonstrate a practice fuelled by continual experimentation at its core, with both
process and image, and I try to see my own practice in a similar way. Continual discovery drives imagination!

Notes:

1
Artwork 1 Title: Barbara Connor
Artwork 1 Dimensions: 111X219X0.2
Artwork 1 Medium: Ink and bleach on paper
Artwork 1 Commentary: The name refers to the violent storms that swept over the UK in the Christmas of 2016:
Storm Barbara and Storm Conor. I added an ‘n’ to Conor accidentally and now I prefer it…
During these storms my family happened to visit Scotland’s Caladonian Canal near Fort William. Against the
storm, all the boats along the canal had been moored and wrapped in plastic tarps, like gigantic cocoons. It was this
otherworldly nature that prompted me to paint it for the first time, and I became near-obsessed with these wrapped
ships, ultimately resulting in this large scale painting. I wanted to create something luminous.
The experience of walking down a canal and feeling like I was examining hibernating alien creatures, demonstrated
to me how close reality is to obscurity, and how little a push it takes (a change in weather) to upset the balance and
bring that to the surface.

Artwork 1 Image:

2
3
Artwork 2 Title: Field
Artwork 2 Dimensions: 46X61x5cm
Artwork 2 Medium: ink and bleach on stretched paper canvas
Artwork 2 Commentary: 'Field' is one of my most recent pieces, attempting to break the subject down into vital
essence. The photograph from which it was painted was the very first one I took with the intention to approach it as
I do my subjects now. The image depicts the view of a cricket pitch in mist, half cresting over the top of a hedge. The
simple division of the top and bottom section, coupled with the extreme fog broke the subject down into abstraction
and allowed me to consider it as something else entirely. The scoreboard sits in relative focus, yet is entirely alien
within the unfamiliar surroundings.
The name title doesn't refer to the physical space, but to the 'field' of marks the image is made up from. The aim of
this painting was to include less literal subject, create void, and leave room for the medium to dictate the direction. I
layered up ink and bleach with traditional watercolour technique, airbrushing, and vaporisers to build something
perhaps more implicit than my usual work.

Artwork 2 Image:

4
5
Artwork 3 Title: Detritus
Artwork 3 Dimensions: 188X141X0.2
Artwork 3 Medium: ink and bleach on paper
Artwork 3 Commentary: 'Detritus' acted as the centrepiece for my 2018 degree show, and is based on a digitally
corrupted photograph. I spotted an abandoned motorcycle on the roadside in London, but there were no
streetlights, so when I took the photograph the image was in total darkness. I wanted to preserve the discovery so I
repeatedly edited the photograph on my phone until the bike emerged. By the time it was visible it was so highly
corrupted that new forms had emerged and the subject was obscured. I liked that it was both disintegrating in reality
and digitally, and wanted to use the ambiguity as a starting point for imagination.
I drew more heavily on my Surrealist influences for this work, channelling notions of automatism. Specifically, Max
Ernst’s portfolio 'Histoire Naturelle'. I wanted to create a subject that was dissolving and merging with its
environment, and elevate that process to something monumental. It was for that reason that I re-orientated the
image to portrait, to suggest a monolith of some kind.
I also left a homage to Cecil Collin’s ‘The Promise’ at the bottom of the work, the piece that first sparked
my interest in Surrealism.

Artwork 3 Image:

6
7
Artwork 4 Title: One Up, One Down
Artwork 4 Dimensions: 21X28X0.2
Artwork 4 Medium: ink, bleach, and watercolour on paper
Artwork 4 Commentary:
'One Up, One Down' is a small study of a public toilet building, converted into a tiny residential flat.
The building is 'oddness' made manifest:
It is so small that there are just two rooms in the whole place (the left section is not included in the flat, it houses an
electrical transformer). The bedroom is located right next to a functioning traffic light that illuminates the curtains
constantly, and consequently the whole building sits 2 feet from a major road crossing. When I first saw it, it seemed
so out of place that it couldn't possibly be real.

Artwork 4 Image:

8
9
Catalogue4 ID0292
Artist ID: 0292

Artist Name: Tony Wheeler


Website: paintingmantis.com
IG: paintingmantis

Artist Statement: My work is an amalgamation of the surrounding environment with borderline surrealist
tendencies. A compulsive drawer, which serves as the backbone to my paintings, my work tends to be largely
narrative based.

I’m interested in a wide variety of subject matter, but elements of a journey into the unknown, themes of love &
madness and indigenous cultures are strong influences that I come back to time again.

There is often dark themes that run throughout my work, which is something I wish to convey to the viewer. But
with the dark subjects there is always an element to humour & I’m predominantly influenced by the genres of
magic realism and expressionism.

Notes:

1
Artwork 1 Title: Shelf life: Incantations
Artwork 1 Dimensions: 100cm by 150cm by 5cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: I was drawn to the idea of the shelves representing windows to the soul. All the objects and
views are directly related to something I’ve experienced or seen. So with this piece, it’s almost like a self
portrait. But also at the back of my mind was the notion of the natural world vs civilisation. A man-made shelf with
organic elements trying to break free.
Artwork 1 Image:

2
Artwork 2 Title: The Smoke of Many Fires
Artwork 2 Dimensions: 105cm by 90cm by 5cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: Influenced by events at Standing Rock. I just wanted to make a painting that was purely
‘power for the people’.
Artwork 2 Image:

3
Artwork 3 Title: The Passenger
Artwork 3 Dimensions: 100cm by 150cm by 5cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: It’s a view through a car window from sitting behind the driver. I liked the idea that the
viewer of the painting is the passenger. In a sense an interactive piece. I was influenced largely by Joseph
Conrad’s novella ‘Heart of Darkness’ & although the painting is not centred around a journey on a boat, I
was drawn to the idea of a journey into the unknown.
Artwork 3 Image:

4
Artwork 4 Title: River Monsters
Artwork 4 Dimensions: 70cm by 100cm by 5cm
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: Inspired by the Jeremy Wade T.V. series ‘River Monsters’. A natural world crime
thriller.
Artwork 4 Image:

5
Catalogue4 ID0293
Artist ID: 0293

Artist Name: Philip Gurrey


Website: www.philipgurrey.com
IG: @philipgurrey

Artist Statement: My current work stems from a need to find a position for painting after 1969. By seeking to contest
the myths of high art I endeavor to create work contingent upon the real, historical world. By asking the question: Is
painting, after Conceptual Art, capable of interrogating current political and philosophical concerns? I wish to
champion a position for painting which sees it connected to the social and political present.

My most recent work has sought to express these sociological issues through material, colour and an approach to
working as closely connected to free improvisation as possible. By confining gesture to an internal dialogue within
the boundary of the art object, by making no reference to anything outside of the picture plane I am seeking to
engender a greater sense of responsibility in the spectator. Colour in its most visceral form helps deliver a powerful
visual pulse leading to an uncompromising art underpinned by visual perception. Plastic as a material, substance and
readymade challenges our responsibility not only as spectators but as consumers. The acrylic paint and plastic wrap
which make up the works submitted here ask as many questions of us as we can possible ask of it.

Notes:

1
Artwork 1 Title: Red, Black, Grey 1.11.2018
Artwork 1 Dimensions: 150x150x4
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: Made by first staining the canvas with pigment, the proceeding gestures enter into a form
of obligation with these initial marks. Redolent of Theodor Adorno’s theory of ‘homeostasis’ originally
espoused in relation to the composer Arnold Schoenberg’s work, Adorno’s theory denotes the manner in
which Schoenberg’s music responds to its first bar: never finding consonance, the complete work is heard as a
collection of individual elements, all of which respond to the preceding phrase. The improvised gestures within this
work are seen in relation to one another. They offer up harmonic and dissonant gestures of colour and form that
seen together find an equilibrium. There is a demand for the human experience here as these dissonant tones are
often lost through reproduction.
Artwork 1 Image:

2
3
Artwork 2 Title: Grey, Black, Green 2.11.2018
Artwork 2 Dimensions: 150x150x4
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: Made by first staining the canvas with pigment, the proceeding gestures enter into a form
of obligation with these initial marks. Redolent of Theodor Adorno’s theory of ‘homeostasis’ originally
espoused in relation to the composer Arnold Schoenberg’s work, Adorno’s theory denotes the manner in
which Schoenberg’s music responds to its first bar: never finding consonance, the complete work is heard as a
collection of individual elements, all of which respond to the preceding phrase. The improvised gestures within this
work are seen in relation to one another. They offer up harmonic and dissonant gestures of colour and form that
seen together find an equilibrium. There is a demand for the human experience here as these dissonant tones are
often lost through reproduction.
Artwork 2 Image:

4
5
Artwork 3 Title: Horizon
Artwork 3 Dimensions: 150x150x4
Artwork 3 Medium: Stretched Plastic Wrap over Aluminium Stretcher Bars
Artwork 3 Commentary: These stretched plastic works employ their material as a vehicle for meaning. Their visual
vernacular is indebted to the colour field painters of the 1960’s however these works depict form, weight and
gesture by use of light and the material alone through its opacity and transparency. The plastic wrap utilised here is
single use and inorganic.
Artwork 3 Image:

6
Artwork 4 Title: Plastic See
Artwork 4 Dimensions: 150x150x4
Artwork 4 Medium: Stretched Plastic Wrap over Aluminium Stretcher Bars
Artwork 4 Commentary: These stretched plastic works employ their material as a vehicle for meaning. Their visual
vernacular is indebted to the colour field painters of the 1960’s however these works depict form, weight and
gesture by use of light and the material alone through its opacity and transparency. The plastic wrap utilised here is
single use and inorganic.
Artwork 4 Image:

7
Catalogue4 ID0294
Artist ID: 0294

Artist Name: Jane Welch


Website: www.janewelchceramics.co.uk
IG: janewelchceramics

Artist Statement: I am an emerging artist, having completed the prestigious City Lit Ceramics Diploma in 2017. I am a
ceramicist who takes a quirky look at the world. My latest body of work continues from my success at the RA
Summer Exhibition 2018 where I had my own plinth in Grayson Perry's Room of Fun. This piece was an 'Ode to Kitsch
and Pop Art' and these pieces follow in this vein. They are earthenware slipware ceramics and make us question the
reality of what we are looking at, and seeing the everyday in a new light and fun light. I hope you enjoy them.

Notes:

1
Artwork 1 Title: BREXIT MEANZ BREXIT
Artwork 1 Dimensions: 15x27x22cm
Artwork 1 Medium: Ceramic
Artwork 1 Commentary: This piece of work is a play on the words Brexit means Brexit, that Theresa May said after
the referendum. I married this with the Baked Bean Slogan and made a Baked Bean tray with 57 varieties alluding to
the Heinz marketing but making a social comment on Brexit and its many manifestations.
The three 'tins' and lids are thrown on the wheel and the tray is a piece of slab. This piece is interactive and the lids
can either sit on the top of the tins or be placed on the tray.
Artwork 1 Image:

2
Artwork 2 Title: Marmite, my mate
Artwork 2 Dimensions: 12x22x21
Artwork 2 Medium: Ceramic
Artwork 2 Commentary: This ceramic piece sits on a tray saying marmite, my mate, a marketing slogan for Marmite.
The lid can sit on the side or be put on top. It alludes to Pop Art, and highlights the everyday but elevates it to art.
Artwork 2 Image:

3
Artwork 3 Title: Marmite sculpture
Artwork 3 Dimensions: 12x12x8
Artwork 3 Medium: Ceramic
Artwork 3 Commentary: In the style of Pop Art this celebrates the everyday nature of the iconic Marmite Jar. Again
the piece is interactive and the lid can sit on top of the piece or be at its side.
Artwork 3 Image:

4
Artwork 4 Title: Bonne Maman Sculpture
Artwork 4 Dimensions: 11x11x11
Artwork 4 Medium: Ceramic
Artwork 4 Commentary: This is the iconic Bonne Maman Jam pot celebrated in ceramic.
Artwork 4 Image:

5
Catalogue4 ID0295
Artist ID: 0295

Artist Name: Gabrielle Turner


Website: https://theinksaid.com
IG: https://www.instagram.com/theinksaid/

Artist Statement: My technique uses ink, fluid acrylics and alcohol on yupo paper, plastic and aluminium substrates.
It’s a bit like chromatography – each pigment is made up of many different colours, which all combine and dry
in unique ways.

The final images are scanned at high resolution and enlarged up to ten times their original size to reveal crisp detail,
silky textures and fascinating micro-worlds.

I also digitally manipulate the images to create symmetrical inkblots; provocative, conversation-starting pieces
reminiscent of Swiss psychotherapist Hermann Rorschach's psychological tests.

As a linguist and writer, my artistic practice is an extension of my fascination with language and meaning, inviting
viewers to explore the stories my inkscapes tell.

Notes:

1
Artwork 1 Title: Versus
Artwork 1 Dimensions: 60x80x4
Artwork 1 Medium: Ink and Acrylic on Yupo paper
Artwork 1 Commentary: This is an original print, in a limited edition of 25. It is framed in a thin black box frame and
mounted under glossy acrylic.
Artwork 1 Image:

2
Artwork 2 Title: Psyche
Artwork 2 Dimensions: 80x80x2
Artwork 2 Medium: Ink on Yupo paper
Artwork 2 Commentary: This is an original print, in a limited edition of 25. It is mounted under glossy acrylic.
Artwork 2 Image:

3
Artwork 3 Title: Of the ocean
Artwork 3 Dimensions: 70x70x2
Artwork 3 Medium: Ink on Yupo paper
Artwork 3 Commentary: This is an original print, in a limited edition of 25. It is mounted under glossy acrylic.
Artwork 3 Image:

4
Artwork 4 Title: Strata
Artwork 4 Dimensions: 80x60x4
Artwork 4 Medium: Ink on Yupo paper
Artwork 4 Commentary: This is an original print, in a limited edition of 25. It is framed in a thin box frame and
mounted under glossy acrylic.
Artwork 4 Image:

5
Catalogue4 ID0296
Artist ID: 0296

Artist Name: Noelle Genevier


Website: Noellegenevier.com
IG: subliminal_haze

Artist Statement: The themes of nature and the everyday are prevalent in my image based collages, often 3d and
sculptural which intertwine pattern, shape and colour creating opposing perspectives. I am interested in the
versatility of paper and how images can be changed using the wide range of processes that this material allows.

The manipulation of the images include cutting, tearing, folding, slitting, bending, overlapping, revealing resulting in
an exploration of materiality are what drives me. Deleuze’ writings along with Heidegger and Merleau-Ponty
theories are relevant to my work.

I want my work to take the viewer by surprise to make connections hitherto unnoticed to challenge the viewer’s
perception and to make them curious.

Notes:

1
Artwork 1 Title: Everyday wood
Artwork 1 Dimensions: 27x42
Artwork 1 Medium: Paper collage
Artwork 1 Commentary: This collage is composed of three separate images of a table any items laying on the table
have been removed leaving only the wood visible.
Artwork 1 Image:

2
Artwork 2 Title: Perfectly Aligned Feathers
Artwork 2 Dimensions: 40x40
Artwork 2 Medium: Paper collage
Artwork 2 Commentary: An image of magnified cormorant feathers have been laid on an image of volcanic rock.
Artwork 2 Image:

3
Artwork 3 Title: Back to Blue iii
Artwork 3 Dimensions: 37cm x 30cm
Artwork 3 Medium: Paper collage
Artwork 3 Commentary: I began looking at magnified pictures and found they had intricate detail and colours that I
would not have expected creating a new found visual stimuli for me. I was interested in intensifying this stimulation
with images of a similar colour and magnification

Artwork 3 Image:

4
Artwork 4 Title: Antigone and the Spider from Mars iii
Artwork 4 Dimensions: 52cm x 45cm x 8cm
Artwork 4 Medium: 0
Artwork 4 Commentary: I found the image of Antigone compelling and was interested in incorporating it with further
iconic images.
Artwork 4 Image:

5
Catalogue4 ID0297
Artist ID: 0297

Artist Name: Takuya Aoyama


Website: http://yea.jp/takuya/index.html
IG: https://www.instagram.com/takuya_aoyama

Artist Statement: What can you feel from one photos?


As a photographer I always keep my mind to capture a subject which we can’t watch by our eyes,
I feel “memory, history, smell, life “ from a subjects.
For example
• Rust on old walls
• Old wooden houses broken
• Broken containers
• Withered flowers ………………..etc.

As you know, It is one of famous Japanese culture called “Wabi sabi― to feel or
image something which does not exist there or
cannot watch actually like 枯山水.
In western culture it is famous of “Venus de Milo―.

Photograph is an apposite way to express how to think like those.


Photograph has possible to show not only the subject but
also stuff which cannot watch.

Sometimes photograph makes travel between “now“ and “past“,


And also sometime photograph can become poem having your own stories.
I hope you have a fantastic world when watching my photo.

Notes:

1
Artwork 1 Title: The emotion
Artwork 1 Dimensions: 59.4cm × 84.1cm × 2.5cm
Artwork 1 Medium: Ink jet printing
Artwork 1 Commentary: This work is the emotions of people who come and go in the town where I live, only by
color, visualizing the emotions of people.
There are various emotions that everyone has such as passion, hope, sadness, anxiety, etc. we can more feel what
kind of feeling that by copying only the color.
You can see a wave gradually of black anxiety.
But we certainly have hope.
Everyone has anxiety and sorrow, I hope that you will become an opportunity to know the state of their own mind
by seeing this work.

Artwork 1 Image:

2
3
Artwork 2 Title: The essence
Artwork 2 Dimensions: 59.4cm × 84.1cm × 2.5cm
Artwork 2 Medium: Ink jet printing
Artwork 2 Commentary: It visualizes the energy emitted from nature and include the message that it’s important
not only to see what we can see but also the essence of things.
When we actually saw this landscape, it would not look like this color with the eye, but how would it be if you look at
it with your heart?
Usually we judge things only by what we can see, but the background is very important.
We have a simmilar idea “侘㕳寂び  in Japan.
I hope that it will be time to think about it when you see this work.

Artwork 2 Image:

4
5
Artwork 3 Title: The hope
Artwork 3 Dimensions: 59.4cm × 84.1cm × 2.5cm
Artwork 3 Medium: Ink jet printing
Artwork 3 Commentary: This photo is we can find hope from this photo when be crushed with anxiety.
There are shining bright clouds in me, and rain clouds of anxiety.
The hope may swallowed by rain clouds.
Everyone will have that moment.
Some hope always remains, as long as I believe when get a feeling of dread.
From there on there will be a clear blue sky , and you will be able to fly to hope.

Artwork 3 Image:

6
7
Artwork 4 Title: The connection
Artwork 4 Dimensions: 59.4cm × 84.1cm × 2.5cm
Artwork 4 Medium: Ink jet printing
Artwork 4 Commentary: This photo is the mental photograph that the passion for going towards the my goal and
connected reality when standed in the dark.
It is like a blood vessel of emotions.
The emotion called color in the people is mixed and it becomes power to move oneself.
It is not the energy of food and drink, the energy of emotion moves oneself.
By projecting my emotions as a photograph of the heart, looking at this picture will face the energy of emotions
inside you, feel it, I wish you use it as power to your path.

Artwork 4 Image:

8
9
Catalogue4 ID0298
Artist ID: 0298

Artist Name: Michelle Karpus


Website: mkarpus.com
IG: michellekarpus_artists

Artist Statement: Life can be treacherous and confusing and Michelle deals with the admin of daily life by escaping to
her Michelle in Wonderland place full of colour and imagination. She wants to grab you into her mirror of fantasy
and remind you of your childlike adventures where elephants fly and children can ride giraffes and shoot planets.
She strikes to inspire you with her surreal images that everyone is capable of conceptualising.

Michelle is an expressionist painter and her use of colour is very bright and vibrant. It gives an energetic and
passionate feel that enlightens the imagination. She concentrates mainly on landscapes but recently she has
included people and figures in her landscapes, but focusing mainly on the shapes. Michelle has lively childlike
personality and this sense of wonder comes through in her paintings. She uses her art as a way of expressing her
energetic side by using bright hallucinatory colours to personalise her scenery. She can see lots of reds and purples in
the world so she uses her own colours art to investigate the psychological state of the world. Her works creates a
sense of melancholy and nostalgia.

She used acrylic on canvas or paper.

Notes:

1
Artwork 1 Title: A Shell for Monty
Artwork 1 Dimensions: 30 x 40
Artwork 1 Medium: acrylic on paper
Artwork 1 Commentary: A gigantic surreal picture of shells which could be a parroquette's playground.
Artwork 1 Image:

2
Artwork 2 Title: Hole in the Living Room Floor
Artwork 2 Dimensions: 40 x 50
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: When a little girl was considering a pet, she imagined what might happen if she were to
have a pet elephant.
Artwork 2 Image:

3
Artwork 3 Title: Lydia Giraffing
Artwork 3 Dimensions: 60 x 50
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: Lydia is in a surreal fantasy world where she is able to ride a giraffe.
Artwork 3 Image:

4
Artwork 4 Title: Giraffe Collecting
Artwork 4 Dimensions: 50 x 60
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: In a surreal world, a little girl enjoys collecting some cheeky baby giraffes in her bucket.
Artwork 4 Image:

5
Catalogue4 ID0299
Artist ID: 0299

Artist Name: Tom Pettis


Website: https://tompettis.weebly.com
IG: https://www.instagram.com/tompettis3/

Artist Statement: My current work is quite conceptually saturated, looking into the endless theme of ‘time’,
and the human condition of requiring to find meaning within it. With my practice, I reflect on the guiding issues of
the present day, both politically and philosophically, as well as finding comforting related views, within forgotten
pasts and narrative futures. Such heavy concepts often become the starting point to open up new conversations
within my work, including elements such as existentialism, melancholy, and satire.

Physically, I’ve found the most successful way to give my paintings a voice is for it to somewhat mirror this sense
of holding an engrained mind map of stitched together thoughts. To achieve this, I often use a process of
continuously removing and reapplying layers of paint to create slightly ‘Deconstructed’ paintings. These
paintings are often ethereal and unsettling in nature, due to the faded aspects and ghosts of removed details, and
can confuse the audience to think the work is older than it is. My latest work has been sticking with representing my
concepts via figurative works and portraiture, as no matter how convoluted and deconstructed a work gets,
physically or intellectually, I want it to always be brought back to the human need to look and seek answers.

I mostly work with Egg Tempera paint, as I feel like it is a beautiful but underrated medium that has almost been left
in the past, and needs a voice in the contemporary scene.

Notes:

1
Artwork 1 Title: Sulla
Artwork 1 Dimensions: 40.8x33x2.8cm
Artwork 1 Medium: Egg Tempera and Oil on Board
Artwork 1 Commentary: This painting continues with my latest work of stitching together past, present and future. I
painting this after doing a lot of research into the philosophical principle of 'Utopia', something which has both
beauty and horror imbedded within it. The piece revolves around this invented character, vaguely modelled on
ancient Roman sculpture, but was painted with the thought of the character being from some possible future.
The painting primarily plays with the idea of the past being an important place full of lessons, but at the same time
an abstract time we cannot and should not revisit. It also holds in mind that the future is an important thing to think
of, but cannot and should not be blueprinted entirely. With this in mind he figure becomes one of many things, a lost
legend from the path, a dystopian warning, or a contemporary playing dress up.

Artwork 1 Image:

2
3
Artwork 2 Title: Torn Page from History #3
Artwork 2 Dimensions: 22.8x17.8x2.4cm
Artwork 2 Medium: Egg Tempera and Oil on Board
Artwork 2 Commentary: This painting continues with my latest work of stitching together past, present and future.
Though built around 18th century imagery with political and philosophical aspects that link very closely to our
modern work, the painting soon became the remains of multiple added and removed layers, all adding elements
from different 'times'. Due to this, the work becomes a ghostly map of the evolution of human society, with
interesting implications for our current place and the state of the future.
Artwork 2 Image:

4
Artwork 3 Title: Nikola
Artwork 3 Dimensions: 25x20x3.2cm
Artwork 3 Medium: Egg Tempera and Oil on Wood
Artwork 3 Commentary: This painting is created using a deconstructive technique, which aesthetically simulates age
onto the work. The portrait becomes much more of a faded memory than a captured moment. Although perhaps
this leads to eerie feelings or melancholy, there is a happiness and hope in the figures continuation; a lesson for the
modern world.

