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Catalogue 2B

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 ID0246
Artist ID: 0246

Artist Name: Alicent Art


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

Artist Statement: Inspired by nature and by her own life experience, Alice works with acrylic on canvas, using mainly
the palette knife technique.

She expresses her emotions through striking and vibrant colors, which are the main characteristic in all her paintings.

During the recent years, following some drastic changes in her personal circumstances, Alicent has been able to
actively dedicate more time to her art.
She has gradually progressed throughout the past 5 years and 2018 has been the most successful year so far, having
been selected for the Artexpo in Rome last January and for the London New Artist Fair in September.

Notes:

1
Artwork 1 Title: Moonlight
Artwork 1 Dimensions: 40X30X4 cm
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: Inspired by a picture taken during my last summer holiday in the beautiful island of Sardinia.
I wanted to reproduce on canvas the amazing and surreal reflections of the moonlight on the marina of a small
fisherman's town. This is a palette knife work only.
Artwork 1 Image:

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Artwork 2 Title: Happiness
Artwork 2 Dimensions: 80X50X4 cm
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: With this painting i wanted to transmit a feeling of joy and contentment to the viewer,
hence the title 'Happiness'.

The thick texture on the orange background has some shades of yellow and red , whilst the top layer is a
combination of vibrant colors applied using the drip painting technique. This is also a palette knife work.
Artwork 2 Image:

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Artwork 3 Title: Ultramarine
Artwork 3 Dimensions: 100X100X4 cm
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: This abstract nude was inspired by some beautiful sculptures I had the pleasure to admire in
a Barcelona museum.

I wanted to reproduce on canvas that spectacular shape of a woman in an almost fetal position, immersed in the
deep blue underwater mysterious world, hence the title 'Ultramarine'.

This is a palette knife, sponge and brush artwork.

Artwork 3 Image:

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Artwork 4 Title: New York Skyline
Artwork 4 Dimensions: 100X50X4 cm
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: This is my latest creation, an imaginary harbor inspired by my fascination for the city of New
York.

Another example of palette knife technique.

Artwork 4 Image:

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Catalogue4 ID0247
Artist ID: 0247

Artist Name: Mark Barry Timmins


Website: www.mbtimminsart.com
IG: @timminsart

Artist Statement: My work is concerned with the narratives that form from abstract shapes, forms and lines.
These narratives often reflect childhood themes that form a personal landscape which I am constantly returning to in
my painting.

Notes:

1
Artwork 1 Title: What She Thought That She Saw
Artwork 1 Dimensions: 50x40x4
Artwork 1 Medium: acrylics
Artwork 1 Commentary: Subliminal imagery.
There are often Biblical references in my work as they connect deeply with my childhood.
There are subtle references here to King David and Bathsheba (Old Testament).
Artwork 1 Image:

2
Artwork 2 Title: Morning Prayer
Artwork 2 Dimensions: 40x50x4
Artwork 2 Medium: acrylics
Artwork 2 Commentary: Subliminal imagery.
A hill is in the foreground where ancestors are remembered.
Artwork 2 Image:

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Artwork 3 Title: Dancing Shaman
Artwork 3 Dimensions: 50x60x4
Artwork 3 Medium: acrylics
Artwork 3 Commentary: Subliminal imagery.
During my younger childhood I was fascinated by Native Americans and their spiritual connections to the earth.

Artwork 3 Image:

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Artwork 4 Title: Red Puppet
Artwork 4 Dimensions: 20x25x4
Artwork 4 Medium: acrylics
Artwork 4 Commentary: Subliminal imagery.
There is a mix of folk tale and mythology in this image which once again connects me to childhood.
Artwork 4 Image:

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Catalogue4 ID0248
Artist ID: 0248

Artist Name: David Lilly


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

Artist Statement: David is colour-blind, from birth. Born into a time and place where colour-blindness was
considered a limiting factor, David was consciously discouraged at school from taking up an artistic career. David's
most lasting memory of being exposed to mind-boggling art (as a teenager) was Coventry Cathedral; and it was from
there that his love of coloured glass began.

At the turn of the 21st century David found himself with free time and went on a stained-glass course. This lead on
to five years of fun and gaining recognition for his skills; now eighteen years on he has for the last 12 years run a
successful stained-glass business with clients in the UK, Sweden, Australia, USA and France.

He has now turned his attention to Dalle de Verre as a research project as he is currently consulting on Dalle de
Verre conservation and restoration throughout the UK.

David’s creative work at the moment is focused around fold-forming copper sheet taking inspiration from the
supposed Jurassic and prehistoric sea creatures that can be found in the strata off the Sussex coast where he is
based. David is also enjoying trialling organic patinas using them in conjunction with these sculptural works and
finally designing and making jewellery incorporating semi-precious stones with the copper.

Notes:

1
Artwork 1 Title: Baleen
Artwork 1 Dimensions: 36 x 30 x 32
Artwork 1 Medium: Copper sheet with organic patina
Artwork 1