Artwork 3 Image:

5
Artwork 4 Title: Cicero
Artwork 4 Dimensions: 32x26x4.5cm
Artwork 4 Medium: Egg Tempera and Oil on Wood
Artwork 4 Commentary: In this painting I was looking at the current mood in the world and the exhaustion and fear
surrounding politics/the world moving forward. By taking a political figure from the past, in a very turbulent time
and showing them within this light, the work aims to show how much worse things have been. With such a heavy
theme and heavy aesthetic, it felt right to remove the eyes of the figure and replace them with cartoon, beady eyes,
to bring the painting back ever so slightly to a more satirical, relaxing nature, which communicates with the audience
in a much more enjoyable way.

Artwork 4 Image:

6
7
Catalogue4 ID0300
Artist ID: 0300

Artist Name: Philip Williams


Website: www.philipwilliamsart.com
IG: @philipmwilliams

Artist Statement: My paintings are strongly influenced by formal concerns of colour, composition, depth and surface
whilst emphasising imagery that has recognisable representational characteristics. The paint marks and application
process that I use are important to emphasise the surface character of the painting and to conversely disrupt the
figurative imagery that is portrayed.

The works submitted for the Emerging Art Prize are from a series based on Baroque and Rococo architectural spaces.
These paintings balance the authority and formality projected by these spaces with their extravagance, exuberance
or somewhat kitsch character (at least as perceived by British audiences).

Since graduating from Central St. Martins College in 2016 I have exhibited work in a number of exhibitions in London,
elsewhere in the UK, Europe and in China. My work was selected by Clyde & Co. from amongst graduating artists of
London based art schools to be exhibited in their offices and for me to participate in their mentorship programme.

Notes:

1
Artwork 1 Title: Chromecast
Artwork 1 Dimensions: 100 x 75
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: This work recreates the sense of opulence of a baroque ceiling. The paintwork is
deliberately gestural which is set against a close-cropped/ angled design which is more typical of photography.
Artwork 1 Image:

2
Artwork 2 Title: Nymph
Artwork 2 Dimensions: 90 x 120
Artwork 2 Medium: Oil on Linen
Artwork 2 Commentary: This work looks at the formality and opulence of baroque/rococo architectural spaces. The
use of distorted reflections and limited pictorial depth emphasise the dominant gridded structure of the painting.
Artwork 2 Image:

3
Artwork 3 Title: Grid
Artwork 3 Dimensions: 60 x 90
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: This work looks at the formality and opulence of baroque/rococo architectural spaces. The
use of distorted reflections and limited pictorial depth emphasise the dominant gridded structure of the painting.
Artwork 3 Image:

4
Artwork 4 Title: Unexpected Item in the Bagging Area
Artwork 4 Dimensions: 150 x 150
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary: This work recreates the sense of opulence of a baroque ceiling. The paintwork is made of
gestural marks set against a blurred background creating a sense of photographic depth.
Artwork 4 Image:

5
Catalogue4 ID0301
Artist ID: 0301

Artist Name: Daniel Worth


Website: www.danielworthart.com
IG: @danielworthart

Artist Statement: By writing in stone in the digital age I am creating a physical record of how we communicate when
most communication is electronic and ephemeral. Most letter carving in stone is of a serious nature and it is my
intention to go against this tradition by focusing on ways we communicate via text with our family and friends using
acronyms, emojis and the less serious side of modern life. Stone is used to carry messages through time, so this
record of our digital age may be rediscovered some time in the future by an archaeologist giving future generations a
glimpse into our culture and way of life.

Notes:

1
Artwork 1 Title: Stone Phone
Artwork 1 Dimensions: 63H x 33W x 6.5D cm
Artwork 1 Medium: Sandstone
Artwork 1 Commentary: Smartphones have made our lives easier through ways of communicating and organisation,
but being in constant contact/demand and with distractions from notifications, this technology has come to change
and dominate most moments of our lives. The size and weight of this “Stone Phone― shows us how
burdensome this technology has become. Because of such rapid technological advances I have used stone to
question how long it will take this technology to become redundant and be considered a relic of the past.

Artwork 1 Image:

2
3
Artwork 2 Title: OMG
Artwork 2 Dimensions: 21H x 19W x 3.5D cm
Artwork 2 Medium: Sandstone
Artwork 2 Commentary: Historically, carving letters into stone conveyed a serious, often religious meaning. Using
roman-style lettering, I have carved OMG, the lighthearted acronym ubiquitous since the early days of the internet,
to draw attention to it as a relic of religiousness that has all but lost its meaning.

Artwork 2 Image:

4
Artwork 3 Title: The Sign of Saint WiFi
Artwork 3 Dimensions: 30H x 24W x 3.5D cm
Artwork 3 Medium: Sandstone
Artwork 3 Commentary: In modern times one of the seemingly worst things that can happen is having your wifi
signal disrupted. So when your wifi signal becomes disconnected and you can’t seem to fix it, I suggest we should
try praying to “Saint WiFi― to ward of those evil spirits who wish to wreak havoc with our wifi signal.

Artwork 3 Image:

5
Artwork 4 Title: Double Laugh Cry
Artwork 4 Dimensions: 30.5H x 47.5W x 6D cm
Artwork 4 Medium: Sandstone
Artwork 4 Commentary: This emoji’s meaning has already shifted since it was added to our visual lexicon in 2015.
While it started as a way to convey laughter, it has already developed a meaning of crying and laughing
simultaneously, and is a reaction to a situation so terrible you can only laugh. Carving it in stone creates a permanent
record of this impermanent symbol. The textured stone with the rough edge makes the work look like the work
could have been done some time ago or a fragment from a larger message, making it a sign of our time and a thing
of the past simultaneously.

Artwork 4 Image:

6
7
Catalogue4 ID0303
Artist ID: 0303

Artist Name: Jason Engelbart


Website: http://jasonengelbart.de/
IG: https://www.instagram.com/jason_engelbart_works/

Artist Statement: ARTIST STATEMENT

My current works of the cycle "The Joy Of Being" are largely characterized by a light-infused color. The free-flowing
forms of these abstract compositions are underlining the emotional experience of a divine experience.

Inspired by Italien baroque paintings of the 17th century, in this work cycle I pick up the baroque stylistic features
such as asymmetrical individual forms, swirling curves and expansive gestures and translate them into abstract,
subtle color compositions.

The colors in their self-valence seem almost transparent and are blurring with their slight reflections into delicate
modulations. In sum, color and shape transform into a single aesthetic-abstract event. They are sublime expressions
of our ethereally world and touch the viewer on a purely emotional level, independent of time and space.

In essence, these works represent an idealization of the present moment and are a deliberate exaggeration of my
actual perception – the synthesis of my feeling and my intellect. By allowing this exaggeration, the images of this
cycle of works receive their visionary powerful expression and become a symbol of their parent title – ―The Joy
Of Being“.

ARTISTIC TECHNIQUE AND MATERIALS

Neopaintings - This designation for my works stands for the topicality of my paintings in our digital age and is also his
artistic program. Because since 2010 I work and experiment with the diverse digital tools of the computer. But
despite their purely technical origins, my work should not appear to be overcooled technologically, but rather look
like artfully executed, extremely sensitive color compositions. The transfer of the initially immaterial image to the
material manifestation is usually done in the printing process on high-quality photographic material with subsequent
framing on Alu-Dibond and final high-gloss sealing. Each of my artworks is strictly limited to one original, personally
signed and comes with a certificate of authenticity.

Notes:

1
Artwork 1 Title: WISHFUL DREAM SHINE ON
Artwork 1 Dimensions: 135 cm x 150 cm
Artwork 1 Medium: Fineart Pigment Print . Gallery Dibond
Artwork 1 Commentary: Cycle ―The Joy Of Being". Jason Engelbart 2018.
Authentic limited edition of a total of one original. It is approved and signed by the artist. The artist hereby affirm
the authenticity of the unicum with this certificate. After printing the original, the files of the large original format
are deleted irrevocably.

Artwork 1 Image:

2
3
Artwork 2 Title: SPREAD YOUR WINGS, LET THE WIND THE WIND GO UNDERNEATH AND FLY
Artwork 2 Dimensions: 190 cm x 125 cm
Artwork 2 Medium: Fineart Pigment Print . Gallery Dibond
Artwork 2 Commentary: Cycle ―The Joy Of Being". Jason Engelbart 2018.
Authentic limited edition of a total of one original. It is approved and signed by the artist. The artist hereby affirm
the authenticity of the unicum with this certificate. After printing the original, the files of the large original format
are deleted irrevocably.

Artwork 2 Image:

4
Artwork 3 Title: METAMORPHOSIS OF PASSION
Artwork 3 Dimensions: 110 cm X 140 cm
Artwork 3 Medium: Fineart Pigment Print . Gallery Dibond
Artwork 3 Commentary: Cycle ―The Joy Of Being". Jason Engelbart 2018.
Authentic limited edition of a total of one original. It is approved and signed by the artist. The artist hereby affirm
the authenticity of the unicum with this certificate. After printing the original, the files of the large original format
are deleted irrevocably.

Artwork 3 Image:

5
Artwork 4 Title: ABSOLUTELY HOLY
Artwork 4 Dimensions: 160 cm x 120 cm
Artwork 4 Medium: Fineart Pigment Print . Gallery Dibond
Artwork 4 Commentary: Cycle ―The Joy Of Being". Jason Engelbart 2018.
Authentic limited edition of a total of one original. It is approved and signed by the artist. The artist hereby affirm
the authenticity of the unicum with this certificate. After printing the original, the files of the large original format
are deleted irrevocably.

Artwork 4 Image:

6
Catalogue4 ID0306
Artist ID: 0306

Artist Name: Heejoh Lee


Website: www.heejohlee.com
IG: he_joli

Artist Statement: I try to explore my interest in a social phenomenon of a contemporary world.


​
The reason I try to express about the relationship between people is that we can not live without other person.
Without effort, we could come across countless people in our life. However, people find it difficult to figure out
where and with whom they belong. Therefore, I try to analyses in terms of this problem and what the essential
values are, which we do not care about these days.Â
​
Nowadays, many modern people suffer from a loneliness. This is because of a social media and the individualism.
Because of the social media, people can easily get engaged to the others at the same time it is easy to break off the
relations. Also, due to the individualism, people tend to focus on their own life rather than caring others. So people
avoid making a new relationship.
​
In my artworks, I try to suggest what people should do to get rid of this kind of negative phenomenon. I believe
communicating and getting along with other people can improve our life. Therefore, I suggest people to give
attention to the others around them, rather than just focusing on themselves.
​
​As a member of society, I try to explore the characteristics of the society and the world and shed new light on
social phenomena. As an artist, I aim to express my projected subject of the contemporary person’s image to
elicit the viewer’s sympathy and communicate with them.

Notes:

1
Artwork 1 Title: My mom and my mom's mom
Artwork 1 Dimensions: 72 x 72cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: I believe communicating and getting along with other people are important and valuable in
our life and this behavior can improve people’s life. Therefore, in the ‘Belonging’ series, I suggest people to
give attention to the others around them, rather than just focusing on themselves. ​
​
So in my artwork, I try to show belonging and love that easily forgotten or no readily felt by people in the impersonal
world. Also I express the ideas in terms of sharing emotion and values with others by painting the bodies that are
linked together. So the linked fleshes of the people in my painting look like they are a one lump. It means peopleÂ
are not actually individual and they belong to someone else. Also, I use a main color in the painting for expressing
the emotions that the people share and for making warm atmosphere.Â

Artwork 1 Image:

2
3
Artwork 2 Title: The Gaze
Artwork 2 Dimensions: 73 x 103cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: I believe communicating and getting along with other people are important and valuable in
our life and this behavior can improve people’s life. Therefore, in the ‘Belonging’ series, I suggest people to
give attention to the others around them, rather than just focusing on themselves. ​
​
So in my artwork, I try to show belonging and love that easily forgotten or no readily felt by people in the impersonal
world. Also I express the ideas in terms of sharing emotion and values with others by painting the bodies that are
linked together. So the linked fleshes of the people in my painting look like they are a one lump. It means peopleÂ
are not actually individual and they belong to someone else. Also, I use a main color in the painting for expressing
the emotions that the people share and for making warm atmosphere.Â

Artwork 2 Image:

4
5
Artwork 3 Title: Taking a Selfie
Artwork 3 Dimensions: 73 x 103cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: I believe communicating and getting along with other people are important and valuable in
our life and this behavior can improve people’s life. Therefore, in the ‘Belonging’ series, I suggest people to
give attention to the others around them, rather than just focusing on themselves. ​
​
So in my artwork, I try to show belonging and love that easily forgotten or no readily felt by people in the impersonal
world. Also I express the ideas in terms of sharing emotion and values with others by painting the bodies that are
linked together. So the linked fleshes of the people in my painting look like they are a one lump. It means peopleÂ
are not actually individual and they belong to someone else. Also, I use a main color in the painting for expressing
the emotions that the people share and for making warm atmosphere.Â

Artwork 3 Image:

6
7
Artwork 4 Title: Persona
Artwork 4 Dimensions: 45 x 53cm
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: In contemporary society, the emphasis put upon the gaze of others may be connected to
some types of social fears. The “Self-portrait― series simultaneously expresses the social anxiety felt from
someone else’s gaze with the fear I feel when the viewer looks at my work. The painting expresses the gaze of
the viewer and tries to show the burden and fear that I feel.
Artwork 4 Image:

8
Catalogue4 ID0307
Artist ID: 0307

Artist Name: Johan Reisang


Website: www.reisang.com
IG: https://www.instagram.com/johanreisang/

Artist Statement: Bodies and bones breaking under ideas of perfection, and each and every one of us is just a
fractured face trying to predict the future.

We are all artist, we are all holy, we are all the beautiful embodiment of Socrates drinking champagne.

***

We are a Nowegian-Israelian artist duo. Johan Reisang (b. 1984) and Ela Buria (b. 1982).

Notes:

1
Artwork 1 Title: The Art Critics
Artwork 1 Dimensions: 160 x 180 cm (+frame)
Artwork 1 Medium: Pastell on canvas
Artwork 1 Commentary: We are an Nowegian-Israelian artist duo, and this work in an collaboration between me
(Johan Reisang) and Ela Bura.

More info about us:


http://www.reisang.com/about
Artwork 1 Image:

2
Artwork 2 Title: Half empty, or half full? (Portrait of H.H)
Artwork 2 Dimensions: 60 x 60 cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: We are an Nowegian-Israelian artist duo, and this work in an collaboration between me
(Johan Reisang) and Ela Bura.

More info about us:


http://www.reisang.com/about
Artwork 2 Image:

3
Artwork 3 Title: Work!
Artwork 3 Dimensions: 80 x 84 cm (+frame)
Artwork 3 Medium: Pigment print on cotton paper
Artwork 3 Commentary: We are an Nowegian-Israelian artist duo, and this work in an collaboration between me
(Johan Reisang) and Ela Bura.

More info about us:


http://www.reisang.com/about
Artwork 3 Image:

4
Artwork 4 Title: Maze
Artwork 4 Dimensions: 80 x 113 cm (+frame)
Artwork 4 Medium: Pigment print on cotton paper
Artwork 4 Commentary: We are an Nowegian-Israelian artist duo, and this work in an collaboration between me
(Johan Reisang) and Ela Bura.

More info about us:


http://www.reisang.com/about
Artwork 4 Image:

5
Catalogue4 ID0308
Artist ID: 0308

Artist Name: Sam King


Website: www.samkingart.com
IG: https://www.instagram.com/samking_art/

Artist Statement: Sam King’s practice investigates the body as an interface between sacred and profane realms.
His work challenges personal and social inertia by propounding a corporeal experience that conveys both sensuality
and abjection. Distorting the body to reveal what is suppressed, contained and removed by society such as our
desires and repulsions, King aims to disrupt normative notions of identity in order to trigger a primordial
reconnection with the self through the instinctual and innate.

King draws on the chiaroscuro techniques of the Old Masters aimed to inspire veneration and awe. Yet unlike their
notion of spirituality, conveyed by a divinely inspired, biographically coherent subject, he denies this agenda,
rupturing the soundness of the figure. The result is a work that locates the spiritual within the indeterminate and
contingent forms of the body.

Using interplay of colour and monochrome to suggest different levels of sensation, along with impasto technique to
mimic the carnality of the body, his works invite for a visceral reaction prior to intellectual response. Confronting
questions of being, spirituality and abjection, King strips away the physical boundaries of reality to reveal the body as
the active site in which meaning is produced.

During 2018, The British Artist received the Jorge-Aguilar Award and the popular vote at the Liberty Art Award. He
notably completed an artist residency at Jardin Orange, China, 2017, and appeared in publications worldwide
including Inside Street Art Melbourne 2016 and Street Art Australia, 2015. Now based in London, he recently
graduated from The Art Academy.

Notes:

1
Artwork 1 Title: As Above, So Below
Artwork 1 Dimensions: 182x147cm
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: This painting is divided into two separate colour areas within a spatial organisation. The
painting contains three elements: a figure, a chasm, and a monolith. The figure appears active due to its
transcendent movement above the hole. Yet its subjectivity is dispersed through the obscuring of the face and
monochrome palette which pushes it back into a spectral state, limiting the viewers capacity to identify with it as a
human presence. This is juxtaposed by the impasto application of saturated oil paint in the chasm, which, while is
not figural itself, has a vivid materiality that mimics the active sensations of the body and flesh. The spatial
arrangement refers to a void, isolating the figure in a non-space or inner world. Compositionally, these elements
draw the viewers eye around the work and invite them to feel an interplay between active and passive elements.

The monolith in the background acts as a totemic object that references religious symbology. Each of the elements
– chasm, figure and monolith – function as a threshold between seen and unseen worlds, seeping the spiritual
within the mundane. The resulting work addresses the contingency and indeterminacy of human existence, dealing
with universal concepts of creation and destruction, life and death, being and non-being, fullness and nothingness.

If you would like to view the impasto details of the work, you can view in my instagram via this link:

https://www.instagram.com/p/BtjLBh1BaOE/

Artwork 1 Image:

2
3
Artwork 2 Title: After Bayard: Portrait of a Drowned Man
Artwork 2 Dimensions: 182x147cm
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: On October 18th, 1840, Hippolyte Bayard presented a photograph of himself as a drowned
man. His image encapsulates the paradox of representation: the desire for the image to forestall death but at the
same time the impossibility of immortalising human life. By responding to this image, I wish to highlight our practice
as humans to access the self via its visible -bodily- form. The painting begins with the intention to render up the body
and thereby the self in its fullness and truth, via the hands which appear tense and alive in their visceral red tones.
However, this expectation of preservation of the living subject through the image is eventually not met, as the figure
seeps into monochrome and dissipates into the background, the remnant of what was once the subject’s face
only just visible. This work serves as a reminder of mortality and the passage of time.

While we attempt to find certainty in a corporeal and tangible thing, the body is never fixed in its significance but
fully lived, in process and contingent: the meaning slips away. Our body makes us subjects and makes us objects for
others: “the body is the paradox of the living and lived subject―
(Amelia Jones, Critical Terms for Art History, 2003, p260)

Artwork 2 Image:

4
5
Artwork 3 Title: Descension (Part 2)
Artwork 3 Dimensions: 147x107cm
Artwork 3 Medium: Oil on Linen
Artwork 3 Commentary: My Descension series draws from Baroque paintings. I am especially interested in the use of
chiaroscuro techniques to treat the subject, the narrative depiction of divine figures, corporeal enactment and sense
of suspense conveyed by artists such as Caravaggio. The title itself attempts to present an inversion of the religious
concept of ascension, suggesting a descending movement within the painting, and moving the location of the sacred
from the venerable figure above into the worldly domain below.

Within the work, three apparent figures play out across the picture plane: the central figure appears prominently in
colour, the second shifts into monochrome, and the third appears as a ghost dissipating into the darkness. The
figures are disrupted, revealing only fragments of bodily expression. Resultantly, the viewer is unable to identify with
them as entirely subject or object. Active yet inactive, alive yet dead, these figures are located in proximity to non-
being, where an awareness of life-force is felt most intensely. Thus, the work acts to open up a fissure in between
the profane world of the physical and the spiritual dimension of the immaterial.

Artwork 3 Image:

6
7
Artwork 4 Title: Study of Francis Bacon: Under the Skin (after Samori)
Artwork 4 Dimensions: 26x21cm
Artwork 4 Medium: Oil on Board
Artwork 4 Commentary: This portrait takes focus on one of the most prominent and controversial painters of
Contemporary and British Art History: Francis Bacon. Known for his visceral depictions of the human form and use of
paint itself as an allegory for flesh, this painting represents him in a traditional fashion, yet via a physical intrusion
through the face of the artist, reveals the flesh below the surface of the skin. This act disturbs the process of
identification with the represented figure, placing it in an abject realm between subject and object. By presenting a
portrait that has lost its defined bodily boundaries, the viewer becomes aware of their own embodiment in
proximity to it.

The technique of the work draws from the great Italian painter Nicola Samori, which I began to experiment with
because of my interest in distorting the idea of a complete body to interact with the flesh. The result is a personal
understanding of the medium, the subject and the technique even though originally drawn from outside.

If you would like to view the surface rupture on the painting from a side view, you can do so via this link to my
instagram:

https://www.instagram.com/p/BtHLhwjDmDl/
Artwork 4 Image:

8
9
Catalogue4 ID0309
Artist ID: 0309

Artist Name: Warwick Arts


Website: www.artswarwick.com
IG: prints_warwick

Artist Statement: Since last year’s entry into the Ashurst Emerging Artist Prize I have spent my time consolidating
what type of artist I am. I am an abstract artist. I see the world through abstraction, you just need to my Instagram
account @arts_warwick which is my digital sketchbook. Where people would see clouds, but I see brush strokes and
areas of colour. Where people see rocks, I see tone, texture and colour. These are the references which I bring to my
printmaking.

Building on my work from last year where I was using wood block to print divided a squares into a 3 by 3 grid, then
looking at the different percentages by which the grid could be divided and creating patterns I have been using
larger wood blocks out of rough sawn timber so I can use the rough grain of the wood to create textured wood block
prints. I want to push the process of wood block print as far as I can by controlling how much ink is used on each
print either the over inking, under inking, first or second print of a block I have created a collection of 11 unique
individual textured prints.

I get inspiration from imperfections through my print process there is no such thing as a bad print and crating each
print which has its own character. I don’t directly reference other artist artwork in my printmaking however it
may be a cliché, but I like Mark Rothko ideas of monumentality, simplicity and stillness. I hope when someone
looks at my prints they draw on their own life experiences enjoy my print for as Rothko said, “A painting is not a
picture of an experience; it is an experience.―

Notes:

1
Artwork 1 Title: 0.7
Artwork 1 Dimensions: 667 x 478 x 138
Artwork 1 Medium: Relief wood block print
Artwork 1 Commentary: For the purpose of judging I have uploaded this piece out of its frame, but this piece is only
for sale in its frame with artist glass. It is one of a collection eleven.

The print is made up of two areas a 150mm by 150mm area and a 150mm by 300mm area and has 9 layers of ink. I
have multiple rough sawn timber wood blocks that match these areas and I have randomly chosen the block for each
layer of ink and I rotate the block for each colour, so grain is never the same as the previous layer and it is the inked
up the ridges of the rough sawn timber which create the image. I use speedball water-soluble block printing inks and
equal amount of speedball extender to increase transparency. As I reach the final layer’s I also add Speedball
Retarder to the ink, so the amount of retarder and extender is greater than the ink used. This print has been created
with second printed ink by that I mean the wood block was inked up and used on another print first which brings a
different quality to the finished print.

By changing the rough sawn timber blocks, the run of the grain and how I use the ink on each print for each layer of
colour I have created 11 individual prints in this collection which all have their own character and I hope the viewer
has a different experience look at each one. Through these 9 layers of colour I am trying to create as much texture
as possible because I want to push this print process so far that when the viewer looks at my print, they can’t tell
how its was created. Then as the viewer looks at the print, I want them to become aware of the different areas,
layers, colours and textures.

I hope my dyslexia does not hind my ideas.

Artwork 1 Image:

2
3
Artwork 2 Title: 0.8
Artwork 2 Dimensions: 667 x 478 x 138
Artwork 2 Medium: Relief wood block print
Artwork 2 Commentary: For the purpose of judging I have uploaded this piece out of its frame, but this piece is only
for sale in its frame with artist glass. It is one of a collection eleven.

The print is made up of three areas of 150mm by 150mm with has 9 layers of ink. I have multiple rough sawn timber
wood blocks that match these areas and I have randomly chosen the block for each layer of ink and I rotate the block
for each colour, so grain is never the same as the previous layer and it is the inked up the ridges of the rough sawn
timber which create the image. I use speedball water-soluble block printing inks and equal amount of speedball
extender to increase transparency. As I reach the final layer’s I also add Speedball Retarder to the ink, so the
amount of retarder and extender is greater than the ink used. This print has been created with first printed ink by
that I mean the wood block was inked up and used on this print first.

By changing the blocks, the run of the grain and how I use the ink on each print for each layer of colour I have
created 11 individual prints in this collection which all have their own character and I hope the viewer has a different
experience look at each one. Through these 9 layers of colour I am trying to create as much texture as possible
because I want to push this print process so far that when the viewer looks at my print, they can’t tell how it’s
was created. Then as the viewer looks at the print, I want them to become aware of the different areas, layers,
colours and textures.

Artwork 2 Image:

4
5
Artwork 3 Title: 0.4
Artwork 3 Dimensions: 667 x 478 x 138
Artwork 3 Medium: Relief wood block print
Artwork 3 Commentary: This piece is only for sale in its frame with artist glass. It is one of a collection eleven.

The print is made up of three areas of 150mm by 150mm with has 9 layers of ink. I have multiple rough sawn timber
wood blocks that match these areas and I have randomly chosen the block for each layer of ink and I rotate the block
for each colour, so grain is never the same as the previous layer and it is the inked up the ridges of the rough sawn
timber which create the image. I use speedball water-soluble block printing inks and equal amount of speedball
extender to increase transparency. As I reach the final layer’s I also add Speedball Retarder to the ink, so the
amount of retarder and extender is greater than the ink used. This print has been created with second printed ink by
that I mean the wood block was inked up and used on another print first which brings a different quality to the
finished print.

By changing the blocks, the run of the grain and how I use the ink on each print for each layer of colour I have
created 11 individual prints in this collection which all have their own character and I hope the viewer has a different
experience look at each one. Through these 9 layers of colour I am trying to create as much texture as possible
because I want to push this print process so far that when the viewer looks at my print, they can’t tell how it’s
was created. Then as the viewer looks at the print, I want them to become aware of the different areas, layers,
colours and textures.

Artwork 3 Image:

6
7
Artwork 4 Title: 0.11
Artwork 4 Dimensions: 667 x 478 x 138
Artwork 4 Medium: Relief wood block print
Artwork 4 Commentary: This piece is only for sale in its frame with artist glass. It is one of a collection eleven.

The print is made up of two areas a 150mm by 150mm area and a 150mm by 300mm area and has 9 layers of ink. I
have multiple rough sawn timber wood blocks that match these areas and I have randomly chosen the block for each
layer of ink and I rotate the block for each colour, so grain is never the same as the previous layer and it is the inked
up the ridges of the rough sawn timber which create the image. I use speedball water-soluble block printing inks and
equal amount of speedball extender to increase transparency. As I reach the final layer’s I also add Speedball
Retarder to the ink, so the amount of retarder and extender is greater than the ink used. This print has been created
with first printed ink by that I mean the wood block was inked up and used on this print first.

By changing the blocks, the run of the grain and how I use the ink on each print for each layer of colour I have
created 11 individual prints in this collection which all have their own character and I hope the viewer has a different
experience look at each one. Through these 9 layers of colour I am trying to create as much texture as possible
because I want to push this print process so far that when the viewer looks at my print, they can’t tell how its
was created. Then as the viewer looks at the print, I want them to become aware of the different areas, layers,
colours and textures.

Artwork 4 Image:

8
9
Catalogue4 ID0310
Artist ID: 0310

Artist Name: Adam Baker


Website: https://www.adambakerart.co.uk
IG: adamevebaker

Artist Statement: I am an abstract-figurative painter working in oil paint to explore Queer themes and the
tragicomic realities of human existence. I believe my work's inherently subversive nature exists in striking contrast
to the conventional medium and techniques typically associated with oil paint and is emphasised by my own interest
in the LGBTQ community and its relevant issues. However, I prefer to shy from any outwardly political Queer
statement, situating my perspective as autobiographical, imagined, and subjective, and allowing the viewer to draw
their own respective readings as presented by my work.
Â
My paintings tend to be narrative-based, informed by my own memories and experiences. These ideas are
thereafter amplified and exaggerated to create an unsettling, almost dream-like scene. I use found imagery or
vintage photographs of male sporting teams as a starting point, thereafter combined with other imagery to create
a slightly off-putting image that I then re-approach and further exaggerate through my process. I am often able to
subvert the original purpose of the image e.g. the celebration of masculine physical achievement and accentuate the
homoerotic undertones, slightly mocking heteronormative masculinity and thereby 'queering' the perception of the
image through my art.Â
Â
I prefer to use a boldly contrasting palette, dark rich colours, and acid-like fluorescents; embracing notions of
crudeness or what might be conventionally deemed 'bad taste' as beneficial to the intentions of my work. I believe
that the camp-sensibility inherent in my subject matter tends to complement the theatricality and subtly kitsch
nature of my source material.

Notes:

1
Artwork 1 Title: Friends that cross together stay together
Artwork 1 Dimensions: 150x180x4
Artwork 1 Medium: Oil paint and oil pastel
Artwork 1 Commentary: Tongue in cheek manipulation of history.
Artwork 1 Image:

2
Artwork 2 Title: Hello Sailor
Artwork 2 Dimensions: 150x122x4
Artwork 2 Medium: Oil and pastel on canvas
Artwork 2 Commentary: Tongue in cheek manipulation of history.
Artwork 2 Image:

3
Artwork 3 Title: Summer ready
Artwork 3 Dimensions: 150x120x4
Artwork 3 Medium: oil paint, spray paint and oil stick on canvas
Artwork 3 Commentary: Tongue in cheek manipulation of history.
Artwork 3 Image:

4
Artwork 4 Title: Swimmers
Artwork 4 Dimensions: 150x180x4
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary: Tongue in cheek manipulation of history.
Artwork 4 Image:

5
Catalogue4 ID0313
Artist ID: 0313

Artist Name: Joyce Moloney


Website: www.joycemoloney.com
IG: moloneyjoyce

Artist Statement: I am a Visual storyteller/poet.A painting is a story without words, written instead in a Visual
Language. I capture a rich Atmospherically unique narrative that encourages the viewer to decode a message that is
either obvious or layered in the character's portrayed and help captive within the set boundaries of the Canvas. I am
a hopeless romantic, in which some of my characters I choose to transcribe visually encapsulates this through their
mood and expressions. The world is a stage and we all have a roll to play. I am an ultimate Artistic optimist,
embracing the continual surprise of taking a blank canvas and illustrating a view from the playground of my
imagination. I am of the belief that Art offers a respite from this frenzied world, it is my obsession my natural HIGH.
It offers me the joy and torment one feels when the claws of creativity hold you captive in its journey of
transformation between nothingness to create fulfilment. I do, what makes me feel alive. There is always a 'story'
present in my Work. My paintings hold a Visual rhythm and flow that draws the attention of the viewer to read
same. It's about opening my mind and letting the mental pictures turn into physical matter. It's the 2am fix that I
can't sleep until it's gone from my inner consciousness to canvas. I am a true illustrator of my Artistic vision's. Art
gives me life. It's the passion that flies through my veins. In this world around us as an Artist it's not what we look at
but what see, how we take creative courage to translate and betray everyday stories that play out as we capture the
role play, through any given palette or medium. For I paint as much with my brain as my hand. I seek to mirror the
lives of people from all levels of society. My work is an accurate reflection of my inner visual world. I do not
regurgitate what exists but I create something new and different.

Notes:

1
Artwork 1 Title: 72 Soul's, a nation cladded in Sorrow
Artwork 1 Dimensions: 100cmx120cm(Framed)
Artwork 1 Medium: Acrylic paint on Canvas
Artwork 1 Commentary: It is inspired by the Grenfall Tower Tragedy in London June 2017. Where by 72 people lost
their lives in the apartment block that went on fire. The cladding in the building was not regulated legally hence forth
causing a heighten combustible element adding to a faster inferno.
I patterned a Circle of 72 Doves to represent the Soul's of the people who Lost their lives. A circle has no beginning
or end. Everyone is equal.....The teardrop of begging hands to symbolise everything that is Lost....
The Magpie....one for sorrow.
The large Dove at the top to represent the Holy spirit guiding them to heaven....
The English flag a fitting backdrop to playout the Tragic Story captured within the confines of the Canvas.
May they Rest in Peace.
Artwork 1 Image:

2
3
Artwork 2 Title: Serenity Prayer...Solo.
Artwork 2 Dimensions: 100cmx100cm
Artwork 2 Medium: Acrylic paint on Canvas
Artwork 2 Commentary: This paintings was inspired by the Prayer of the same name. It is sonuanamus with
Addiction. The harsh reality of the impact addiction has on one's own physical and mental destruction. The grave
mistreatment of family, friends, Lover's causing to breakups and breakdowns in ones inner and outer circle of
acquaintances....
The girl trapped in the Wine glass..
The naked truth....
The light bulb shape females head in the upper corner...
The father figure to the right and hollow doorway to ones Soul.....
The guardian Angel on its knees..
The line of people walking away from your Life...
The sleeping it off female at the bottom...
The boyfriend carrying home again...

Artwork 2 Image:

4
5
Artwork 3 Title: NOCTURNE 1
Artwork 3 Dimensions: 86cmx60cm (framed)
Artwork 3 Medium: Acrylic paint on Canvas
Artwork 3 Commentary: It is an illustrative reaction to a Poem of the same name.....
Taken from the book of Poetry called AN ARID SEASON new poems, Michael D Higgins President of Ireland the poet
in Question....

An extract from the Poem

The sick grey feeling


Of despair
Lodges in my stomach
Short of a great loss
A dark shadow
Over my whole being...

I love to paint landscape's because for me No more better way to translate the minds MOOD.... Dark and grey or
bright and interesting......the brush strokes the texture and colour to convey the emotional reaction through
imagery....

I am currently working on a series of Painting's called the Progatry collection for I have a SOLO exhibition in New
York opening the 31st of July till the 4th of August in Manhattan. It's a series of 12 Landscapes as in the 12 months of
the year..... inspired by photographer capturing the Irish landscape in different lights and tones at different
timeframes of the day....
Artwork 3 Image:

6
7
Artwork 4 Title: Unconditional Love
Artwork 4 Dimensions: 127cm x121cm
Artwork 4 Medium: Acrylic paint on Canvas
Artwork 4 Commentary: So basically it is inspired by the notion that every Childhood LASTS a Lifetime....
It's the nurturing and nature one received at the start of one's Life that maps the character of any given
individual.....Or Lack of same.....
Artwork 4 Image:

8
Catalogue4 ID0314
Artist ID: 0314

Artist Name: Eric Erekson


Website: https://ericerekson.weebly.com/
IG: https://www.instagram.com/ereksoneric/

Artist Statement: Eric Erekson


Artist Statement
Imagine the earliest human hands making marks and then see these many hands throughout
time transforming marks and strokes into images, leaving our oldest inscribed history. My
paintings are a dialogue between longstanding practices and new technological ways of leaving
marks and strokes, a bridge linking past to present.
Appropriating and combining content from the Internet I create permutations that deviate from
the equalized world of data and are given new life, depth and meaning. This carries out a
dialogue between the immediate world of images delivered online and the methodical decisions
made by hand, showing a visual record of human to machine and machine to human
communication. I like to make sure that the history of this dialogue is not lost but a tangible
history of actions.
Innovation is not a replacement for what I do. Like all artists within my lineage of art making,
technology offers new tools to compliment and complete a concept or expression. Using
advancement as a form of liberation and opportunity for further exploration. It also adds to the
content by expressing the condition of current world practices and the new filters we view the
world through. Formal understanding of materials and their uses are important to the artists
delivery, and technology is a component of the Formal Elements in contemporary as well as
historical art. The search for the new is as old as humanity, each innovation reinvents art
practices by comparison renewing them with every step forward.
Through many trials I have reached a a pathway within my work that is mailable to the concepts
that interest me. Many years of creativity culminating at this current body of work and the work
that will come after.
The conceptual aspects of my work orbit around the idea that we as humans have a limited
capacity to understand life through the biased filters of human perceptions. In turn what we see
as identity of self and others is restricted by everything we learn. Much of this learned
information carrying the baggage of archaic practices and thought. My paintings use a number
of inspirational concepts including; the contemporary figure, appropriated imagery, social and
political components, life experience as well as elements emphasizing my own narrowed vision
of the world by the structures that have shaped and limit my human scope continually. Many of
these demonstrating the components that impact how we make choices, and what we see as
freedom.
My key purpose is; I paint what I want, however I want, embedding my work with a love and
passion for my chosen practices.

Notes:

1
Artwork 1 Title: In the Wake of Decisions Made Under the Influence of the Fear of Eating Lunch Alone
Artwork 1 Dimensions: 60.96x60.96x5.08
Artwork 1 Medium: mixed media/new media painting
Artwork 1 Commentary: It is an exploration of a social construction of identity based on a simple concept that most
experience.
Artwork 1 Image:

2
Artwork 2 Title: MIT
Artwork 2 Dimensions: 60.96x60.96x5.08
Artwork 2 Medium: mixed media/ new media
Artwork 2 Commentary: This painting explores some of the components of class separation and the forces that
enable its continuing impacts.
Artwork 2 Image:

3
Artwork 3 Title: Absurdaphone
Artwork 3 Dimensions: 60.96x60.96x5.08
Artwork 3 Medium: Mixed media/new media
Artwork 3 Commentary: An expression of the dynamics of self and world influence. What is the identity of me in the
mix of this?
Artwork 3 Image:

4
Artwork 4 Title: Christi Walton a Portrait
Artwork 4 Dimensions: 60.96x60.96x5.08
Artwork 4 Medium: Mixed media/ new media
Artwork 4 Commentary: Using historical and contemporary imagery to define a force that is impacts the lives of
many. And one of the forces that impacts the decisions and content that is delivered by the Art World. Is it good or
bad? I don't know, but it's there.
Artwork 4 Image:

5
Catalogue4 ID0315
Artist ID: 0315

Artist Name: Andrew Mcdonnell


Website: www.themacdonnell.com
IG: @andrew_james_mcdonnell_artist

Artist Statement: My work stems from a passion for the richness of our collective past, using the countless thoughts,
images, and experiences and personal philosophy, mining through the messages of the past. Pulling this mass of
information together, I seek to make my thoughts more tangible my feelings less alien to me, creating a mythology
and personal responses to my place in this World, grappling with belief and in what human experience is to me.
Building jewel-like ‘reliquaries’, places imbued with special, passionate, thought or desire, full of secret and
mystical meaning. Every layer from the frame to the core of the image has been considered and given a thought a
feeling or a function, some of which may never be made clear to any but the artist. The pieces are never to be
opened or re-framed, like cracking open the tombs of saints in search of relics, once you break the seal the magic
and meaning is gone, losing the indefinable connection to ancient thoughts and things lost or half remembered.
Much of my work is mixed media comprising gesso, watercolour, acrylic, ink, lino print, collage, metal leaf,
embroidery, metal thread and silk ribbon. Using many textures to create visual depth and meaning Creating new
eternal monuments, icons in common days

Notes:

1
Artwork 1 Title: '...fierce women: Granny May at 18 in 1913
Artwork 1 Dimensions: 33x30.5x8.5 (framed dimensions)
Artwork 1 Medium: mixed: silk thread and ribbon, metal thread, watercolour, ink, photographic print onto
watercolour paper, gesso
Artwork 1 Commentary: This is a piece from the most recently completed series I have been thinking about and
working on for a couple of years. the series called '...fierce women...', comes from the discovery of a photograph
album from the turn of the last century featuring many women from my family, some known to me and some half
known, whose stories of strength in tough times resonated with me. I discovered them around the time I was
looking at making icons for the ordinary and unsung, rather than the great, the good and the holy. The results are
these rich flouncy but dark, Edwardian/ Georgian(V&VI) icons to these extraordinary women
Artwork 1 Image:

2
3
Artwork 2 Title: '...fierce women... Great Aunt Sophie in 1910...'
Artwork 2 Dimensions: 33x30.5x8.5 (framed dimensions
Artwork 2 Medium: mixed: silk thread and ribbon, metal thread, watercolour, ink, photographic print onto
watercolour paper, gesso
Artwork 2 Commentary: This is a piece from the most recently completed series I have been thinking about and
working on for a couple of years. the series called '...fierce women...', comes from the discovery of a photograph
album from the turn of the last century featuring many women from my family, some known to me and some half
known, whose stories of strength in tough times resonated with me. I discovered them around the time I was
looking at making icons for the ordinary and unsung, rather than the great, the good and the holy. The results are
these rich flouncy but dark, Edwardian/ Georgian(V&VI) icons to these extraordinary women
Artwork 2 Image:

4
5
Artwork 3 Title: '...postcards of my heart and soul...'
Artwork 3 Dimensions: 23x15x3 (framed sizes)
Artwork 3 Medium: watercolour, ink, linoprint, gesso, collage
Artwork 3 Commentary: This image is from an ongoing series of small works. They are an attempt to downdload
from my head the many things that have influenced or moved me from the begining of my creative life and have
become my mental sketchbooks. Things I return to over and again as well as new or unfamiliar images. They are
based on and around postcards which have been a staple of my exhibition going for many years.
Artwork 3 Image:

6
Artwork 4 Title: '...meeting of worlds...why me III? assumption of an older power...'
Artwork 4 Dimensions: 50x35x2 (approx unframed)
Artwork 4 Medium: Gesso on canvas with watercolour, acrylic, metal leaf, ink, metal thread, collage
Artwork 4 Commentary: This image is part of a tryptych of St. Anthony of Egypt and the reluctance not say an
esoteric fight against your given situation which fits into a larger narrative for me of the '...meeting of worlds
series...' they each start to draw on emotions and thoughts I have and try to build then in to an image with some
narative. Here you see St Anthony giving in to his translation in to a 'power' while watching the ancient world being
un-made and its powers absorbed in to new doctrines and forces.
Artwork 4 Image:

7
Catalogue4 ID0316
Artist ID: 0316

Artist Name: Joon Hee Kim


Website: www.junniekim.com
IG: junniekim18

Artist Statement: Art is no longer completely separated from everyday life, and objects should remain in historical,
cultural, or social contexts because they are source of particular identity, connecting with place and time.
Contradicting elements will be observed - combination of hard and soft, traditional and modern, handmade and
readymade, fullness and emptiness. Similar to how original shift to recycling can be regarded as reusing waste by
fusing appropriated everyday materials and art medias, objects will be casted to transform ordinary to a memorable
– reinterpreting narrative that contains concept of nostalgia, nomadism, pilgrimage, migration and movement.

It’s to inspire audience to rethink life and death, and gauge life to make personal monuments more meaningful.
Especially through narrative of living spaces and places where you live mediating our own experiences of dislocation
and even, celebrating our displacement. How things you have taken from a place to another both establishes and
ruins the definition of home. It’s not simply the place where you are, but home is bound to memories,
experiences, relationships, and objects carried with you, and it’s with you wherever you go. They are things you
can hold in your hands that can’t be left behind, things that you have to leave behind, and things you always
wished you left behind instead of carrying with you. Through visual language conveying places recalling tears,
emotions, and epic moments, these objects of shape engages personal narrative reflecting constant rebuilding of
ruins of life. The hope is to complete the race with delightfully flourishing end.

Notes:

1
Artwork 1 Title: Send us to the world II
Artwork 1 Dimensions: 60cm x35cm x30cm
Artwork 1 Medium: Silicone rubber, wrapper, packaging materials
Artwork 1 Commentary: It’s to inspire audience to rethink about life and death, and gauge life to make personal
monuments more meaningful. Tension from refugee issues creates fear of losing order, systems, and the established
settlement within society. But even at their Promised Land, refugees have to be flexible and go through process of
adapting to new culture. It’s as if they crossed between reality and virtual world, in pursuit of utopia. Through
visual language conveying refugees’ emotions and epic moments, these objects of shape engage personal
narrative of constant rebuilding of ruins of life, hoping to complete the race with flourishing end.
Artwork 1 Image:

2
Artwork 2 Title: Send Us to the World I
Artwork 2 Dimensions: Set of 4 Containers, Each Size 20 cm x 20cm x 10 cm
Artwork 2 Medium: Ceramic, Disposal Container, Plum Seed, Water
Artwork 2 Commentary: It’s to inspire audience to rethink about life and death, and gauge life to make personal
monuments more meaningful. To express refugees, work was meant to be easily breakable, sinking ceramic. Another
series was made with silicone that never sinks in water or breaks, a portrayal of refugees reaching their Promised
Land after the sufferings, but have to be flexible and adapt to new culture. This visual language conveys refugees’
emotions and epic moments, and the objects of shape engage the personal narrative of constant rebuilding of ruins
of life.
Artwork 2 Image:

3
Artwork 3 Title: Up on Shoulder
Artwork 3 Dimensions: 50cm x 77cm x 33cm
Artwork 3 Medium: Cast in Bronze, Aluminium
Artwork 3 Commentary: People create a boundary within their habitation, building territorial force, and establishing
a strong border within a nation. This bronze object is about the refuges, just like the Mongolian nomads moving to
cities and rethinks an entire culture and lifestyle in an urban environment. The Horse represents both freedom and
the parties of war. It also symbolizes hope that will be the driving force on their road to Utopia. I use multilayered
casting to reassemble and renew familiar form, transforming object into new visual language and a relevant tool to
measure human existence and absence.
Artwork 3 Image:

4
Artwork 4 Title: When You Walk Into The Room
Artwork 4 Dimensions: 32cm x 29cm x 62cm
Artwork 4 Medium: Cast in Bronze
Artwork 4 Commentary: Objects are looked at to see how they are used to tell the story of life. A lot of chronologies
are contained within mute object, and political and social issues are arranged and expressed as an outcome of
process in the present time. The work explores how the things we take with us from one place to another both
confirm and disrupt our understandings of living spaces and places.
Artwork 4 Image:

5
Catalogue4 ID0317
Artist ID: 0317

Artist Name: Susan Wright


Website: suegrantwright.co.uk
IG: suegrantwright2

Artist Statement: After many years working as a teacher of deaf children, Susan recently completed an MA in
Creative Practice at Leeds Arts University and now works as an experimental artist/printmaker.
Her practice reflects a continuing interest in visual language and storytelling, a concern with the temporal
materiality of landscapes and the way that, over time, they are constantly in a state of flux; transformed and recast
by human intervention. Drawn and printed imagery using discarded and eroding books develop a palimpsest of
layers organic, temporal, physical which question the reality of the past, present and future. The vibrancy between
object and environment creates tension as the fragile landscape seeks to assert itself above the increasingly
overwhelming impact of humanity.
Books were imprinted with and reflected the landscape in which they were found, becoming records of change.
During transformation, they reinvent themselves and develop new fictional and temporal stories.
The forces present in the environment are represented by the physicality of the printing process -pressure, erasure,
erosion and regrowth. The new narrative evolves, increasingly incorporating ideas evoked by topographical features.
The images become map-like creating new imaginary and impossible landscapes. Elements of the books emerge
through the layers, hints of what was written or drawn remain, urban fossils giving tantalising cues to that what was
there before.
The cyclic process of transformation is completed as the prints are read, describing new topographies seeking to find
their own history and sense of place.

Notes:

1
Artwork 1 Title: Topography Reconsidered
Artwork 1 Dimensions: 90cm x 65cm x 30cm
Artwork 1 Medium: Etchings on hand made paper
Artwork 1 Commentary: This 3 dimensional work was created on hand made paper, over printed several times using
three large etching plates. The paper was re wetted and dried over rock like shapes so that it could find its own
geology. The imagery was created from the pages of eroded books and the orginal flat, map like etchings acted as
diagramatic images for the new metamorphing landscape. Temporally uncertain, maps for a new place, a new
fiction.
Artwork 1 Image:

2
Artwork 2 Title: Northern Topography
Artwork 2 Dimensions: 90cm x 55cm x 30cm
Artwork 2 Medium: Etched prints on hand made paper
Artwork 2 Commentary: As with the above work, this was created on hand made paper which incorporated
fragments of the book, over printed several times using two large etching plates. The paper was re wetted and hung
up to dry. The paper formed it own shape. Small elements of the book show, the word 'northern' is unintentional but
welcomed. The imagery was drawn using the pages of eroded books and the orginal flat, map like etchings acted as
diagramatic images for this new metamorphing landscape.
Artwork 2 Image:

3
Artwork 3 Title: Contours 2
Artwork 3 Dimensions: 65cm x 65cm x 5cm
Artwork 3 Medium: Cut etchings on Somerset Satin paer
Artwork 3 Commentary: This work consists of three etched prints , cut and layered to form a geological map,
allowing the viewer to see through to what was there before. It is a fictional geology of a place that temporally shifts
as the viewer intreprets it and add their experience to its story.
Artwork 3 Image:

4
Artwork 4 Title: Novel Landscape
Artwork 4 Dimensions: 46cm x 51cm x 3cm
Artwork 4 Medium: Graphite, gesso, charcoal on Heritage woodfree paper mounted on board
Artwork 4 Commentary: This drawing evolved form a simple carbon trace drawings based on the edges of pages.
areas were erased, hidden , removed and the landscape built up in graphite. It incorporates stand OS features
alongside less traditional mapping imagery, reflecting a fiction and non fictional account.
Artwork 4 Image:

5
Catalogue4 ID0318
Artist ID: 0318

Artist Name: Esther Thorniley-Walker


Website: https://www.estherthorniley-walker.com/
IG: @estherthornileywalker

Artist Statement: My paintings try to encapsulate the sensation of wild, raw freedom, which is inextricably linked in
my mind with that found amidst remote landscapes. Through fluid painterly brushstrokes, I seek to conjure up the
sensation of wind and movement in nature. I am particularly inspired by the maze-like quality of forests and trees,
with disorienting twists and trails that can frighten or liberate. These natural patterns, characterised by uneven
symmetry and traces of light, have an almost structural abstract form, which invokes a fragmented space between
recall and fantasy.

I find that when painting I get lost in the marks, no longer viewing the piece as a direct representation of nature but
more as my emotional response. I also enjoy the subtleties of using dark colours that create greater emotional
intensity and my choice of tones seeks to transcend realism. This plays on the ‘otherness’ often linked to dark
landscapes, using colours to depict the imagination and the spirituality of nature. This dark psyche tries to impress
on the viewer the lack of softness that challenges the frequent associations with gentle landscapes. I take a distinctly
feminist approach too, linking this perception of gentleness with the stereotype of women and nature. I aim to
deconstruct the conventional words linked with female depictions of landscape –decorative, domesticated and
gentle. In using fluid painterly brushstrokes I want to create a mindscape that revels in the harsher temperaments,
seeking to break down gendered thinking.

Notes:

1
Artwork 1 Title: Wastes Beyond Wastes Below
Artwork 1 Dimensions: 170 x 120 x 3.3 cm
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: ‘Wastes beyond wastes below’ is a line from an Emily Brontë poem. My painting
aims to capture the same sensation, of being bound to a ferocious and harsh landscape. The hypnotic bleakness of
moorland is part of my identity and I wanted to portray the wild appeal.

This painting also gains inspiration from my drawings of natural representations of landscape that replicate velvet
tapestry patterns. Inspired by stereotypical female craft - i.e. embroidery and tapestry, I use detailed expressive
brushmarks to capture the sensation of stitch work. However, I liberate the domesticated imagery of landscape,
turning the pattern back into something living by expressive fluid marks and juxtaposing the domestic pattern with
my mental image of moorland pattern.

Artwork 1 Image:

2
3
Artwork 2 Title: Silver Fountains Mud
Artwork 2 Dimensions: 147 x 147 x 3.3 xm
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: In this piece, I have sought to go beyond figurative representation, instead focusing ‘up
close’, translating the landscape into a mental scape through mark-making. The vegetation and water cascades
down violently interweaving with the iris flowers, showing both sides of nature – beautiful yet unforgiving.

I have deliberately enhanced the natural colours to emphasise the process of abstraction whilst still using the marks
to allude to the natural form as well as the emotion. The colour intensity and contrast also give a strong structural
harmony to the painting.

Artwork 2 Image:

4
5
Artwork 3 Title: Astraeus
Artwork 3 Dimensions: 65 x 76 x 3 cm
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: This painting captures the onset of dusk, as the horizon appears illuminated with light - as if
caught on fire. This otherworldly effect momentarily blazes life into the desolate winter forest, turning familiar into
strange. I am often drawn to the powerful sense of ‘otherness’ present in woods, capturing the imagination,
whilst merging a sense of danger with wonder.
Artwork 3 Image:

6
Artwork 4 Title: Eternal Lines
Artwork 4 Dimensions: 60.3 x 41.2 x 3 cm
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary: I construct my own landscapes through the labour of mark-making with the intention of
getting lost in the fragments of space and light that interweave like the branches of a forest. This painting is inspired
by the larch trees on the outer rim of a forest, hit by the golden hour’s light and bent by winds. Contrasting
against this, in the depths, is the dark maze of branches and tracks – foreboding and disorientating. The
exuberance of the flow of marks that make up the branches beckon to the viewer to get lost in the wilderness.
Artwork 4 Image:

7
Catalogue4 ID0320
Artist ID: 0320

Artist Name: Angelika Millmaker


Website: www.angelikamillmaker.com
IG: Angelika Millmaker Studio

Artist Statement: I am a Norwegian artist, and the essence of my work is rooted in the colours and landscapes from
Scandinavia and the traditional beautiful design of Nordic art. In the high northern latitudes, the sun bathes the
landscape with light, coloring the sky with luminous shades of dark purple, deep blue and subtle crimson. The
Scandinavian landscape comes alive during the long summer days and light nights of the midnight sun, and then
becomes majestically silent as the autumn colors fade into the white snowfalls of winter. This quality of light gives
colours a brilliance that is rarely found in other regions.

The difference between the cool, cold almost whitish blue winter landscape and the bright colors of summer is very
inspiring to me, and many of my paintings are characterized by bold contrasts between colors, textures, shapes and
light.

Although my paintings are never a direct translation, it may be possible to trace the pure white light of a winter day
or the vibrancy of a flower in a variety of unexpected ways. Departing from a single vision from nature my paintings
try to show her inner mechanisms, beauty and vitality not represented by appearance, but by the emotions these
visions create in the viewer.

Notes:

1
Artwork 1 Title: In Bloom I
Artwork 1 Dimensions: 50x50x4
Artwork 1 Medium: Mixed Media
Artwork 1 Commentary: In Bloom I is an original mixed media painting and the source of inspiration is floral images
found in nature combined with a visual dialogue between the blank canvas and me. The images I have seen take on
an abstract form and I remove the original subject matter by blending it with other images that are often opposites
in the natural world. Like flowers on a snowy day, winter colors mixed with warm glows from summers past. I like
these contrasts, and I find the winter palette particularly exquisite and delicious. The inner visions and memories I
have of colours always bring me back to the subtle but yet so strong shades of winter and I want to share this with
the viewer.

Artwork 1 Image:

2
3
Artwork 2 Title: In Bloom II
Artwork 2 Dimensions: 60x45x4
Artwork 2 Medium: Mixed Media
Artwork 2 Commentary: In Bloom II is an original mixed media painting and the blending of different materials gives
it a strong voice. It allows for layering and marking on the canvas to create a visual sense of spontaneous movements
and light, A symphony between random actions and deliberate shapes which is also a reflection of life itself. By
looking carefully at the painting the viewer can see several layers that shows a complex and vibrant story and then
add their own narrative and interpretations. This dialogue is particularly important to me and in my work I strive to
create a relationship between our own personal experiences and the canvas.
Artwork 2 Image:

4
Artwork 3 Title: In Bloom III
Artwork 3 Dimensions: 60x60x4
Artwork 3 Medium: Mixed Media
Artwork 3 Commentary: In Bloom III is an original mixed media painting and my deliberate use of acrylics,
watercolors, ink and oil pastels create several different facets to this painting. The subtle, unselfconscious beauty of
flowers are mixed with strong winter shades. The contrasts between the fragile and the bold, between dark and light
create a unique dialogue on the canvas while at the same time it gives room for movement and light. I am
particularly interested in creating snapshots of the dynamic contrasts in our lives and hopefully the viewer will
identify their own interpretations of this alchemy, a seemingly magical process of transformation, contrasts and
change.
Artwork 3 Image:

5
6
Artwork 4 Title: Winter Rose III
Artwork 4 Dimensions: 90x90x4
Artwork 4 Medium: Mixed Media
Artwork 4 Commentary: Winter Rose III is an original mixed media painting which shows beautiful flowers and falling
leaves both appearing at the same time, the endless cycle of growth and decay. I have used an abstract language to
express the subject of change and vitality both within ourselves and in nature through the dynamic compositions in
this painting. The contrasts between the blooming and the wilting, the dark and the light are very inspiring to me
and I hope the viewer get a sense of vitality, movement and change from this painting and have an unplanned
dialogue with the canvas about what these concepts mean to them, how they experience these contrasts in their
own lives.

Artwork 4 Image:

7
8
Catalogue4 ID0321
Artist ID: 0321

Artist Name: Neil Horsefield


Website: www.fineartpaintingsite.wordpress.com
IG: https://www.instagram.com/nhorsefield1

Artist Statement: Recent work explore the general theme of Translation through fine art paint studio practice and
more specifically the idea of Latency Correspondence and Departure as a structure to navigate a personal
perspective in narrative image making.

Recent exhibition include 2018 Art Language Location group in Cambridge UK on the theme of "Place"and also
collaborative projects with SPANartist collective on the themes of Correspondence/ Family/ Alienation.

https://artlanguagelocation.org/portfolio/place-portfolio/

https://spanartists.wordpress.com

Notes:

1
Artwork 1 Title: Stubby Lea Park
Artwork 1 Dimensions: 140x150x5
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: The painting is expressive in application and borders abstraction and figuration with the
inclusion of different scale drawings that negotiate the picture plane or space. The red shape at the centre alludes to
but not define a rose like shape as is a pale figure type shape looking over its should out toward the viewer from
behind this; a layer beneath. These relate to a historical incident in Stubby Lea Park close to where the artist
previously lived. The walking man motif relates to life experience of contemporary Cambridge as well as a
reference/association by the artist with the returning WW1 soldiers in the work of John Singer Sargent, at the
Imperial War Museum in London. The intention is an enigmatic relationship between the viewer, the content and
meaning; based upon the idea that the only successful translation is into ones own language (visual in this instance).
Artwork 1 Image:

2
3
Artwork 2 Title: Heptonstall Correspondence 2
Artwork 2 Dimensions: 140x150x5
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: In the centre of the tilted facets of the composition there is a faithful rendering of a
Cambridge scene including road signs and markings relative to the building adjacent.

The primed canvas is evident here and represents the start of the making journey in the painting From the artists's
childhood memories of wandering alone on the hills north of Salford and beyond Rawtenstall, the Rossendale valley
and into the West Riding are further visual references. There is a sense of loss abandonment and value that is
pervasive in the theatricality of this image. In the same way individuals remake their memories time after time it is
essential that these images resist fixated meaning. The calculation and reflection during production has re-reading or
rewriting any narrative as a high priority. It is in this way that they attempt to create the opportunity for an
inaccurate translation in the hope it bears new fruit. For example the motif of the walking man enters top left and
exits by the cast shadow bottom left means what?
Artwork 2 Image:

4
5
Artwork 3 Title: Incident on the Line Arlesey Railway Station
Artwork 3 Dimensions: 80x80x3
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: This work is a more figurative iteration on the theme of Latency Correspondence and
Departure. The Departure relates to the title and the actual location as the main theme, mental health.
The image presents elements of past present and potential future as the subject matter or the content of the
painting. There is a visual parody of a Turner sky in the background as well as Hockney scene in the foreground
replacing an actual "Incident on the Line" in the foreground. The intention here is to generate an image of nowness
where personal memories and perspective combine to present as every day ennui.
Artwork 3 Image:

6
Artwork 4 Title: The Grid
Artwork 4 Dimensions: 106x95.5x4.5
Artwork 4 Medium: Acrylic on Canvas
Artwork 4 Commentary: This image explores another iteration of the walking man motif which contains here double
yellow lines that have association or meaning in themselves as well as lightly modulated stripes that relate to a
personal memory from the artist childhood of A Punch and Judy theatre in Station Road Playground. The steps and
silhouette are o version of the the same place the exaggerate scale and vista perspective including the grid are both
a stylistic devise and a challenge to reading a narrative or imposing meaning to the content. This image can be seen
to resist interpretation as well as nostalgia. It has a strong graphic sense and is part of a series of works that explore
visual translation.
Artwork 4 Image:

7
8
Catalogue4 ID0322
Artist ID: 0322

Artist Name: Jill Desborough


Website: www.Jill Desborough
IG: Jill Desborough

Artist Statement: In my work I keep returning to the subject of mortality, but I also want to tell stories, and celebrate
individuality and diversity in life, the fluidity of gender boundaries, the beauties in a lived in face, and those who
inhabit spaces outside the 'norm', all on route to that shared inevitability...
I sometimes draw on imagery from the past; the Danse Macabre paintings from the Middle Ages take on 3
dimensions, an ever growing procession of motley characters past and present. The Trojan Horse becomes a vehicle
for a critique of more recent military episodes.. The Minotaur is the epitome of the feared pariah, the ultimate
outcast.
I like using precious materials like gold leaf alongside the banal though I find there is beauty in rusting metal and
ageing concrete.
Perhaps there's always a bit of darkness lurking round the edges of the work, a darkness that I have always been
attracted to.

Notes:

1
Artwork 1 Title: Danse Macabre
Artwork 1 Dimensions: 20 x 80 x21
Artwork 1 Medium: Mixed media
Artwork 1 Commentary: This is the second piece I have made that draws inspiration from the popular medieval
Dance of Death imagery. It is a celebration of idiosyncrasy in human life. The work is still growing as new characters
join the procession...cross dressers, a dominatrix, a jester, a rock star, and a wise woman among other
individuals.Each figure is modelled in wax then cast in resin, painted and/or graphited and assembled on a cement
base.
Artwork 1 Image:

2
Artwork 2 Title: Dead Rat (Riff Raff)
Artwork 2 Dimensions: 8 x 29 x29
Artwork 2 Medium: Resin, gold leaf, cement
Artwork 2 Commentary: This is one of a series of sculptures of a frequently maligned creature, and an elegy to one
departed friend. Modelled in wax, cast in resin then gold leafed and mounted on a concrete base.
Artwork 2 Image:

3
Artwork 3 Title: Into The City
Artwork 3 Dimensions: 37 x 46 x16
Artwork 3 Medium: Mixed media
Artwork 3 Commentary: I had wanted to make my version of the Trojan Horse and found as I created it that the
piece became overlaid with feelings around the Iraq conflict among other theatres of war.
( This is the third in an edition of 8, each having small variations)
Artwork 3 Image:

4
Artwork 4 Title: Asterion
Artwork 4 Dimensions: 41 x 34 x34
Artwork 4 Medium: Resin, enamels, steel
Artwork 4 Commentary: The Minotaur is a subject I have returned to in sculpture and drawing many times. The
ultimate outcast and figure of dread, I am always trying to convey the sense of isolation and loneliness... the
humanity within the beast.
The figure is modelled in wax before casting in resin and painted and assembled in a steel frame.
Artwork 4 Image:

5
Catalogue4 ID0323
Artist ID: 0323

Artist Name: Peter Elia


Website: www.themanwhohikedtheworld@gmail.com
IG: www.instagram.com/themanwhohikedtheworld/

Artist Statement: I'm a freelance photographer, hiker and storyteller, also known as 'the man who hiked the world',
who travels the world in search of great hiking routes

I combine my adventures on foot with photography and inspire my audience with dramatic landscape images: often
ones rarely viewed or never seen before, such as hiking The Arctic Circle Trail in Greenland, or trekking with nomads
in the Kok Kiya Valley in Southern Kyrgyzstan.

I love to stimulate the viewer's curiosity through my photographs. I really want to encourage people to get out and
explore, take a break from their routine and capture the spirit of adventure.

I have written for many international publications, including The Guardian and Culture Trip, worked with leading
brands such as Cotswold Outdoor and Blackleaf, and partnered with numerous tourist boards across the globe.

In addition, my photographs have been exhibited at The Wallace Collection, London and my Instagram community
continues to grow with over 90,000 followers.

Notes:

1
Artwork 1 Title: Wild Wood
Artwork 1 Dimensions: 54cm x 41cm x 2.5cm
Artwork 1 Medium: Photography
Artwork 1 Commentary: I love to photograph moments where the lines between reality and fantasy are blurred.

The Drago Tree, in La Palma, Canary Islands feels like a 'Tim Burton' creation and is a great example of this.
Artwork 1 Image:

2
Artwork 2 Title: Mother Nature's Son
Artwork 2 Dimensions: 54cm x 41cm x 2.5cm
Artwork 2 Medium: photography
Artwork 2 Commentary: The Djnandi Waterfall in the West Fjords of Iceland, consist of seven cascading tiers.

The longer I viewed the falls, the more I saw a gigantic wedding cake.
Artwork 2 Image:

3
Artwork 3 Title: Thriller
Artwork 3 Dimensions: 54cm x 41cm x 2.5cm
Artwork 3 Medium: Photography
Artwork 3 Commentary: The weird and wonderful rock houses of Cappadocia, Turkey give the area an eerie
atmosphere in this once lived in village.

In addition, the indifferent weather enhances the dark fairy tale appearance.
Artwork 3 Image:

4
Artwork 4 Title: Fields of Gold
Artwork 4 Dimensions: 54cm x 41cm x 2.5cm
Artwork 4 Medium: Photography
Artwork 4 Commentary: Hiking in Kyrgyzstan offers colours and views unique to our planet.

I was already at 4000 metres attitude when I took this shot. The mist started to brake, and a once invisible mountain,
to my surprise, began to appear.
Artwork 4 Image:

5
Catalogue4 ID0326
Artist ID: 0326

Artist Name: Amy Tiffany Hemingway


Website: Www.amytiffanyhemingway.com
IG: https://www.instagram.com/amyhemingwayartist

Artist Statement: Studied MA Theology at Oxford University while studying Drawing at the Ruskin School of Art
Oxford. 1998-2001.

Trained as an Archaeological Illustrator and worked drawing in the field and in the Drawing Office for museums and
also public outreach for 10 years in the UK and France.

Fine artist full time since 2010, working on themes: visions and shamanism, spirituality and esoteric ideas and
thought. Symbolist artist from Britain currently producing large body of new oil paintings which are deeply linked to
divine gnosis.

Notes:

1
Artwork 1 Title: Healing
Artwork 1 Dimensions: 40 x 30 x 2 cm
Artwork 1 Medium: Oil on linen
Artwork 1 Commentary: A depiction of a healing I received in Cape Town from a Shaman
Artwork 1 Image:

2
Artwork 2 Title: Orion
Artwork 2 Dimensions: 40 x 30 x 2
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: Attempting to raise a puppy from the dead buried underground with Orion as the symbol
and other constellations in Masai format tribal shaman.
Artwork 2 Image:

3
Artwork 3 Title: Mary II
Artwork 3 Dimensions: 40 x 30 x 2 cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: A depiction of Maria Magdalena with symbolism.
Artwork 3 Image:

4
Artwork 4 Title: Victoria
Artwork 4 Dimensions: 45 x 30 cm
Artwork 4 Medium: Graphite and water on paper
Artwork 4 Commentary: Portrait of Victoria and her spirit animal surveying the cosmos from within.
Artwork 4 Image:

5
Catalogue4 ID0327
Artist ID: 0327

Artist Name: Maddie Phipps


Website:
IG: instagram.com/mfm.art/

Artist Statement: Freelance painter and illustrator based in London. My main practices are watercolour scientific
illustrations of strange, unloved, or 'ugly' plants and animals, stark, gritty yet delicate watercolour portraits, and
nostalgic acrylic paintings of buildings, especially those I find in Spain. Along with these main subjects, I like to paint
or make anything that seems like a new challenge, but thematically the concept behind my work tends to be
capturing and promoting the overlooked, unloved, or ordinary.

Notes:

1
Artwork 1 Title: One Pigeon Does Not Make A Summer
Artwork 1 Dimensions: A4 21.0 x 29.7cm (Framed: approx 35.5 x 27.9cm)
Artwork 1 Medium: Watercolour and pencil on watercolour paper
Artwork 1 Commentary: Part of a subversive series appreciating pigeons in the way that we do other birds. Each
painting in the series is named after a saying or title which celebrates another bird, and each pigeon is painted with
minimal background to elevate its importance. The aim of this series was to question the notion that a bird which
thrives due to the mess created by humans is therefore dirty or a pest, and to subvert an animal that we consider an
everyday ‘object’ into a work of art.
Artwork 1 Image:

2
Artwork 2 Title: A Pigeon In A Gilded Cage
Artwork 2 Dimensions: A4 21.0 x 29.7cm (Framed: approx 35.5 x 27.9cm)
Artwork 2 Medium: Watercolour and pencil on watercolour paper
Artwork 2 Commentary: Part of a subversive series appreciating pigeons in the way that we do other birds. Each
painting in the series is named after a saying or title which celebrates another bird, and each pigeon is painted with
minimal background to elevate its importance. The aim of this series was to question the notion that a bird which
thrives due to the mess created by humans is therefore dirty or a pest, and to subvert an animal that we consider an
everyday ‘object’ into a work of art.
Artwork 2 Image:

3
Artwork 3 Title: Una Casa en Deià [2]
Artwork 3 Dimensions: 30.5 x 40.6 x 3.0 cm
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: Part of an ongoing series depicting Spanish architecture, so far mostly based in AlmerÃ-a
and Mallorca. The inspiration for this series was a painting done by my mother when she lived in Ecuador, which I
have at my home. For me it acts as a window into a place I have never been, but in winter remains sunny and warm
and vibrant. As I suffer from seasonal affective disorder, I wanted to create more of these windows, dormant in their
climate and nostalgia, to offer me some comfort through winter, and while painting this series, I get to become
immersed again in a country that I hope to one day call home.
Artwork 3 Image:

4
Artwork 4 Title: Una Casa en AlmerÃ-a [1]
Artwork 4 Dimensions: 30.5 x 40.6 x 3.0 cm
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: Part of an ongoing series depicting Spanish architecture, so far mostly based in AlmerÃ-a
and Mallorca. The inspiration for this series was a painting done by my mother when she lived in Ecuador, which I
have at my home. For me it acts as a window into a place I have never been, but in winter remains sunny and warm
and vibrant. As I suffer from seasonal affective disorder, I wanted to create more of these windows, dormant in their
climate and nostalgia, to offer me some comfort through winter, and while painting this series, I get to become
immersed again in a country that I hope to one day call home.
Artwork 4 Image:

5
Catalogue4 ID0328
Artist ID: 0328

Artist Name: Clare Littleton


Website: www.clarefineart.com
IG:

Artist Statement: Realism has been a signature of Clare's work for many years. Much later following university and a
career change into the world of cultural anthropology, photography, film and theatre, Clare evolved to explore the
world and herself from different perspectives.

"My aim is to create a figure or a pillar that appears to stand out or walk out of the canvas. We see, not necessarily
through, but in conjunction with what we are focused on. You wouldn't look at a leaf without being aware of the
tree or even the mountain that is behind you. When I paint I always keep this in mind with the power of
suggestion―

Clare’s art is constantly changing in the same way her knowledge of materials and mediums have evolved over
the years. Having explored acrylics and dyes on silk, the medium of her choice is oils, mainly on canvas, and
sometimes oils on copper when painting miniature.

“Having explored a variety of subjects, figurative, landscapes and plein air, art for me is also a process of learning
and growing as an individual. Each piece of work is a journey in itself, as in my painting titled “The Treasury―.
To create this piece of work I lived with the Bedouin in the caves of Petra, riding on my camel each day, battling with
the dust and elements, chatting to passers by and friends about the meaning of life. As each layer after layer
emerges on the canvas, so the journey unfolds in real life―

Notes:

1
Artwork 1 Title: The Treasury
Artwork 1 Dimensions: 76.20 x 55.88 x 2.54
Artwork 1 Medium: Oils on Canvas
Artwork 1 Commentary: To create this piece of work I lived with The Bedul Tribe who now live in in a village called
Umm Sayhun situated just outside Petra. At the time the Grandmother, who is now passed away, still lived inside
Petra in a cave at The Snake Monument, so I lived with her. The family took me in as a member or their family and
even leant me a camel.
I spent many days commuting on my camel to The Siq, drawing and eventually mixing colors to lay my first layer of
oils. The painting consists of 4 layers in total, the remaining 3 layers were completed in my studio in Wales.
Artwork 1 Image:

2
Artwork 2 Title: Lady Ele
Artwork 2 Dimensions: 91/8 x 71.2 x 4cm
Artwork 2 Medium: Oils on Canvas
Artwork 2 Commentary: This piece is my most recent work and portrays Eleonore 'Ele' Hansson a music R & B artist
of Swedish and North African decent.
Artwork 2 Image:

3
Artwork 3 Title: Rocky Beach
Artwork 3 Dimensions: 10 x 10 x .3
Artwork 3 Medium: Oils on Copper
Artwork 3 Commentary: This piece presented me with a totally new experience painting on copper. Copper is
amazing to work with, I first sand the copper down, then paint the copper with fresh garlic juice before applying oils,
using the colour of the copper which transforms oil transparent colors in new exciting ways was magical. I have now
ordered some larger pieces of copper so looking forward to more fun!!
Artwork 3 Image:

4
Artwork 4 Title: The Kiss
Artwork 4 Dimensions: 51 x 25.5 x 0.12
Artwork 4 Medium: Oils on Copper Plate
Artwork 4 Commentary: It has been a wonderful new experience painting on copper. This painting has inspired me
to push the boundaries of my work to new horizons!!
Artwork 4 Image:

5
Catalogue4 ID0329
Artist ID: 0329

Artist Name: Amy Robson


Website: www.amyrobson.co.uk
IG:

Artist Statement: Existing precariously in the experience of not-knowing, Amy Robson’s paintings explore loss,
disillusionment and collective anxiety. Through disjointed pictorial space, anthropomorphic forms and diverse
painterly tropes, the work questions hegemonic systems of power and control. Though rooted in the real world, the
paintings are not entirely figurative with their bold colours, energetic brush marks and abject mash-ups of historical
and cultural references.

Amy Robson is an American artist who has lived in the UK for over twenty years. Following a career in consumer
marketing, she has just completed a Master’s in Fine Art at Chelsea College of Arts (UAL).

www.amyrobson.co.uk

Notes:

1
Artwork 1 Title: Wolfie
Artwork 1 Dimensions: 120x100x4
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: The work is inspired by dreams where your teeth fall out as a manifestation of today’s
particularly virulent collective anxiety, and is part of a larger series.
Artwork 1 Image:

2
Artwork 2 Title: Lost My Shape
Artwork 2 Dimensions: 120x100x4
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: The work is inspired by dreams where your teeth fall out as a manifestation of today’s
particularly virulent collective anxiety, and is part of a larger series.
Artwork 2 Image:

3
Artwork 3 Title: Cross-eyed and Painless
Artwork 3 Dimensions: 120x100x4
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: The work is inspired by dreams where your teeth fall out as a manifestation of today’s
particularly virulent collective anxiety, and is part of a larger series.
Artwork 3 Image:

4
Artwork 4 Title: The Overload
Artwork 4 Dimensions: 120x100x4
Artwork 4 Medium: oil and oil bar on canvas
Artwork 4 Commentary: The work is inspired by dreams where your teeth fall out as a manifestation of today’s
particularly virulent collective anxiety, and is part of a larger series.
Artwork 4 Image:

5
Catalogue4 ID0330
Artist ID: 0330

Artist Name: Roland Borzelleca


Website:
IG: #16.5_george_st

Artist Statement: Roland Borzelleca

The work I produce has a provocative and challenging aspect to it, albeit in a subtle way. Combining styles is vital
when creating my pieces. There must not be a “One approach fits all― mentality. Challenging concepts and
accepted forms of art is the motivating factor that inspires me and forms how I work.

As this is my first Artist Statement, I wanted to suggest some simple things for you to consider when looking at my
work:

* I want to explain what I do.

* My ideas are a mixture of construction and reconstruction

* I use a variety of media to make 2D and 3D collages that convey colour and emotion.

Where do the ideas behind my Practice come from?

* Curiosity

* Traditional interface processes

* Humour and Politics

* What really bothers me!

* Beauty

* Technology
I am exploring Photography, Film and Photoshop, graphics-editing and the idea of “Art Mix mash―. I am
interested in using multimedia as I feel it gives me the opportunity to explore my pieces with more depth.

Do I have enough time to do what I need to do? My obsessive use of words is fluid - one forgets words. Colour and
form cannot only replace words but can convey emotions and moods in a more spiritual interpretation. Words can
prove too
Static, while colour evokes responses within my work. Using different media allows me to convey both a strength
and fragility that I personally believe reflect both my work, my own life and my influences.

As Evelyn Waugh once said: “One forgets words as one forgets names. One’s vocabulary needs constant
fertilizing, or it will die.―

I am hugely committed to developing as an artist. Incorporating new techniques for such creative mediums as
printing and photography is important to me. Being a multimedia artist is how I want to be viewed and this can only
be achieved by developing my practice. Moving forward is essential when placing oneself within a contemporary art
environment. It is also vital to view other contemporary artists in order to understand the ‘temperature’ of
current work being produced.

1
Notes:

2
Artwork 1 Title: Giotnata Filatelia
Artwork 1 Dimensions: 58 x 48 CM
Artwork 1 Medium: Wood, card, oil paint, paper, Ink
Artwork 1 Commentary: This project was initially, the incorporation of oil on canvas, my persistent travel to Florence
for work and pleasure, Philately and nostalgia. My home and Studio where I work were covered with Amazon
packaging and thought it was a raw material, recycling, in my small recycling can prevent the waste of potentially
useful materials and reduce the consumption of fresh raw materials, therefore reducing generally energy usage, air
pollution, incineration and water pollution from land-filling. I wanted to send my Art, back to Amazon on their
packaging.

During the time of this work I followed the clash with Trump. Trump attack on Amazon, claiming in a tweet that the
company was scamming the post office. The postal service is proving to be a significant problem in America,
impacting jobs and the whole delivery system.

Artwork 1 Image:

3
4
Artwork 2 Title: Giotnata Filatelia Chairs
Artwork 2 Dimensions: W 40 x H 85 D 50 CM
Artwork 2 Medium: Card, Paper, Ink, Oil paint, wood/ metal/ paint, chairs
Artwork 2 Commentary: This project was initially, the incorporation of oil on canvas, my persistent travel to Florence
for work and pleasure, Philately and nostalgia. My home and Studio where I work were covered with Amazon
packaging and thought it was a raw material, recycling, in my small recycling can prevent the waste of potentially
useful materials and reduce the consumption of fresh raw materials, therefore reducing generally energy usage, air
pollution, incineration and water pollution from land-filling. I wanted to send my Installation/ packaging, back to
Amazon.

During the time of this work I followed the clash with Trump. Trump attack on Amazon, claiming in a tweet that the
company was scamming the post office. The postal service is proving to be a significant problem in America,
impacting jobs and the whole delivery system.

Artwork 2 Image:

5
6
Artwork 3 Title: Norman
Artwork 3 Dimensions: 50 x 50 CM
Artwork 3 Medium: wood, Plastic, Acrylic, Metal
Artwork 3 Commentary: Cabinets of curiosities.

Hitchcock.

Psycho.

Stabbings in the capital and glamour.

Artwork 3 Image:

7
8
Artwork 4 Title: Inclination
Artwork 4 Dimensions: 50 x 50 CM
Artwork 4 Medium: wood, Card, Metal, Paint
Artwork 4 Commentary: Cabinets of curiosities.

Even being gay, which the Catholic Church calls an "inclination," is "objectively disordered," according to the church.

So while Francis' words and gestures sometimes seem to give the message, "It's OK that you're gay," that messages
seem to be contradicted by the rules of the church he governs.

Femininity and masculinity qualities?


Artwork 4 Image:

9
10
Catalogue4 ID0331
Artist ID: 0331

Artist Name: Stefano Bellettato


Website: stebel9.webnode.it
IG:

Artist Statement: Stefano Bellettato in art "Stebel", born June 09, 1966 in Adria in the Province of Rovigo, Italy,
resident in Adria in via voltascirocco 27. Website to visit some of my works :
http:// stebel9. webnode. it
my e-mail : stebel. stebel@gmail. com
I live and work in Italy and Germany.
I am an eclectic self-taught artist, strongly attracted by the art of photography, by the pictorial art and in the study of
philosophy and psychology, since my childhood. Such was my love for art that led me to get to know many artistic
environments and many painters, including Mario Schifano and Remo Brindisi, the most popular in their private
studios.
My research from the beginning has always been addressed to the experienced Man and in telling him from within, a
conscious anxiety to investigate existence through the processing of artificial light and color that take shape and
space solving in the work now the gesture now the calculation.
Works of large dimensions to which I devote myself with long times of realization, always choosing with care and
attention all the materials rigorously of recovery (polystyrene, ropes, metals, straw, earths, wood, plastic, glass, etc. .
. . . . . . ) transforming the whole in a composition, here is that in this way the material felt and relived to the touch
with the sensibility I succeed in perpetuating with gestural motion.
Being an eclectic artist I really like to range with different techniques, but always maintaining a search for the human
being, both socially, philosophically and psychologically.
My works, over 800, are present in the private collections of Italian, European, Russian and American collectors.
In addition to 20 personal exhibitions in cities such as Rovigo, Este, Vicenza, Turin, Padua, Parma, Ferrara and a
permanent exhibition for over 4 years in Berlin.

Notes:

1
Artwork 1 Title: Cosmo U.S
Artwork 1 Dimensions: H: 200cm X B: 150cm
Artwork 1 Medium: Acrylic paint and pigment on nylon canvas
Artwork 1 Commentary:
"Cosmo" is the title of my new project in development; works that highlight, that the Universe, Man, Nature, the
animal world and not, it is the same image, energy, gesture and color
Artwork 1 Image:

2
Artwork 2 Title: Cosmo #14
Artwork 2 Dimensions: H: 83 cm X B: 93 cm
Artwork 2 Medium: Acrylic paint and pigment on wood canvas
Artwork 2 Commentary:
"Cosmo" is the title of my new project in development; works that highlight, that the Universe, Man, Nature, the
animal world and not, it is the same image, energy, gesture and color
Artwork 2 Image:

3
Artwork 3 Title: Cosmo #13
Artwork 3 Dimensions: H: 126 cm X B: 93 cm
Artwork 3 Medium: Acrylic paint and pigment on wood canvas
Artwork 3 Commentary:
"Cosmo" is the title of my new project in development; works that highlight, that the Universe, Man, Nature, the
animal world and not, it is the same image, energy, gesture and color
Artwork 3 Image:

4
Artwork 4 Title: Cosmo #4
Artwork 4 Dimensions: H: 126 cm X B: 93 cm
Artwork 4 Medium: Acrylic paint and pigment on wood canvas
Artwork 4 Commentary:
"Cosmo" is the title of my new project in development; works that highlight, that the Universe, Man, Nature, the
animal world and not, it is the same image, energy, gesture and color
Artwork 4 Image:

5
Catalogue4 ID0332
Artist ID: 0332

Artist Name: Rob Townsend


Website:
IG: robtownsendart

Artist Statement: Many of Rob's works reflect his fascination with the human face - and the myriad ways in which it
can be depicted.

Each piece begins as a traditional pencil or pen drawing, which is then melded with digital technology.

His artistic influences and inspirations are many and varied from Da Vinci to Warhol and even the Beano!

Notes:

1
Artwork 1 Title: Triple
Artwork 1 Dimensions: 42 x 29.7
Artwork 1 Medium: Glicee print
Artwork 1 Commentary: At first glance each portrait looks the same but on closer inspection each is slightly different
from the other - representative of how there is a tendency to judge certain sections of society as all the same when
the truth is this is never the case.

Artwork 1 Image:

2
Artwork 2 Title: Serenity
Artwork 2 Dimensions: 42 x 29.7
Artwork 2 Medium: Glicee print
Artwork 2 Commentary: The basis for this work was a pen and ink drawing.

The intention was to create a work influenced by the clean lines and clarity of the Japanese manga-style.

However, whilst manga is often is used to portray action and emotions of anger and fear, the attitude of the subject
together with the use of the flowing linework and limited colour palette are intended to invoke feelings of
calmserenity.
Artwork 2 Image:

3
4
Artwork 3 Title: Contemplation (White)
Artwork 3 Dimensions: 29 x21
Artwork 3 Medium: Glicee print
Artwork 3 Commentary: Originally a pencil and charcoal drawing this work has been altered considerably by use of
digital technology.

The expression on the face is open to interpretation but it is suggestive of some-one lost in thought and impervious
to his surroundings. This is heightened by the white surrounding him as the subject is disconnected from the world
around him.
Artwork 3 Image:

5
Artwork 4 Title: Contemplation2
Artwork 4 Dimensions: 29x21
Artwork 4 Medium: Glicee print
Artwork 4 Commentary: This piece is an experiment in creating an impression of a face and emotion
Artwork 4 Image:

6
Catalogue4 ID0333
Artist ID: 0333

Artist Name: Gary Sheridan


Website: www.sheridanphotography.com
IG:

Artist Statement: It was whilst studying photography at the University of Wolverhampton in the UK that I found a
passion for conceptual photography. My work draws on personal experience and a natural inquisitiveness in human
behaviour.
I construct (often building sets in the studio) a series of work from a concept, such as in the recent work –
Unwrapped. Whichever method of construction used, I intend the images to be multi-layered and engage the viewer
thoughtfully and aesthetically. My work is often vibrant, beautiful and seductive with a vein of humour, just as life
should be, yet life is often not a bed of roses and the work often reveals a troubled society.

Notes:

1
Artwork 1 Title: Sad Summer
Artwork 1 Dimensions: 70x105x2
Artwork 1 Medium: photographic print
Artwork 1 Commentary: From the Unwrapped series which touches on aspects of the human psyche, individualism,
perfectionism, escapism, overall a sense of self-obsession self-destructing. The Neoliberal ideal is failing. The fashion
styled images are vibrant and seductive, some with a vein of humour. They are the antithesis of the scenarios being
played out as the cracks appear on the facade.
Artwork 1 Image:

2
Artwork 2 Title: Going Under
Artwork 2 Dimensions: 70x105x2
Artwork 2 Medium: photographic print
Artwork 2 Commentary: From the Unwrapped series which touches on aspects of the human psyche, individualism,
perfectionism, escapism, overall a sense of self-obsession self-destructing. The Neoliberal ideal is failing. The fashion
styled images are vibrant and seductive, some with a vein of humour. They are the antithesis of the scenarios being
played out as the cracks appear on the facade.
Artwork 2 Image:

3
Artwork 3 Title: Who Am I
Artwork 3 Dimensions: 70x105x2
Artwork 3 Medium: photographic print
Artwork 3 Commentary: From the Unwrapped series which touches on aspects of the human psyche, individualism,
perfectionism, escapism, overall a sense of self-obsession self-destructing. The Neoliberal ideal is failing. The fashion
styled images are vibrant and seductive, some with a vein of humour. They are the antithesis of the scenarios being
played out as the cracks appear on the facade.
Artwork 3 Image:

4
Artwork 4 Title: I just Wanna be Kimberly Clark
Artwork 4 Dimensions: 70x105x2
Artwork 4 Medium: photographic print
Artwork 4 Commentary: From the Unwrapped series which touches on aspects of the human psyche, individualism,
perfectionism, escapism, overall a sense of self-obsession self-destructing. The Neoliberal ideal is failing. The fashion
styled images are vibrant and seductive, some with a vein of humour. They are the antithesis of the scenarios being
played out as the cracks appear on the facade.
Artwork 4 Image:

5
Catalogue4 ID0334
Artist ID: 0334

Artist Name: Emilio Vavarella


Website: http://emiliovavarella.com
IG:

Artist Statement: My first line of research focuses on the relationship between subjectivity, memory and the limits of
current techno-scientific discourses, highlighting the particular forms of power to which humans are subjected. My
second line of research, instead, traces how forms of power that originate from humans affect non-human forms of
creativity.

In my work I conjugate theory and practice and I experiment with both traditional and technological media, through
a combination of using new technologies with alternative (non-productive, poetic, dysfunctional) goals in mind,
imagining technology’s future effects through the use of speculative fiction, and decontextualizing and misusing
technology to reveal its hidden mechanisms.

Notes:

1
Artwork 1 Title: Bayani I (From The Digital Skin Series)
Artwork 1 Dimensions: 150x115x5
Artwork 1 Medium: One framed photograph (sublimation print on aluminum)
Artwork 1 Commentary: The Digital Skin Series is composed of self-portraits in which I pose “under the digital
skin― of strangers I’ve crossed paths with in the past. To create this series, I first used a 3D scanner to obtain
an accurate tridimensional model of my face. Then I used a camera-prototype to acquire HD portraits of strangers.
Finally, I applied their portraits to my digital skull as if they were simply an additional layer. The result is a series of
photographs where bidimensionality and tridimensionality collide in an intimate and unpredictable way.

In the past, myths about skin were common across cultures and related to radical biological metamorphoses. For
example, in the Navajo tradition – which considered the skin a mask – if you were to lock your eyes with those
of the skinwalkers, they could project themselves into your body and transform into you. In today’s network
society, bodies have left that organic condition and are characterized by transient statuses: individuals have become
di-viduals, data aggregates, samples, signals. The last boundary between us and the world, our skin, has become a
transient membrane that changes along with the trans- and meta- human forms under it. The space that was
occupied by the skinwalkers of the past has been taken over by infinite reconfigurations and mediations. What
remains the same is that to be human still means to constantly shift through generative metamorphosis,
corruptions, and de-generations that escape any clear categorization.
Artwork 1 Image:

2
3
Artwork 2 Title: The Other Shape of Things (Second sculptural group)
Artwork 2 Dimensions: 120x120x12
Artwork 2 Medium: Groups of sculptures in PLA and ABS plastic, stand in metal and plexi
Artwork 2 Commentary: “The Other Shape of Things― consists of a process-based and ongoing series of
sculptures. The starting point of this work is a collection of hundreds of ‘failed objects’: 3D prints that I
collected before they were destroyed by 3D printing labs all over the world. These objects were considered
‘failed’ for different reasons: some had not been properly printed and most had distortions, imperfections,
and glitches of various kinds.

Each found object I collected was first digitalized using a 3D scanner, then reprinted using a 3D printer in order to
create a second object. This second object was then scanned, and reprinted, creating a third object. After each step,
the mediation and translation from digital to physical and from 3D scanner to 3D printer produced further
unpredictable glitches and distortions – which in turn constituted new physical artifacts. I’ve reproduced each
found object until satisfied with the series of objects derived from it. The result of each process of mediations,
translations and reproductions constitutes one series of sculptures.

Artwork 2 Image:

4
5
Artwork 3 Title: The Sicilian Family
Artwork 3 Dimensions: 250x200x2
Artwork 3 Medium: Digital photography, 44 unframed images (sublimation print on aluminum)
Artwork 3 Commentary: The Sicilian Family is composed of 44 digital elaborations of vintage analog photographs. All
the original pictures belonged to my family’s collection of photographs, and many of them portray relatives who
had died before I was born. Initially I decided to scan each image to preserve them from deterioration. Then I
opened each file with Notepad++, trying to visualize the photo as text. The pixels of the image were translated into
the alphanumeric ASCII code. This code is a non-intelligible sequence of characters that contains all the information
required to recreate the image through an Image Viewer. Using Notepad++, I substituted a part of the ASCII code of
each photograph with a story based on what I had come to learn about each person portrayed. The text is, in part,
the memories that were passed down to me, and, in part, my own interpretation. Then I saved the text as a JPG,
forcing it to become an image once again. My alteration forces my memories to coexist with the image in an
unforeseeable and new way.

Artwork 3 Image:

6
7
Artwork 4 Title: THE GOOGLE TRILOGY – 3.The Driver and the Cameras
Artwork 4 Dimensions: 11 elements, 20cm diameter each. 200x200x2 cm overall
Artwork 4 Medium: Sublimation print on aluminum, unframed photos.
Artwork 4 Commentary: Each Google Street View car is equipped with a Dodeca 2360 camera with eleven lenses,
capable of photographing 360 degrees. Afterwards the photos are assembled, creating a stereoscopic view, and an
algorithm developed by Google automatically blurs the faces of people to protect the privacy of those accidentally
portrayed.

To create this series of photographs, I went looking for faces that had escaped Google Street View’s algorithm.
The eleven portraits I isolated immortalize the driver of the Google car. The driver is a sort of phantom power; he
appears where he shouldn’t be and his presence has escaped censure. His face is the symbol of an error yet at
the same time shows a human side and, perhaps, the limits of technological power.

The Driver and the Cameras closes my trilogy of photographic projects entitled The Google Trilogy.

Artwork 4 Image:

8
9
Catalogue4 ID0335
Artist ID: 0335

Artist Name: Robert Benson


Website: rbensonart.com
IG:

Artist Statement: I paint to produce resources that I donate to humanitarian projects in Africa and South America.

As I paint for purpose such as helping to bring needed medical care, clothing and education to these the most needy
people in the world, gives me so much intrinsic joy from the process of producing works of art. I also produce my
best work when inspired by this purpose.

Exhibitions and juried competitions such as this help bring more attention to my work which accelerates the process
of generating proceeds for the projects Im participating in in Africa and South America. Thank you.

Notes:

1
Artwork 1 Title: Outside the Seaside Bistro
Artwork 1 Dimensions: 12 x 12
Artwork 1 Medium: Oil on Panel
Artwork 1 Commentary: I sketched these three Italians outside what was apparently a family run Seaside Bistro in
Ventimiglia Italy. There was apparently 3 generations of the owners of the family bistro chatting and taking a break
in their element outside the bistro by the sea.

They knew I was sketching them and taking some photo references for future studio work. They seemed to like the
fact that this moment was being memorialized by an artist. Something of a point of pride of a family icon in the
generational bistro restaurant in such a beautiful location about an hour southeast of Monaco.
Artwork 1 Image:

2
3
Artwork 2 Title: Blossom Tree in Ukraine
Artwork 2 Dimensions: 10 x 12
Artwork 2 Medium: Oil on Panel
Artwork 2 Commentary: My college age daughter went to live in western Ukraine for a couple of years. She fell in
love with the land, the people and the language. She sent me many pictures but this one specifically with the
instructions to "please paint this one Dad!"

I grew up on a cattle ranch in Idaho in the US which is geographically and geologically very similar to western
Ukraine. Seeing this photo brought back much resonating nostalgia for me.

Needless to say it was a fun and meaningful painting to paint.


Artwork 2 Image:

4
5
Artwork 3 Title: Train to Paris
Artwork 3 Dimensions: 12 x 16
Artwork 3 Medium: Oil on Panel
Artwork 3 Commentary: My daughter and I traveled from Paris where she was studying to Switzerland. We
marveled at the beauty of the land between Paris and Basel and Bern back to Paris. I caught my daughter gazing out
the window sitting across from me on the train home. This gave me a chance to sketch and study this very
meaningful moment after a week traveling this part of Europe together with my daughter and wife.
Artwork 3 Image:

6
Artwork 4 Title: Valeria
Artwork 4 Dimensions: 12 x 16
Artwork 4 Medium: Oil on Panel
Artwork 4 Commentary: I painted this while studying with master painter Zhaoming Wu in Umbria Italy. Valeria was
our studio model. She was beautiful as the countryside from which she came in the Perugia and Umbria area.

This was one of the most beneficial 2 weeks of workshop I've ever experienced as an artist. Primarily because of the
master teacher Zhaoming. But also because of the intrinsic beauty of the land and the people such as Valeria.
Artwork 4 Image:

7
Catalogue4 ID0338
Artist ID: 0338

Artist Name: Lydia Cecil


Website:
IG: https://www.instagram.com/lydiacecil/?hl=en

Artist Statement: I am a representational artist studying at LARA in London, where I am commencing my third year.
The work I am currently producing has an academic foundation from the tutorage at LARA, therefore I am now
starting to build on this to explore my own expression of style, design and composition. In my portrait and figure
painting I work predominately from life in oil paint. I utilise traditional techniques for contemporary contents,
experimenting with chroma balance, light impressions and varying brushworks. While I am studying, I am still
ascertaining where I intend to take my art. However I look forward to furthering my interests in anatomy and
portraiture, where I can experiment with more complex design and composition choices particular to each subject.
Artists that especially inspire me include Albert Edelfelt, Nick Alm and Joseph Todorovitch.

Notes:

1
Artwork 1 Title: Manko
Artwork 1 Dimensions: 61x41
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: This portrait of Manko, painted from life, aims to combine representational techniques with
an exploration of character. The pose intends to emphasise the self-assured, emphatic gaze that defines her
persona. This is exemplified in the cooly confident, subtle gesture of her shoulders and the undefined, unfinished
quality of the background, arms and torso that shapes the portrait. The contrastingly highly finished facial features
explore chroma variations in her soft skin tones. Choices in clothing, lipstick and jewellery were also crucial to
building a sense of her character; subtle, sophisticated and assured.
Artwork 1 Image:

2
Artwork 2 Title: Male Écorché
Artwork 2 Dimensions: 80x50
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: This painting of an écorché man is an exploration of human form; both in an academic
sense quite literally detailing every surface bone and muscle accurately, and in a conceptual sense where flesh and
stone interconnect to create a conversation about the extreme durability or exposed vulnerability of human
anatomy. This is a different type of characterisation of the figure compared to my portraits, however I hugely
enjoyed the challenge of balancing the sense of flesh while maintaining the feel of a solid statue. The tones of the
background were chosen to create a subtle atmosphere to complement the hardness of the cast. It was painted
from life using a plaster cast.
Artwork 2 Image:

3
4
Artwork 3 Title: Pascal
Artwork 3 Dimensions: 45x35
Artwork 3 Medium: Oil on Canvas Linen
Artwork 3 Commentary: I painted this portrait of Pascal in four three-hour sittings. The composition was mainly led
by his instinctive contemplative pose that most naturally exemplified his gentle, reflective character. To complement
this characterisation, I moved away from having a highly-defined finish, and instead enjoyed making it feel fresher
and more bold than my previous portraits. Hence, I used more impasto brushwork for the textural jumper, I left the
background unfinished, and I used strong chromas in the shadows.
Artwork 3 Image:

5
Artwork 4 Title: Oil on Canvas
Artwork 4 Dimensions: 50x40
Artwork 4 Medium: Oil on Canvas Board
Artwork 4 Commentary: This portrait of Patrick includes part of his torso as he is an inspiring and a highly passionate
life model. He also celebrates the fact his figure provides an alternative to the ‘ideal’ aesthetic that dominates
so much of our current culture. We both appreciated the telling contrast of this all-pervading ‘ideal’ in so
many other aspects of social life, with the fact of his high demand as a model in the art world. Hence, we chose
dramatic lighting for his confident character. This portrait also stylistically helped me continue defining how I aim to
design and explore my figurative and portraiture work.
Artwork 4 Image:

6
Catalogue4 ID0339
Artist ID: 0339

Artist Name: Kristan Campbell


Website: https://soupster16.wixsite.com/mysite
IG:

Artist Statement: Kristan Leigh Campbell was born in Hot Springs, Arkansas on June 13th, 1994. She attended public
school and went on to join the U.S. Air Force, where she studied photojournalism and mass communications.
Campbell began her journey into photography at the Defense Information School, the military’s premiere school
for photo and broadcast journalism, as part of her technical training qualifications, earning credit towards an
associate's degree. She was then sent to three different assignments under three different major commands to
include Air Combat Command, U.S. Armed Forces Europe, and U.S. Pacific Air Forces.

Campbell first discovered her love for independent natural photography at the age of 22 during her assignment to
Incirlik Air Base, Turkey.

In her free time, Campbell dedicates her time to wildlife conservation on the island of Okinawa, Japan, where she
currently resides. She runs an unofficial reptile rescue and enjoys educating others about the importance of cutting
back on environmental impact which humans are having on wildlife.

Her weekends are spent traveling to various gardens, farms, and wildlife destinations in her off time to photograph
various subjects within the natural world. She is also a writer with one published poetry book, La Luna, and is
currently working on a sequel set to be released later this year.

Notes:

1
Artwork 1 Title: Hopeful Tortoise
Artwork 1 Dimensions: 4842 x 3232
Artwork 1 Medium: Photography
Artwork 1 Commentary: This image was taken of an 8-year old male Eastern Hermann’s tortoise, Feb. 2, 2019, in
Okinawa, Japan. This breed of tortoise walks a dangerous line between threatened and near-threatened
conservation status, with its numbers today rapidly decreasing. Due to the exploitation from humans who have
realized their popularity as pets, and the loss of their natural habitats from building development and wildfires, the
Hermann’s tortoise has been in the near-threatened category placed by the International Union for Conservation
of Nature. (Photo Credit/ Wren Campbell)
Artwork 1 Image:

2
Artwork 2 Title: Nature's Wrath
Artwork 2 Dimensions: 5467 x 3649
Artwork 2 Medium: Photography
Artwork 2 Commentary: Taken Nov. 17th, 2018 in Okinawa, Japan, this photo is a captivating lesson of the circle of
life. At the center of the lotus flower, life is teeming -- but at the edge of the flower's purple petals, a spider ensnares
a bumblebee as it's next meal. (Photo Credit/ Wren Campbell)
Artwork 2 Image:

3
Artwork 3 Title: Morning After the Storm
Artwork 3 Dimensions: 2802 x 1870
Artwork 3 Medium: Photography
Artwork 3 Commentary: This image is of a naturally occurring morning glory after heavy rainfall, taken Feb. 9, 2019,
in Okinawa, Japan. The bloom is also identifiable by it's trumpet-like shape and vibrant colors. (Photo Credit/ Wren
Campbell)
Artwork 3 Image:

4
Artwork 4 Title: Perching Bulbul
Artwork 4 Dimensions: 2556 x 1706
Artwork 4 Medium: Photography
Artwork 4 Commentary: This image of a juvenile Chinese bulbul was taken Feb. 10, 2019, in Okinawa Japan. This
subspecies is known as P. s. orii and is only found on the Yonaguni and Ishigaki Islands, also known as the Southern
Ryukyu Islands. (Photo Credit/ Wren Campbell)
Artwork 4 Image:

5
Catalogue4 ID0342
Artist ID: 0342

Artist Name: Jose Nicolas Zomeno


Website: Https://www.pintornicolas.com
IG:

Artist Statement: I want to found and create a new style of painting which is necessary in this moment. I call it
“Art with a social impact―. Do you believe that art is a potential tool for social change? So do I. let’s
together try to change this imperfect world.
I My paintings have clear background or message that helps to generate an impact on the society. Im not looking for
beauty and perfection, no portray real or mythological events and self-portraits. My intention in art is to express my
thoughts and emotions, make people reflect and think about consequences of our actions. The impacts on society
include the social and cultural consequences of any action on people, covering all the different ways in which people
live, work, play, relate to each other. Art impact imply changes in the norms, values and beliefs of an individual that
guide and rationalize their vision. Please, artists and illustrators, join me and follow in creation of a new
revolutionary style “art with social impact―.

Notes:

1
Artwork 1 Title: "Lost Childhood"
Artwork 1 Dimensions: 100x120x3
Artwork 1 Medium: Oil canvas
Artwork 1 Commentary: "A lost Childhood". Dedicated to millions of children who have died as a result of wars
started by adults. They find themselves alone frightened, lost and in need. Unfortunately human nature doesn't
cease to harm the most vulnerable in this world. Oil canvas 100x120
Artwork 1 Image:

2
Artwork 2 Title: Mediterranean Force
Artwork 2 Dimensions: 120x100x3
Artwork 2 Medium: Oil canvas
Artwork 2 Commentary: "Mediterranean Force" the name of this painting says it all. Incredible how we have in the
Mediterranean sea quiet spaces in perfect harmony, which is sometimes quiet and other times with storms and large
waves without loosing it's charm. That makes the Mediterranean sea a little paradise. I have shaped my feelings and
thoughts into this painting that inspires a lot of positive energy
Artwork 2 Image:

3
Artwork 3 Title: Guardian of the Bears
Artwork 3 Dimensions: 200x180x3
Artwork 3 Medium: Oil canvas
Artwork 3 Commentary: "The guardian of bears" oil canvas 180x200. This artwork reflects the obligation we have
with nature. These small bears I found on the shores of lake Ilmen. However we search we couldn't find their
mother... A further proof that we have to be more respectful with animals and nature. If not sooner o later we'll pay
the bill
Artwork 3 Image:

4
Artwork 4 Title: The Hope
Artwork 4 Dimensions: 100x120x3
Artwork 4 Medium: Oil canvas
Artwork 4 Commentary: Dedicated to the work of lighthouses along the coast, that's why is called the Hope. It
symbolizes a struggle to overcome any obstacle in life. The Hope is something that people never have to lose. The
dolphins are a symbol of good luck and beauty of fight.
Artwork 4 Image:

5
Catalogue4 ID0344
Artist ID: 0344

Artist Name: Susan Tye


Website:
IG: Tyesusan

Artist Statement: I have been drawing and painting since I was a child. I studied Foundation Art at Watford College of
Art in 1983-1984. I recently discovered watercolours and it has become my favourite medium. I am inspired by
nature and express myself with the use of vibrant colours.

Notes:

1
Artwork 1 Title: Bear with Fish
Artwork 1 Dimensions: 42x29.7x 0.1
Artwork 1 Medium: Watercolour and gold flakes on watercolour paper
Artwork 1 Commentary: I wanted to capture the expression on the bear’s face. I love the character of this bear. I
also wanted to capture the movement of the fish and of the water as the fish is pulled out of it. This is a wild animal
in its natural environment.
Artwork 1 Image:

2
Artwork 2 Title: Octopus
Artwork 2 Dimensions: 42x29.7x0.1
Artwork 2 Medium: Watercolour, masking fluid, salt , Brusho SprinkleIt on watercolour paper
Artwork 2 Commentary: I enjoyed experimenting with a mix of medias to capture the feeling of sunlight through
water. I like the texture and the sparkle that this painting has. Also the menace in the octopus’s eyes - this is an
octopus with attitude.
Artwork 2 Image:

3
Artwork 3 Title: Fushias
Artwork 3 Dimensions: 42x29.7x0.1
Artwork 3 Medium: Watercolour on watercolour paper
Artwork 3 Commentary: I enjoyed experimenting with the colours and shapes of these flowers to create something
semi- abstract.
Artwork 3 Image:

4
Artwork 4 Title: Kingfisher
Artwork 4 Dimensions: 42x29.7x0.1
Artwork 4 Medium: Watercolour on watercolour paper
Artwork 4 Commentary: I wanted to capture the colours and movement of this bird diving through the water
Artwork 4 Image:

5
Catalogue4 ID0347
Artist ID: 0347

Artist Name: Adam Daniels


Website: www.adamdaniels.co.uk
IG:

Artist Statement: I am an art practitioner who specializes in painting, The work is figurative, but with an eye for the
abstract. Colour, shape, and mark making play their role in imagery that strives towards an other worldliness/
surreal environment. The Expert, Karl Rossmann's first day and At Barca are oil paintings have things in common, not
least of which is the combining or splicing of different elements to create an image that contains new meaning. The
Spanish Battery is an oil painting that is more concerned with the materiality of the paint and the relationship
between abstraction and representation. I use oil paint because it is second to none in terms of luminosity. It
"sings", like no other medium that I have used.

Notes:

1
Artwork 1 Title: The Expert
Artwork 1 Dimensions: 61x61x4
Artwork 1 Medium: Oil paint on canvas
Artwork 1 Commentary: The Expert is a coastal scene with two figures. The title refers to the left figure, a gentleman
pointing to something out of the picture that we can only guess at. I came across these two people whilst out for a
walk. The couple had accents that were not local and they walked in front of me for a long time as I walked the
coastal route and kept me entertained with the mans prodigious knowledge of the area. His dutiful companion kept
remarking "Yes Dear".
Artwork 1 Image:

2
Artwork 2 Title: Karl Rossmann's first day
Artwork 2 Dimensions: 62x86x4
Artwork 2 Medium: Oil paint on canvas
Artwork 2 Commentary: The idea behind Karl Rossmann’s first day was to combine literary narrative with a
depiction of a location in Tynemouth. The narrative comes from Franz Kafka’s story America. The story tells of a
young man who is sent to America at the age of fifteen by his family following his disgrace at having impregnated on
of the household servants. The story is set in the earlier part of the twentieth century and follows Karl’s trials
and tribulations after having set foot on American soil. He eventually is offered a job at a hotel because the owners
feel sorry for him after he is mugged outside the establishment. The painting shows Karl walking towards the hotel
with his luggage slung over his shoulder as he is about to start his first day of work. The idea of the painting was to
depict a pleasant looking scene but with a hint of something unsettling mainly caused by the ominous looking clouds
suggesting that all may not be well, such is the nature of Kafka’s writings.

Artwork 2 Image:

3
4
Artwork 3 Title: At Barca
Artwork 3 Dimensions: 41x51x4
Artwork 3 Medium: Oil paint on canvas
Artwork 3 Commentary: Over the last ten years I have tried to paint scenes that are not usually depicted or at least
represent them from unusual angles and aspects. I painted At Barca from a photo that I took outside a local bar and
added figures from other unrelated photos. It is another example of work where I combine separate images to
create a new meaning within the painting. It shows homage to Hopper’s Nighthawks: I included a depiction of
myself lurking in the shadows on the right hand side of the image and deals with the solitary nature of bachelorhood
and the role of and observer.

Artwork 3 Image:

5
6
Artwork 4 Title: The Spanish Battery
Artwork 4 Dimensions: 41x51x4
Artwork 4 Medium: Oil paint on canvas
Artwork 4 Commentary: When I painted this I was interested in the nature of the oil paint that I used and how when
applied and looking closely we can see it as an abstract thing. It is just a bit of blue or green or brown in a lump. As
we move back from the painting these marks and shapes resolve into the representation of something else. I am
interested in this slippage between abstraction and representation.
Artwork 4 Image:

7
Catalogue4 ID0349
Artist ID: 0349

Artist Name: HeLoã¯Se Bergman


Website: heloisebergman.com
IG: @flyingkiwichick @heloise.bergman

Artist Statement:

Notes:

1
Artwork 1 Title: After All, My Mother Said
Artwork 1 Dimensions: 38 x 28 cms
Artwork 1 Medium: photography
Artwork 1 Commentary: After All, My Mother Said is a momento mori, made in memory of my mother, who died
two years ago.
Artwork 1 Image:

2
Artwork 2 Title: Brick Lane Girl
Artwork 2 Dimensions: 35 x 25 cms
Artwork 2 Medium: photography
Artwork 2 Commentary: Brick Lane Girl is a photographic portrait of a young woman, shot on location while working
in a shop on Brick Lane, inspired by Dutch and Flemish painters.
Artwork 2 Image:

3
Artwork 3 Title: Aroha, from the series Kauae Tehe (Woman with Chin Tattoo), from the ongoing project 'TÄ• Moko -
Modern MÄ•ori Warriors
Artwork 3 Dimensions: 80 x 60 Cms
Artwork 3 Medium: photography
Artwork 3 Commentary:
Aroha, Kauae Tehe (woman with chin tattoo), 2017.
from the project ‘Tĕ Moko - Modern Mĕori Warriors’

This portrait of Aroha represents a series I have been collaborating on for the past six years. Following my thirty two
hour trip home to Aotearoa, New Zealand, I travelled over five hours by bus to meet her and this portrait was taken
in my pop up tent studio, erected in a motel car park. All sessions are begun with a karakia (prayer) to guide and
bless the project. They take place in the neutral space of the pop up studio, in order to focus solely on the
subjects’ personal identity, without the distraction of external factors. My initial portraits were presented to the
subjects in colour; (all participants receive a free portrait); but they requested them to be in black and white, stating
it felt more ‘authentic’. This is in direct response to Mĕori portraits historically existing largely in
domestic/family archives, with little positive representation in the media; it also creates a contextual link with the
last documented generation of Mĕori ancestors who wore facial tĕ moko.
I want to disrupt the western media’s fetishisation of Mĕori tĕ moko, and to share the portraits and stories of
these women, who have become an inspiration to me and cultural ambassadors through the act of reclaiming the
traditional moko kauae (female chin tattoos) of their ancestors. These moko kauae are an external expression of
their internal Mĕori identity, each as unique as a finger print. They are also a symbol of an indigenous people’s
revival of their language, arts, crafts, medicinal lore and spiritual traditions in a post colonial society. Kauae Tehe is a
collection of twenty portraits of Mĕori wĕhine with moko kauae, from the ongoing photographic research project
‘Tĕ Moko - Modern Mĕori Warriors’.
MÄ•ori women traditionally have/had their lips and chins tattooed, although certain regions and spiritual beliefs
include the forehead. These women’s occupations include teachers, lecturers, care givers, nurses, authors,
artists, healers and a park ranger.

Artwork 3 Image:

4
5
Artwork 4 Title: Stuart, from the series Tangata Whenua (People of the Land)
Artwork 4 Dimensions: 20 x 10 cms
Artwork 4 Medium: photography
Artwork 4 Commentary: Tangata Whenua means People of the Land, and is how MÄ•ori refer to themselves; as
custodians of the land of Aotearoa, New Zealand.
This is a unique chlorophyll leaf portrait of a MÄ•ori man, Stuart, developed onto a native New Zealand leaf. This
natural, alternative process uses the sun and the leaf's own chemicals to develop the image directly onto the leaf
itself; much like a traditional photogram. Tangata Whenua is a series of portraits of MÄ•ori, developed onto leaves,
to represent both their special relationship with the land and their ongoing fight to reclaim both the land and their
cultural identity in New Zealand now.
The series comes from a wider collaborative project,‘Tĕ Moko - Modern Mĕori Warriors’, using
photography (both analogue and digital), videos, and interviews documenting the revival of MÄ•ori facial tattooing
in New Zealand; focusing on tĕ moko as a symbol of reclaimed cultural identity in the context of post colonial
society.

TÄ• Moko- Modern MÄ•ori Warriors Project

Over the last six years, Héloïse Bergman has been returning home, and travelling throughout New Zealand to
collaborate on a series of portraits and interviews, documenting people who have reclaimed traditional facial tattoos
as an external symbol of their MÄ•ori identity.
The portraits are made in a pop up tent studio and each session is begun with a karakia (prayer) to guide and bless
the project.

'I want to disrupt the western media’s fetishisation of Mĕori tĕ moko, and to share the portraits and stories of
these people, who have become an inspiration to me and cultural ambassadors through the act of reclaiming the
traditional moko kanohi (facial tattoos) of their ancestors. These tĕ moko are an external expression of their
internal Mĕori identity, each as unique as a finger print. They are also a symbol of an indigenous people’s
revival of their language, arts, crafts, medicinal lore and spiritual traditions in a post colonial society.'
Artwork 4 Image:

6
7
Catalogue4 ID0350
Artist ID: 0350

Artist Name: Nikolay Boyadzhiev


Website: www.nikolayboyadzhiev.co.uk
IG:

Artist Statement: I create mostly multi-layered pictures using oil paint, acrylic paint and collage.

I have been developing this technique for more than 20years.

Creating collages by merging many different layers of images, elements and patterns into a new picture has always
been a fascinating and absorbing process for me.

I found this technique magical, playing with structures, colour harmony and provocative clashes.

As a result, a new expression of my vision has been created, touched by the metamorphosis of collage cuts,
harmonised and aesthetic.

Notes:

1
Artwork 1 Title: Lady M
Artwork 1 Dimensions: 60x50x1.7
Artwork 1 Medium: mixed media & collage on canvas
Artwork 1 Commentary: Mysterious and provocative female portrait executed in a multi-layered system with a
collage emphasis on a complex background.
Artwork 1 Image:

2
Artwork 2 Title: Enigmatic Landscape III
Artwork 2 Dimensions: 17.5 x 19.5 x 0.3
Artwork 2 Medium: collage on cardboard
Artwork 2 Commentary: One of my landscape from the series 'Enigmatic Landscapes'
Special emphasis upon strong composition and colour harmony.

Artwork 2 Image:

3
Artwork 3 Title: Enigmatic Landscape II
Artwork 3 Dimensions: 18 x 16 x 0.3
Artwork 3 Medium: collage on cardboard
Artwork 3 Commentary: One of my landscape from the series 'Enigmatic Landscapes'
Special emphasis upon strong composition and colour harmony.

Artwork 3 Image:

4
Artwork 4 Title: Enigmatic Landscape I
Artwork 4 Dimensions: 25 x 30 x 1.5
Artwork 4 Medium: collage & mixed media on canvas
Artwork 4 Commentary: One of my landscape from the series 'Enigmatic Landscapes'
Special emphasis upon strong composition and colour harmony.

Artwork 4 Image:

5
Catalogue4 ID0352
Artist ID: 0352

Artist Name: Delia Milko


Website:
IG:

Artist Statement: Early doodler and drawer, you could have easily pacify and shut me up by handing me piece of
paper and box of coloured pencils.
I have always been drawn and attracted to human form (faces, body, hands..). I also love our companions on this
planet, our little furry and scaly animal friends. Expressions, colour, shape and the way we are all painted by light
keeps me interested and mesmerized.
Looking back at old masters and being true to what moves me has shaped and keeps driving my art work.

Notes:

1
Artwork 1 Title: Sign Language
Artwork 1 Dimensions: 29.5X39.5X2
Artwork 1 Medium: oil on stretched canvas
Artwork 1 Commentary: Hand portrait depicting my own hands. Hands speak just as loudly as faces and I find them
complex and satisfying to paint.
Artwork 1 Image:

2
Artwork 2 Title: Coveted
Artwork 2 Dimensions: 70X50X2
Artwork 2 Medium: oil on stretched canvas
Artwork 2 Commentary: A young woman from the society where women are kept behind closed doors and
auctioned off like cattle to the highest bidder
Artwork 2 Image:

3
Artwork 3 Title: The last thing you'll see
Artwork 3 Dimensions: 45X35X2
Artwork 3 Medium: oil on stretched canvas
Artwork 3 Commentary: Pure power is projected when a beast like tiger opens it's jaws in front of you. Funny thing
though in this picture he is actually only yawning...
Artwork 3 Image:

4
Artwork 4 Title: Fabric between dimensions
Artwork 4 Dimensions: 60X49X2
Artwork 4 Medium: oil on stretched canvas
Artwork 4 Commentary: Deer at Dunham Massey
this painting is more about what you are not aware of layered underneath of the seen environment.

Artwork 4 Image:

5
Catalogue4 ID0353
Artist ID: 0353

Artist Name: Ana-Maria Pop


Website:
IG:

Artist Statement: I like to work where art and science meet. I believe art and science are two different ways of
investigating and defining the world which complement and inform each other. In my art I try to find visual
descriptions of abstract ideas - ideas in colour. They often take a life of their own and I can only follow and see
where they lead me.

Notes:

1
Artwork 1 Title: Is it a statement?
Artwork 1 Dimensions: 83x58
Artwork 1 Medium: Mixed media (charcoal, chalk, crayon, pencil and ink on cartridge paper)
Artwork 1 Commentary: The work started as an exercise in depicting opposite words on the first two lines, the
contrasting images merged rather than separated. However, on the third line I abandoned the words and started to
draw freely in ink. It was only after, that the words "free" and "censored" emerged as in a reversal of the intended
process. The work was not conceived as a statement but some people view it this way because of the highly charged
words. The title prompts the viewer to consider the relation between the work and statement and imagine what the
statement would be.
Artwork 1 Image:

2
Artwork 2 Title: Breathe
Artwork 2 Dimensions: 56x59
Artwork 2 Medium: Coloured paper and tape on cartridge paper
Artwork 2 Commentary: The coloured area of this work was initially part of a larger collage which I decided to cut
and then use to build several small pieces. For this one I chose some contrasting colours and transparencies to
create a dynamic construction, which opens itself to the possibilities of the blank space above, as if allowing it to
breathe.
Artwork 2 Image:

3
Artwork 3 Title: Self-portrait
Artwork 3 Dimensions: 45x64cm
Artwork 3 Medium: Oil based ink on cartridge paper
Artwork 3 Commentary: In this work I played with the idea of what defines ourselves and the potential of a signature
or initials to suggest our presence. In my work as a scientist I often use my initials and date when keeping records of
completed actions and I thought it would be fun to enlarge my initials and let them fill the whole page. In this case
they are not associated with a specific action anymore, but they seem to suggest my presence through the unique
combination of letters and design.
Artwork 3 Image:

4
Artwork 4 Title: Spacetime
Artwork 4 Dimensions: 50x38cm
Artwork 4 Medium: Mixed media (acrylics and oil based ink on news paper)
Artwork 4 Commentary: In this work I used colour and transparency to suggest space and time considered as an
entity. I chose contrasting colours and overlays to suggest a physical space characterised by depth. The passing of
time in a non-linear manner is captured by the orange colour moving through the picture.
Artwork 4 Image:

5
Catalogue4 ID0354
Artist ID: 0354

Artist Name: Sirius Chan


Website: http://siriuscws.wixsite.com/portfolio
IG: sirius_meow

Artist Statement: My works are based on the fantasy of objects; how objects look like something else they are
actually not, and how they trigger the memories and emotions of the viewers and project themselves onto the
objects.

‘There is an universal tendency amongst mankind to conceive all beings like themselves, and to transfer to every
object those qualities with which they are familiarly acquainted, and of which they are intimately conscious.―
(Hume, 1757)

Daily objects create resonance with people because of its familiarity, while at the same time they provide physical
forms and become the containers for the painter or viewers’ formless emotions, memories and projection. These
projections from the viewers shape the object into something unfamiliar to its usual form. Though portraying the
hybrid version of objects, a sense of uncanny is created. Their new hybrid forms allow memory to be in flux,
providing spaces for others to interpret.

My recent research focuses on the forms of trees in Richmond Park. Through painting the uncanny trees, I am
investigating the relationship between the plant-human hybrids and human’s perception of reality. Human tends
to experience pareidolia. I see these plant-human hybrids as objects with personalities, which possibly are also the
abstract projections of us.

Notes:

1
Artwork 1 Title: Slumber is a Journey to the Eternal Return
Artwork 1 Dimensions: 159.5 x 200 cm
Artwork 1 Medium: Acrylic, charcoal and pastel on canvas
Artwork 1 Commentary: In animism, metamorphosis is always related to the transformation of the death and the
migration of the souls. Many primitives religions and myths believe souls remain exist when the body died. The
transformation is not just about the decay of the body, as Harvey (2005) said ‘death is not a fixed state opposed
to life, but a transformation of the living and their relationships’.

During my research project on Richmond Park, I learnt that even if the tree is dead, it can still become a habitat for
small animals, insects, fungus or other plants. The trees may decompose and decay. Its organic matter breaks down,
recycles, returns to the natural ecosystem, becoming nutrients to other organisms and lives in other life forms. This
can be seen as a return, an imagery of nostalgia or a homecoming.
Artwork 1 Image:

2
3
Artwork 2 Title: Wrestling
Artwork 2 Dimensions: 130 x 100 cm
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary:
Artwork 2 Image:

4
Artwork 3 Title: Metamorphosis II
Artwork 3 Dimensions: 124Â x 100 cm
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary:
Artwork 3 Image:

5
Artwork 4 Title: Whether all White Things were Cold and Damp
Artwork 4 Dimensions: 91 x 91 cm
Artwork 4 Medium: Acrylic on Canvas
Artwork 4 Commentary: Inspired from James Joyce's Portrait of an Artist as a Young Man, I chose my most
unforgettable phrase from the book and reinterpret it with my personal experiences as a trichotillomania sufferer. I
captured my uncontrollable desire of pulling, obsession of touching the texture of the root sheath and the distress of
after-pulling on the canvases.

* Trichotillomania (TTM), also known as hair pulling disorder, is a mental disorder characterised by a long term urge
that results in the pulling out of one's hair. This occurs to such a degree that hair loss can be seen. Efforts to stop
pulling hair typically fail. The hair pulling is to such a degree that it results in distress.

Artwork 4 Image:

6
7
Catalogue4 ID0355
Artist ID: 0355

Artist Name: Sarah Gries


Website:
IG: sarahgriesart

Artist Statement:

Notes:

1
Artwork 1 Title: Du und ich
Artwork 1 Dimensions: 161x100cm
Artwork 1 Medium: Oil and pastels on paper
Artwork 1 Commentary: Du und ich' deals with the intimate connection of a couple, the emotional imbalance,
forgiveness, and the inability to act
Artwork 1 Image:

2
Artwork 2 Title: Kreuche zum Flusse
Artwork 2 Dimensions: 60x80cm
Artwork 2 Medium: Oil and acrylic on canvas
Artwork 2 Commentary: 'Kreuche zum Flusse' deals with the theme of searching for the light and deciding whether it
is the natural light that is supposed to guide us or the fire that comes from man. Crawling around to find the
solution, to endure the discord, to stay on this side of the river or to go to the other, or just swim between them
Artwork 2 Image:

3
Artwork 3 Title: Schuldvergabe-das Ei, die Kackhaufen und ich war das nicht!
Artwork 3 Dimensions: 200x150cm
Artwork 3 Medium: Oil and acrylic on Canvas
Artwork 3 Commentary: The work thematizes the guiltiness of being human and the eternal involvement in the case
of guilt and atonement. The separation of man and woman, grasping for pleasure and fire. Who has shit here, who
has laid the egg and who will be punished, during or after his lifetime?
Artwork 3 Image:

4
Artwork 4 Title: Ãœberlegungen zum freien Fall
Artwork 4 Dimensions: 100x80cm
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: 'Ãœberlegungen zum freien Fall' (Free Fall considerations) deals with with the topic of
depicting women, the funny-painful handling of display, shame and shock
Artwork 4 Image:

5
Catalogue4 ID0357
Artist ID: 0357

Artist Name: Catherine Pickop


Website: https://catherinepickop.com/
IG: https://www.instagram.com/catherine_pickop/

Artist Statement: The process of my art making is a way to express my personal response to the world around me
with a distinct technique and style. It is a profound self-communication and a visual representation of my mind. Art
allows me to rebuild a long lost sensitivity and forms a path that leads to peace and stillness as well as an
appreciation of the beauty of imperfection.
The sentimental longing for a peaceful mind and a constant desire for something that does not and probably cannot
exist informs every step of my art creation process.
Repetition, stillness, and rhythm are essential elements in my work, each painting is my yearning for harmony of
order and beauty. Mechanical scoring on paper invokes a strong feeling of precision in order to achieve a
compositional balance. The gesture of rubbing coffee residue and natural mineral pigments on paper using my body
temperature, skin and the pressure of my fingers alone to control the tonal movement in colour is for me, an
intimacy between my body, mind, paper and the medium. The sound and scent, as well as the feeling, is therapeutic,
meditative and liberating.

Notes:

1
Artwork 1 Title: Reconcile 1
Artwork 1 Dimensions: 165x113cm
Artwork 1 Medium: Mineral pigment and coffee residue rubbed on scored watercolor paper
Artwork 1 Commentary: The specialty of this artwork is the texture and layers created on the watercolor paper. I
have created the first layer with scoring two different thickness of transparent lines. After that I have rubbed on
mineral pigment and coffee residue by hands to review the lines and build up the subtle tonal movement. The
Artwork 1 Image:

2
Artwork 2 Title: Last night I dreamt of Macondo
Artwork 2 Dimensions: 76x56cm
Artwork 2 Medium: Mineral pigment and coffee residue rubbed on scored watercolor paper
Artwork 2 Commentary: The specialty of this artwork is the texture and layers created on the watercolor paper. I
have created the first layer with scoring two different thickness of transparent lines. After that I have rubbed on
mineral pigment and coffee residue by hands to review the lines and build up the subtle tonal movement.
Artwork 2 Image:

3
Artwork 3 Title: Eccentric
Artwork 3 Dimensions: 76x56cm
Artwork 3 Medium: Mineral pigment and coffee residue rubbed on pencil drew watercolor paper
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Rhytym
Artwork 4 Dimensions: 56x76cm
Artwork 4 Medium: Mineral pigment and coffee residue rubbed on pencil drew watercolor paper
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0358
Artist ID: 0358

Artist Name: Souvik Saha


Website:
IG:

Artist Statement: As being a Fine art student, I always try to think precisely. What I read, what I observe and
experience....are all together make a process for my artwork...I m trying myself to prepare first for seeing purely....
because I believe if my seeing quality is being enhanced, my 60% path to create a visual gets clear by time.
My paintings are just like catalyst through which I want to convey right Message to society...
because art is always a two way process. First it starts with us and totally depends on us, by what we get is mostly
from nature and society....but when it is completed...it's a part of society and the further processing of it continues
according to the viewer's view. In simple I can say my working process follows right messages of life and nature god
which should be alive for years and years because right thing always stay somewhere at any situation. So as I use my
mediums and my thoughts. I work on natural mediums...like marble, natural pigments and more. Pores in marble
soak tiny molecular pigments and make a part of it. It's my experimental work which came from one major
observation at my home in my childhood days where white marble floor and iron dust together created a colour
tone and that rusty brown is still there even in washing conditions and more with tht same saturation...As it's around
10-12 years now, I got to know why that happened and I started working on it with taking it a process for my work. I
did so many experiments with marble slab...painted them with transparent mediums opaque mediums and I found
even if we scrub and break the marble the colour values stays the same... because colours gets inside marble and I
think this process has vast possibilities and life. So I want to explore it.

Notes:

1
Artwork 1 Title: 1 blink = 1 present unit (Time)
Artwork 1 Dimensions: 14" X 17" ( 10 mm)
Artwork 1 Medium: Natural elements and colours on hardboard( like leaf dust, sand, marble powder, tree glue etc).
Artwork 1 Commentary: This work is based on a phrase from our indian holy mythology book named '
Gita'(Hinduism). The thought says our 1 blink is one moment in our life...so if we live that one moment in present,
human will be fulfilled by life. So i have related human forms with tree as trees grow and heights towards the sun
but it can't reach the sun which I depicted as future...so we humans should always live our present moment as our
one life moment...so I assumed 1 eye blink as 1 life unit...and composed according what it tells.

Artwork 1 Image:

2
Artwork 2 Title: 0
Artwork 2 Dimensions: 15 × 12 (1/2")
Artwork 2 Medium: Natural colour on marble sheet
Artwork 2 Commentary: This work depicts that when we see ourself in front of a mirror we see exactly what we are
and how we exist...not like what people say and they want us to be like...!!
There are different religions and other things that make us different but actually
There is a spiritual mirror that every person should understand...that depicts universe and nature god as our own
part and the way it exists, this depicts our uniform similarity....so we have to see it in that way how it want us to
show....and we should accept it.

Artwork 2 Image:

3
4
Artwork 3 Title: Priest
Artwork 3 Dimensions: 27"×19"×15mm
Artwork 3 Medium: Natural elements and colours on marble slab
Artwork 3 Commentary: This work is based on another phrase from Hindu holy book 'Veda'. This tells about the first
god Being Agni(Fire) one of the element...2nd God Varuna( wind).. 3rd
...Surya Dev( The Sun God )...4th Usha ( Dawn ) ...5th Prithvi( The earth )...6th Akash (Space) respectfully.
Now by this I understood...that somehow everywhere it's depicted that we have gods in different religion and
cultures but every religion has nature God. According to Veda it's written that fire is among the purest thing we
know....and to pray the beauty of nature fire is being used as the first thing to pray. So it plays a major role as a
priest and it conveys that how fire element is among the major and basic element.
Artwork 3 Image:

5
6
Artwork 4 Title: Eligibility of life
Artwork 4 Dimensions: 41"×27"×20mm
Artwork 4 Medium: Natural elements and colours on hardboard( like leaf dust, sand, marble powder, tree glue etc).
Artwork 4 Commentary: This painting depicts the process of becoming eligible for living life. Most of the time people
want there life to be like how they want to but no actually it's about making ourself according to our life. I made
human form with symbol of all 5 elements. Other forms depicts physical and non physical aspects of human life(
such as sex.
.sexual thoughts money inside nature etc)...then to become eligible we enter into spirituality through whatever
process but symbol Swastik I showed for pure gateway of it. Then I showed hand of sacrifice which let us continue
the right path of living pure life.. after getting all such experience we become eligible for life.

Artwork 4 Image:

7
8
Catalogue4 ID0359
Artist ID: 0359

Artist Name: Tom Griffiths


Website:
IG:

Artist Statement: Having attended Goldsmiths School of Art where I obtained my BA (Hons) in fine Art, I continued to
develope my painting in my own home Studio. My friend and Inspiration for much of what influences my work, was
the late Bert Irvin. I now live in Germany, but have also a Uk address. I now wish to engage in exhibitions, that will
provide a presentation platform for Feedback Responses and dialogue….and fulfill my desire to share with the
greater public what I have to say with my Art. I work with oil and acrylic in various size Formats and have recently
exhibited one of my works in London.
I welcome the opportunity to take part in this exciting Exhibition and the springboard to a wider audience that it
potentially offers. I am happy for all/any of the Jury/Judges to assess my work, and respect their judgemnts and
comments.
Regards
Tom G.

Notes:

1
Artwork 1 Title: The engagement
Artwork 1 Dimensions: 70 x 120 x 3
Artwork 1 Medium: Oil and Acrylic
Artwork 1 Commentary: "The Engagement" reflects the essence of all my works...and is intended to convey a
senstaion of vigorous activity and tonal consistancy that is contradicted by easy,slow and lazy forms that blend into
the layered marks, There is an intentional disregard to the Limits of the canvas itself...something that I actively work
against. The movement within the canvas... harmonised contradictions...be they fast and active, or slow and
meandering, creates a tension of elasticity and compression (depending on the Viewers Interpretation) and is for
me, a metaphor for my own daily life stresses and activities...a concious reflection of this principal of moving through
space, be it walking to my Studio or from one place to another.
This work has been exhibited once at the Sainsbury Centre for visual Arts, Norwich.
Artwork 1 Image:

2
3
Artwork 2 Title: The Big Squeeze
Artwork 2 Dimensions: 70 x 110 x 30
Artwork 2 Medium: Oil and Acrylic
Artwork 2 Commentary: " The Big Squeeze" developes the the theme of movement within my works. The slow ,
clumbsy, meandering shapes and forms contradict the high Energy that suroounds them. Are they colliding and
creating a potential stress dilema? or are they drifting apart...either way, they again reflect the metaphor for lifes
journey and the Sensation of moving through space….something we do conciously each day. My choice of Colour
combinations are designed to reflect my own influences...Fresh, bright, vigorous and energetic. The work holds
Energy while at the same time conveying calm,
This work has been exhibited once in London.
Artwork 2 Image:

4
5
Artwork 3 Title: Juxtaposition
Artwork 3 Dimensions: 100 x 180 x 4
Artwork 3 Medium: Oil / Acrylic / Gold leaf
Artwork 3 Commentary: The theme of movement within all my works is extended in my new work, "Juxtaposion"and
reflects a concious conflict and grapple for superiority within the forms, shapes and Color within the canvas... which
itself, struggles to contain the juxtapositioning. This conflict evolved unplanned,,,each shape and form dictating the
other. Some forms were masked and hidden at various times during the work process in order to reduce the
influence too much, and even served to install a "history" element into the process of painting this work. When older
marks were revealed….they created a platform for reactions to later marks and forms ….old influencing new (
Daily life )
It is for me a conciously political and actual reflection of the seemingly daily News imput regarding cultural
conflicts..and while the Color choices made are dictated by neighbouring forms and hues, they have been intentially
left ( at times unbalanced)to accentuate the cultural conflicts I was experiencing.
Artwork 3 Image:

6
7
Artwork 4 Title: Just the two os us
Artwork 4 Dimensions: 120 x 60 x 5
Artwork 4 Medium: Oil and Acrylic
Artwork 4 Commentary: " Just the two of us" is a personal work inspired by my late wife. The essence of movement
that underpins each of my works is accentuated in this presentation by the symbolic inclusion of a flowing couple
lost in their own world...
Caught in a static moment in time, blind to the surrounding activity of light and sound, it reflects those cherished
moments in all our lives, that pass so quickly and become a memory as soon as we experience them.
This experience of a moment that is immediately a memory, and which is symbolically portrayed on the canvas as a
"still Living" activity was for me, the intriguing motivator here.
Artwork 4 Image:

8
9
Catalogue4 ID0360
Artist ID: 0360

Artist Name: Denise Thomas


Website:
IG:

Artist Statement: My work is influenced by my environment - the power and strength of the land; and its fluctuating
mood wrought by changes in weather and season. I feel that as we become ever more bound by internal spaces and
separated from the beautiful disorder of the 'outside', we are losing touch with an essential aspect of ourselves.
Equally, I'm also intrigued by the variable nature of memory and recollections of the mind that remain unfocused,
refusing to be 'framed' - leaving a sense of absence and longing. In my photographs I aim to explore this feeling of
loss and longing as we try to connect with time and place. The faces are never seen in order to create mystery and
retain ambiguity. The frames are used to create an intimate interior visual space and express the connection being
sought.

Notes:

1
Artwork 1 Title: Mine are the night and morning
Artwork 1 Dimensions: 41x55x0
Artwork 1 Medium: Photograph
Artwork 1 Commentary: A photograph constructed from original images. It examines the desire to connect with an
environment that is becoming more distant, lost and remote. She openly embraces, amidst a diminishing and
dreamlike world, in an attempt to hold on to something tangible and meaningful.
Artwork 1 Image:

2
Artwork 2 Title: When the night winds whisper
Artwork 2 Dimensions: 41x55x0
Artwork 2 Medium: Photograph
Artwork 2 Commentary: Constructed from original photographs and exploring the passage of childhood to
adulthood. The frame is held like a shield - a talisman against the fearful distortion of the ordinary. The atmosphere
is deliberately surreal, reminiscent of fairy tales, to remind of childhood vulnerability amid the nightmarish
confusion.
Artwork 2 Image:

3
Artwork 3 Title: Moments of clarity
Artwork 3 Dimensions: 55x41x0
Artwork 3 Medium: Photograph
Artwork 3 Commentary: 'Moments of clarity' is a constructed photographic image from original photographs. This
explores the need to make a meaningful connection with nature and the world around. Active attempts are made to
interact as she is physically touching the pounding heart of the tree. There is reverence in the touch, but also
vulnerability and a need for something substantial as she hears the whispers of something she used to understand.
Artwork 3 Image:

4
Artwork 4 Title: Now is so small a part of time
Artwork 4 Dimensions: 55x41x0
Artwork 4 Medium: Photograph
Artwork 4 Commentary: Photograph created from original photographic images. Despite the number of people
present in this photograph, there is a feeling of solitude and quiet loss. It explores nostalgic remembrances and the
desire to capture youth and meaningful relationships.
Artwork 4 Image:

5
Catalogue4 ID0362
Artist ID: 0362

Artist Name: Rebecca Salter


Website: www.rebeccasalter.co.uk
IG:

Artist Statement: Rebecca has always celebrated the decayed or neglected, holding it up to the light for others to see
the inherent beauty contained in the discarded.

In contrast to the Fine Art Foundry in which she works; where bronze is painstakingly bent to the artists will, her new
work focuses on the splashed aftermath of a pour. The free forms which would otherwise be melted down as scrap.
The splashes of bronze pool, create and assert their form completely undirected, other than by their own flow and
energy, asserting their own destiny.

She takes inspiration from the beautiful irregularity of the ‘Overspill’. Using these natural creations, she
patinates and polishes them before arranging them onto backgrounds of steel or bronze, forming completely unique
and stunning art works.

She celebrates the inherent nature of bronze.

She works in partnership with it, elevating the discarded into something more.

Notes:

1
Artwork 1 Title: Over Spill
Artwork 1 Dimensions: 100 x 35.5 x 07. cm
Artwork 1 Medium: Bronze
Artwork 1 Commentary: Polished bronze on patinated sheet
Artwork 1 Image:

2
Artwork 2 Title: Lay Lady Lay
Artwork 2 Dimensions: 14 x 13 x 21 cm
Artwork 2 Medium: Bronze
Artwork 2 Commentary: Bronze fragments on patinated bronze scuplture
Artwork 2 Image:

3
Artwork 3 Title: Fragments of Beauty Series 3
Artwork 3 Dimensions: 100 x 25 x 0.5 cm
Artwork 3 Medium: Bronze & Steel
Artwork 3 Commentary: Bronze painted using heat, mounted steel sheet
Artwork 3 Image:

4
Artwork 4 Title: Fragments of Beauty Series 1
Artwork 4 Dimensions: 50 x 50 x 03. cm
Artwork 4 Medium: Bronze & Aluminium
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0364
Artist ID: 0364

Artist Name: Julie Gillespie


Website:
IG:

Artist Statement: I am a Scottish Contemporary Artist working with a mixed bag of media to create artwork in 2 and
3 dimensions. Having worked in Community Arts for 18 years I decided work less and return to formal education. I
am presently studying contemporary art practice focusing on my own creativity to develop my drawing, painting and
sculpting skills further. From early primary school I struggled with spelling,processing words and numbers but found
it effortless to model and sculpt clay and express my thoughts by drawing and painting. I have recently been
diagnosed with dyslexia and dysgraphia , This has been enlightening for me finding the missing part of the puzzle of
why I've had frustrating times with language and always found a sanctuary in the arts. Some of the inspiration for
my artwork comes from mother nature, she is my favourite artist. I live in a cottage by the beach on the Angus coast
where I can be found wandering and wondering, creatively capturing the beauty of nature and the landscape around
me into my art practice. I also find my imagination an effervescent source of ideas. My love of music has unusually
sneaked into the narrative in a visual way rather than an audio way.
My future plans are to create artistic alchemy transforming my thoughts into 3 dimensional forms then casting them
into bronze. Also experimenting and exploring mixed media, sound and animation collaborations.

Notes:

1
Artwork 1 Title: Moonlight Sonata
Artwork 1 Dimensions: 25 cm x 35 cm
Artwork 1 Medium: Music sheet painted with Ink , Van Dyke crystals with a lino print
Artwork 1 Commentary: This mixed media piece of work is a linocut printed onto a music sheet. I have painted the
view of the hillside from my home as the background. I used a mixture of inks and Van Dyke crystals to paint the
sunset sky. The musical notes of the sonata weave in and out of the clouds and dance across the moon.
Artwork 1 Image:

2
Artwork 2 Title: Bohemia
Artwork 2 Dimensions: 40 cm x 15 cm
Artwork 2 Medium: Music sheet , Wire, Tinfoil,Modrock plaster bandage, Acrylic paint & Silver Embossing powder
Artwork 2 Commentary: Curvaceous and feminine Bohemia fearlessly strides through social convention. Art beats in
her heart, music flows from her soul outwards through her aura .
She is the essence of expression.

I formed Bohemia from wire added tinfoil then modrock . Once painted she got a dusting of silver embossing
powder. The finale of her form is her music sheet bodice and star shaped headdress.

Artwork 2 Image:

3
4
Artwork 3 Title: Angus morning
Artwork 3 Dimensions: 20 x 30 cm
Artwork 3 Medium: Digital Photograph
Artwork 3 Commentary: This photograph was captured on a summers morning walking home at 6am from a night
out in Arbroath, I was in awe of the yellow fields and blue sky. I am presently painting a reproduction this scene.
Artwork 3 Image:

5
Artwork 4 Title: Waiting for a princess
Artwork 4 Dimensions: 15 x 13 x9 cm
Artwork 4 Medium: Stoneware clay with spraypaint finnish
Artwork 4 Commentary: This little frog is waiting patiently for a princess to kiss him. He is made of stoneware clay
which I spray painted to look like bronze.
Artwork 4 Image:

6
Catalogue4 ID0365
Artist ID: 0365

Artist Name: Jim Hack


Website:
IG:

Artist Statement: I have been creating photographic images for a number of years and previously studied at London
College of Printing. I have recently been exploring abstracted photographic images that are visceral and dark with an
organic undercurrent. Using image software, I enhance and create layers and depths to get beyond the 'straight'
photographic image. Not 'hyper- real' rendering but more organic and painterly. Heavily symbolic, I envisage these
images to be large and imposing, commanding a certain presence.

Another passion I have is for portraiture, black and white and 'gritty' - so have included in my final submission a
portrait of my father.

Notes:

1
Artwork 1 Title: Eye Fire
Artwork 1 Dimensions: 100x70
Artwork 1 Medium: Photographic Print
Artwork 1 Commentary: This a picture of my own eye, overlade with symbols of de-construction; flames and decay.
A large abstracted staring eye making the viewer question who is watching who. An enormous eye from another
place, staring in and at you. The eye as entrance to a soul of another being, omnipotent otherworldly presence.
Artwork 1 Image:

2
Artwork 2 Title: Green Man Cross
Artwork 2 Dimensions: 100x70
Artwork 2 Medium: Photographic Print
Artwork 2 Commentary: Large print of a Cross, organic, twisting branches hiding and obscuring a face, which is my
own. Elements of the super-natural, man and nature and religion embroiled in one symbolic Cross.
Artwork 2 Image:

3
Artwork 3 Title: Killala Bay Graffiti
Artwork 3 Dimensions: 100x70
Artwork 3 Medium: Photographic Print
Artwork 3 Commentary: Large print of Jesus on the Cross overlooking Killala Bay in Co Mayo Ireland, overlain with
graffiti of a boat and names that are etched into a door on the quay side. Ominous clouds overhead giving a feeling
of the heavens looking on.
Artwork 3 Image:

4
Artwork 4 Title: Dad
Artwork 4 Dimensions: 25x36
Artwork 4 Medium: Photographic Print
Artwork 4 Commentary: More formal black and white image of my father who passed away last year, both of us
knowing it was his last few months.
Artwork 4 Image:

5
Catalogue4 ID0367
Artist ID: 0367

Artist Name: Magdalena Gluszak - Holeksa


Website: www.magdalenagluszak.com
IG: https://www.instagram.com/magdalena_gluszak

Artist Statement: Using painting as a primary method of research I explore the notion of uncertainty, which
influences the transitions of the images throughout the process of mark making. In relation to the aesthetics of
collage – body parts and abstract forms are being re-arranged into potential "compositional narratives", where the
use of lines and contours negotiate the boundaries between the real and intangible, as well as between a physical
and mental space.

​Through layering of colors and textures I cover, hide and confuse the created pattern, in order to play with the
idea of comfort and confidence that we naturally find in knowledge and familiarity. The figurative and recognizable
parts of the images function like “anchors― and references directing the sense of space in the paintings. By
those means my work aims to encourage reasoning that engages with the hypothetical and perhaps not fully
comprehensible.

​The sceneries in my works seem to be never settled, as though they are in a fluid transformation. Without a fixed
interpretation they allow multiple readings and reflection on what is perception and where our own subjective
associations might originate from. In my paintings I depict and explore what is closest to me – other people and
myself – which I use as symbols to portray divergence between entangled perceptions and mindsets. The intuitive
process of painting is in contrast with a knowledge discourse – each decision is linked to the previous step;
therefore, it very often results in contradiction and leans towards speculation.

Notes:

1
Artwork 1 Title: Echo
Artwork 1 Dimensions: 80x100x5.1
Artwork 1 Medium: Oil on wooden panels
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Between Man and Man
Artwork 2 Dimensions: 61x85x4.4
Artwork 2 Medium: Oil on wooden panels
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Under the Mountain
Artwork 3 Dimensions: 100x80x4
Artwork 3 Medium: Oil and pastel on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Till Death Do Us Part
Artwork 4 Dimensions: 50x40x3
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0368
Artist ID: 0368

Artist Name: Woo Jae Lim


Website: www.woojaelim.com
IG:

Artist Statement: My work begins with a question, “Is what I am seeing now real?― This question arises from
the visual experience of standing in the middle of an endlessly extending corridor or in between a pattern of similar
structures. I was intrigued by the fact that within the same space, individuals can perceive the space differently and
have a varying sense of physical distance. I am interested in visual illusions that change depending on the light,
shadows, or objects within a space. As the body and object are involved with space, the influence of a relationship
begins to affect physical space that should ostensibly be measurable by width, height, and depth. Also, human vision
is able to recognize form in the light, and when light conforms to form, there is a tangible feeling of space.
My work intends to challenge viewers’ perception of space. By not providing what audiences expect to see, I
hope to make them realize what they take for granted is not to be taken for granted. During this process, viewers
continually have expectations for the work based on their learned knowledge and revise their expectations by
comparison with their own experiences. In this process, viewers maintain an attitude of seeing what they expect, yet
they are caught in between perception and a misconception as unexpected things are revealed. While going through
this process, viewers are apt to question whether what they have seen, imagined, or expected is necessarily true by
themselves.

Notes:

1
Artwork 1 Title: Beyond Space
Artwork 1 Dimensions: 2min 36sec
Artwork 1 Medium: Single Channel Video
Artwork 1 Commentary: Beyond Space, which is essentially photo-based video, is divided into three parts. First, a
photograph documents a vacant room with three windows, which forms the basis of the entire work.
In the first part, according to the spatial perspective, rendered white lines are animated in a manner reminiscent of a
perspective view of architecture. As we can figure out space through looking at a blueprint without having to see the
space in person, the work reveals the unseen parts through a perspective drawing. In the second part of the
experience, the windows are made transparent and a space that resembles a space in the photograph is displayed
beyond the window. As if lights are turned on in the corridor, an endless corridor is exposed by the lights switched
on one by one. In the third and final part of the piece, the elements in the photographic space disappear one by one.
The pillars, cables, ceiling, lights, and outlets fade one after another, exposing a basic structure of space made up of
planes.
Artwork 1 Image:

2
3
Artwork 2 Title: Beyond Space
Artwork 2 Dimensions: 63 x 90cm
Artwork 2 Medium: 3D Lenticular, Lightbox
Artwork 2 Commentary:
Artwork 2 Image:

4
Artwork 3 Title: Beyond Space
Artwork 3 Dimensions: 180 x 270 cm
Artwork 3 Medium: 3D Lenticular, Lightbox
Artwork 3 Commentary:
Artwork 3 Image:

5
Artwork 4 Title: Facade, Layer, Recollection
Artwork 4 Dimensions: 3min 50sec
Artwork 4 Medium: Projection Mapping
Artwork 4 Commentary:
Artwork 4 Image:

6
Catalogue4 ID0369
Artist ID: 0369

Artist Name: Louis Caulfield


Website: http://louiscaulfield.wixsite.com/paintings
IG: louispaintings

Artist Statement: Louis Caulfield is an artist living and working in London UK. He studied for a BA in Fine art at
Wimbledon School of Art in 1994 after doing a Foundation course at Chelsea School of Art & Design in 1992. At art
school Caulfield became interested in film and for the last 20 years has been a cinematographer working
predominantly on both Art and History documentaries. A few years ago he re-discovered the joy of painting an in
December 2016 took part in a two-man exhibition, “Look at Us― at Cob Gallery, London. In 2017 he was in a
group show at the Sid Motion Gallery, Kings Cross called “Play on Repeat― The making of images whether for
screen or painted is an important part of Caulfield’s working life.

Notes:

1
Artwork 1 Title: Awkward
Artwork 1 Dimensions: 120x90x5
Artwork 1 Medium: Acrylic on board
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Night Table Tennis
Artwork 2 Dimensions: 120x90x5
Artwork 2 Medium: Acrylic on board
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Hidden
Artwork 3 Dimensions: 84x60x5
Artwork 3 Medium: Acrylic on board
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Japanese Goats
Artwork 4 Dimensions: 84x60x5
Artwork 4 Medium: Acrylic on board
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0370
Artist ID: 0370

Artist Name: Elliot Nehra


Website: www.elliotnehra.co.uk
IG: @elliotnehra

Artist Statement: Elliot Nehra, a reclusive character, invites you into the safety of his home. Paintings are the home
for the artist, a fabricated space that is at once surreal and perfectly ordinary. The everyday inspires the work; the
paintings materialise as an instinctive response to the world, commenting on Nehra’s life, experiences, feelings,
memories and background. There is a pining for the old, simpler times, and this nostalgic reflection is coupled with
the reality of life today for the 24-year-old Brighton based painter. The multifaceted, complicated nature of
masculinity, of being and becoming a man is explored.
The painter creates a reality they can get lost in, where paint is celebrated and colour is enjoyed, and yet despite the
vibrancy his current work is some of the darkest paintings Nehra has made, filled with absence.
The viewer is invited to step into the ambiguous scenes and question the significance of the simple objects Nehra
depicts which are loaded with iconography and metaphor by the artist. Nehra paints ‘badly’ with the intention
of focusing on these symbols without the concern for recreating physical space. He is therefore free to assemble a
cacophony of marks, imagining a realm which allows escape from the mundanity of everyday life, whilst reflecting on
and drawing from it. As the artist finds himself growing more introverted, painting allows for a voice and a home for
exploration and discovery.

Notes:

1
Artwork 1 Title: Drinks Spilled
Artwork 1 Dimensions: Height: 123.5cm Width: 93.5cm Depth:3.5cm
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Mairs Painting
Artwork 2 Dimensions: Height: 121.5cm Width: 91.5cm Depth:3.5cm
Artwork 2 Medium: Oil and House paint on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Resting
Artwork 3 Dimensions: Height: 39.5cm Width: 61.5cm Depth:3.5cm
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: The Morning After
Artwork 4 Dimensions: Height: 52cm Width: 43cm Depth:3.5cm
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0371
Artist ID: 0371

Artist Name: Silvia Flechoso


Website: www.silviaflechoso.com
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: Los borrachos
Artwork 1 Dimensions: 200×220
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Piece of 'Bacanales' serie.
Artwork 1 Image:

2
Artwork 2 Title: El triunfo de la fe
Artwork 2 Dimensions: 180×140cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Venus del libro
Artwork 3 Dimensions: 170×130
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: "El cierre de la mente moderna"
Artwork 3 Image:

4
Artwork 4 Title: Proserpina
Artwork 4 Dimensions: 130×60cm
Artwork 4 Medium: 0
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0372
Artist ID: 0372

Artist Name: Andrew Torr


Website: andrewtorr.com
IG: andrewrtorr

Artist Statement: The colours in the skies above London are made by the city and the way the city lights illuminate
the clouds, the smog and the rain and mist give these colours an incredible depth and complexity. When the cloud
cover is very heavy and low, the skies can be a bright, unnatural luminous yellow. Even on a cloudless night, the
background pollution can be so dense that, although the sky is patently a deep blue, it is also yellow or orange from
the reflected sodium light – like tonic mohair, the dominant colours are simultaneously both indigo and bronze,
The challenge was to find a method and a medium that could convey and represent this depth and complexity on a
flat surface. These works are about paint and painting as much as they are about representing something.

There is also a sense of the city machine continuing to work through the night; cleaners in offices, terminals trading
with terminals on the daylight side of the earth and the industry of the red night-lights on the cranes and
construction sites in the distance. They’re very definitely not rural landscapes and anyone who lives in any of the
great cities in the world will recognise these things. The skies over Paris or Tokyo or Chicago look like this. As much
as these paintings are poems about London, they are paintings about the 21st century city.

Notes:

1
Artwork 1 Title: Clapham Common Summer ll
Artwork 1 Dimensions: 100x100
Artwork 1 Medium: Oil on linen
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Clapham Common Summer
Artwork 2 Dimensions: 100x100
Artwork 2 Medium: Oil on linen
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Wandsworth High Cloud lV
Artwork 3 Dimensions: 50x50
Artwork 3 Medium: Oil on linen
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Wandsworth High Cloud lll
Artwork 4 Dimensions: 50x50
Artwork 4 Medium: Oil on linen
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0373
Artist ID: 0373

Artist Name: Ermina Avramidou


Website: erminaavramidou.com
IG: ermina.avramidou

Artist Statement: I have always been fascinated by the way that paint can seem not simply to depict light but actually
create it, so that the painting itself becomes a light source, seeming to emit its own rays. Light, whether concealed or
pouring freely into an imagined landscape, has always been a vital element of my art.

When I look back at my body of work, I see a line of organic development that is clear only in retrospect. For me, the
paintings reflect phases in my own personal journey of which at the time, perhaps, I was scarcely aware. This is one
of the great thrills of art, that the unseen can be called forth and become part of our conscious existence.

My recent work explores this idea, the relation between what appears on the surface and is seen and known, and
what lies beneath and is unseen - but perhaps intuitively known. In literal terms, the deep places of this world -
caverns, the seabed, the floor of a tropical rainforest - these places are alien to our daily human life and yet
somehow deeply familiar, almost as if at some level we remember our primeval origins.

Each picture is an adventure for me as mysterious landscapes emerge from the play of the colours on paper. I want
this also for my audience, not to dictate to them but for them to keep searching within the canvas uncovering their
own secrets. I would like to think that my work could function as a kind of conduit to the subconscious and that, in
presenting my own reality, I am simultaneously creating a space in which people can uncover their own.

Notes:

1
Artwork 1 Title: Untitled
Artwork 1 Dimensions: 160-130 cm
Artwork 1 Medium: Acrylic ink-aero color , spray paint on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Untitled
Artwork 2 Dimensions: 120-150 cm
Artwork 2 Medium: Acrylic ink-aero color , spray paint on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Freedom is no fear
Artwork 3 Dimensions: 169-120 cm
Artwork 3 Medium: Acrylic , pastel on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Misty pathways
Artwork 4 Dimensions: 160-120 cm
Artwork 4 Medium: Acrylic ink - aero color ,spray paint on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0374
Artist ID: 0374

Artist Name: Katherine Lubar


Website: www.katlubar.com
IG: @katherinelubar

Artist Statement: Deploying a flat, hard-edged application of paint, Katherine Lubar’s paintings investigate the
behaviour of shadows and light patterns within an architectural context.

Light and shadow, refracted over the obstacles in their path, create evocative shapes that generate their own
character, simultaneously connected to, yet separate from the objects that created them.

Colour is used to describe the sensation of light, and to construct tension between positive and negative space,
conveying the experience of shadows and light patterns as physical objects, while the flatness of the surface
counteracts the illusion of depth, foregrounding the duality between the artificial and the real.

In contrast to the intangible quality of the subject matter, the precise delineation between sections conveys a desire
to engage with the idea of certainty, and suggests that reality is not as fixed as it would appear.

Some of the more recent work has been focused on steps, and the repetitive shapes created when shadows fall onto
them, adding a sense of rhythm and pattern. The abstracted shapes open the work up to multiple readings, which
simultaneously creates a subtle variant between similarity and difference.

Notes:

1
Artwork 1 Title: Steps
Artwork 1 Dimensions: 61 x 46cm
Artwork 1 Medium: acrylic on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Wood Lane Station
Artwork 2 Dimensions: 95 x 60.5cm
Artwork 2 Medium: acrylic on linen
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Ziggurat II
Artwork 3 Dimensions: 100 x 60.3cm
Artwork 3 Medium: acrylic on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Bannister
Artwork 4 Dimensions: 90 x 45cm
Artwork 4 Medium: acrylic on linen
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0375
Artist ID: 0375

Artist Name: Gustavo Fernandes


Website: www.gufernandes.com
IG: @gustavocmfernandes

Artist Statement: My current practice painting and printmaking. I have been trying to take figurative subjects to
more abstract levels of expression, with a more intuitive and emotional charge.

Being on the printmaking room, my oil painting practice


enables me to approach the same subjects, through a different angle, with a longer period of intervention, added
texture and colour resulting from the specificities of oil paint. These two vectors of my practice complement and
balance each other, allowing me two different work contexts and rhythms, informing each other with a fresh,
informative view.

Notes:

1
Artwork 1 Title: Head 143
Artwork 1 Dimensions: 170x110cm
Artwork 1 Medium: monoprint on paper
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Couple
Artwork 2 Dimensions: 140x100cm
Artwork 2 Medium: monoprint on (cotton) bedsheet
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Couple
Artwork 3 Dimensions: 120x90cm each
Artwork 3 Medium: monoprint on cotton (bedsheets)
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Untitled
Artwork 4 Dimensions: 140x210cm
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0376
Artist ID: 0376

Artist Name: Patryk Kuleta


Website: www.trynidada.com
IG: https://www.instagram.com/trynidada/

Artist Statement: Creating art is an escape from reality and a form of meditation. I see the surrounding world as a big
basket of inspiration and I articulate these inspirations through all of my artistic activities whether its photography,
digital collages or paintings.

Notes:

1
Artwork 1 Title: All Bodies Take Up Space | Figure I
Artwork 1 Dimensions: 100x120x2
Artwork 1 Medium: acrylic on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Object Of Art And Ambiguity
Artwork 2 Dimensions: 74x62x0.1
Artwork 2 Medium: digital collage
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Object Of Art And Desire
Artwork 3 Dimensions: 74x62x0.1
Artwork 3 Medium: digital collage
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: The Weight Of Air Above It | End Of Cycle
Artwork 4 Dimensions: 100x100x0.1
Artwork 4 Medium: digital collage
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0378
Artist ID: 0378

Artist Name: Dianne Kaufman


Website: diannekaufman.co.uk
IG:

Artist Statement: Not sure if I'm painting about flesh or painting about paint.
De Kooning said flesh is what oils were invented for. And I can't help but pile it on. These pieces are in high impasto
in places. Can't live without my palette knife!

I'm also concerned with how we humans read faces. How much meaning we give to the face when they are such
random accidents of genetics, and in the end just meat and gristle. Bacon. I hope they're amusing too, though
some people find them alarming....... I don't mean them to be.

Notes:

1
Artwork 1 Title: Bad Hair Day
Artwork 1 Dimensions: 36 x 41
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: I wonder if the photograph fully shows the Impasto central part.
Artwork 1 Image:

2
Artwork 2 Title: talk talk
Artwork 2 Dimensions: 21 x 15
Artwork 2 Medium: oil on canvas with glaze
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: face off
Artwork 3 Dimensions: 40 x 45
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: profile 2019
Artwork 4 Dimensions: 21 x15
Artwork 4 Medium: oil on canvas with glaze
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0379
Artist ID: 0379

Artist Name: Nick Offer


Website: www.nickoffer.com
IG:

Artist Statement: I base my paintings on collages. The collages are assemblies of disparate imagery which I find for
the most part on the internet. My aim is to find an unexpected link between figures and their environments as the
collage develops. I therefore combine and recombine these images (often merging them with parts of other collages)
until an association emerges. It seems like a good way of circumventing a conscious approach to figure painting.

The collages form the foundations for the paintings. I try to make their compositions strong enough so that if I veer
from them - following new routes the paint takes - their structure remains.

My main hope is to create a unique and persuasive world in each picture. One which works according to its own
logic and convinces by the strength of imagery and the paint that depicts it.

Notes:

1
Artwork 1 Title: Revert
Artwork 1 Dimensions: 95x110x4
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Not fond of explanations (applies to all entries).
Artwork 1 Image:

2
Artwork 2 Title: Inadequate Seasons
Artwork 2 Dimensions: 89x100x4
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Lift Off!
Artwork 3 Dimensions: 110x110x4
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Night Trippers
Artwork 4 Dimensions: 90x95x4
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0381
Artist ID: 0381

Artist Name: Greg Ioannou


Website:
IG: ioannougreg

Artist Statement: I am deeply concerned about thoughts such as the balance of symmetry and asymmetry, light and
dark; thoughts that have certainly inspired me and helped my work’s development.
The creating of multi-layered, textured, abstract art in different medium still influences my work. This has
encouraged me to investigate even further the role space plays between the shapes, and the way shapes move
within the work itself, creating a relationship with the light in the space and sometimes with the viewer’s
movement through the room. Concepts such as the above are related to my environment, my surroundings, and my
personal experiences. In addition, I want my work to be precise and contrast the chaos of our everyday life. The
reason I often prefer to make works in large dimensions is firstly because I encourage the viewer to be part of it, and
secondly I challenge him to measure himself in relation to the work.

Notes:

1
Artwork 1 Title: Untitled
Artwork 1 Dimensions: Diptych: A (200x100x4cm) B (200x90x4cm)
Artwork 1 Medium: mixed media (oil paint, PVA glue, charcoal) on canvas
Artwork 1 Commentary: They are 2 pieces but each work can stand as an individual painting.
Artwork 1 Image:

2
Artwork 2 Title: Untitled
Artwork 2 Dimensions: 100x70x3 cm
Artwork 2 Medium: Acrylic paint and charcoal on hessian.
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Untitled
Artwork 3 Dimensions: 150x120x3 cm
Artwork 3 Medium: Acrylic paint and charcoal on hessian.
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Untitled
Artwork 4 Dimensions: 70x50x3 cm
Artwork 4 Medium: mixed media (oil paint, PVA glue, charcoal) on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0382
Artist ID: 0382

Artist Name: Rob Reed


Website: www.robreedpaintings.com
IG: @thegreatescape_r.reed

Artist Statement: My painting practice is about offering a re-evaluation of the everyday scenery and the discovery of
its symbolic qualities which can present an environment for solitary contemplation for audiences. In my recent series
of paintings I have been examining the numerous paths, routes, passages and trails found within the
‘backyard’ common place. Exploring how these often overlooked remote tracks can serve as the in-between
connection prompting individuals away from one place into a non specific place, a far more removed idyllic
environment within their local surroundings – identifying Romantic traits of escapism in the suburban setting.

Notes:

1
Artwork 1 Title: Bearing Right
Artwork 1 Dimensions: 29x39x2
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: The Turf
Artwork 2 Dimensions: 23x28x3
Artwork 2 Medium: oil on board
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Shortcutting (route 14)
Artwork 3 Dimensions: 28x35x2
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Shortcutting (route 2)
Artwork 4 Dimensions: 29x39x2
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0383
Artist ID: 0383

Artist Name: Meghana Sengupta


Website:
IG: https://www.instagram.com/meghana.sengupta/

Artist Statement: Meghana Sengupta is Indian origin versatile artist whose work explores her true inner life. She
adopts an intensive creative process in the interpretation of her deepest thoughts, hidden emotions and strongest
desires, producing imagery which manifests a synergy of her childhood absorbtion of Indian art traditions and the
Western art imagery she has chosen to immerse herself in as an emerging artist.

In the execution of these figurative paintings, sometimes makes what she describes as 'informed memory', allowing
recalled and interpreted forms to emerge. Her intention is to convey her impression of a time and a person in her
painting, not just as it was but as she perceived and experienced her emotions. She has found though her practice
that a combination of extensive patience and intuition is required to capture the essence of a sitter to best convey
their inner character rather than merely their physical appearance.

Notes:

1
Artwork 1 Title: Memory
Artwork 1 Dimensions: 31 x 122 x 2
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Who am I
Artwork 2 Dimensions: 84 x 64 x 4
Artwork 2 Medium: Mix Media
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Beast Quest
Artwork 3 Dimensions: 61 x 61 x 4
Artwork 3 Medium: Mix Media
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Roots
Artwork 4 Dimensions: 61 x 61 x 4
Artwork 4 Medium: Mix Media
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0386
Artist ID: 0386

Artist Name: Jaroslav Zapletal


Website:
IG: https://www.instagram.com/zapletaljaroslav/?hl=en

Artist Statement: Jaroslav Zapletal (Born 1970 Czech Republic) Selftaught Painter ,Photographer and musician. He
has settled in East London since 2005.Jaroslav works primarily in oil,oil pastels and charcoal. He using very often an
impasto technique in his paintings, thick layers, broken" brush strokes of mixed and pure unmixed colour, not
smoothly blended or shaded to achieve the effect of intense colour vibration.
He considers himself as a British painter "If I did not decide to move to London I would probably never start
painting".

"I never know how my painting will look in the end …I just follow my inner voices" "Painting is very much an
emotional and spiritual process for me"
" You can find some level of symbolism in most of my painting"

Notes:

1
Artwork 1 Title: Dreaming in the Moroccan Desert, Oil on Canvas,35.82" x 24.01
Artwork 1 Dimensions: 92 x 61cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: When I Met An Angel
Artwork 2 Dimensions: 122cm x 92cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Love and Intrigue
Artwork 3 Dimensions: 102x102cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Land of Sunshine
Artwork 4 Dimensions: 100cmx80cm
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0387
Artist ID: 0387

Artist Name: Kate Huang


Website:
IG: https://www.instagram.com/p/BuPR8G6A7LN/?utm_source=ig_share_sheet&igshid=4ughljeoctq

Artist Statement: Kate Huang’s work revolves around the way individuals exist in different social-cultural contexts
and natural environments. Reference with the idea of Psychogeography, her practices relate to time lapse and
environments reminiscent. At present, Kate is mainly experimenting painting, video, installation and text to explore
the construction of our subjective realities and its developing meaning-making.

Notes:

1
Artwork 1 Title: PARADISE 1
Artwork 1 Dimensions: 60*80cm
Artwork 1 Medium: acrylic painting
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: PARADISE 2
Artwork 2 Dimensions: 140*150cm
Artwork 2 Medium: acrylic painting
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: NO ONE IS HERE 1
Artwork 3 Dimensions: 190*190cm
Artwork 3 Medium: acrylic painting
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: NO ONE IS HERE 2
Artwork 4 Dimensions: 190*190cm
Artwork 4 Medium: acrylic painting
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0388
Artist ID: 0388

Artist Name: Tom Panagiotopoulos


Website:
IG:

Artist Statement: I am a Greek/American artist living in London. My work represents images, colours and feelings
collected over my years of visiting my native Greek islands.

Notes:

1
Artwork 1 Title: The Kiss of a Summer Breeze
Artwork 1 Dimensions: 76x61x2
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: The Long Walk
Artwork 2 Dimensions: 40x40x2
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Forgotten Poverty
Artwork 3 Dimensions: 40x50x2
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Perspectives
Artwork 4 Dimensions: 50x40x2
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0389
Artist ID: 0389

Artist Name: Zurab Gogidze


Website:
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: Sunny
Artwork 1 Dimensions: 15cm x 10cm
Artwork 1 Medium: brown paper
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Angel of Night
Artwork 2 Dimensions: 21cm x 15cm
Artwork 2 Medium: paper, black ink
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Fish in the Night
Artwork 3 Dimensions: 15cm x 21cm
Artwork 3 Medium: paper, black ink
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Girl
Artwork 4 Dimensions: 21cm x 15cm
Artwork 4 Medium: brown paper
Artwork 4 Commentary:
Artwork 4 Image: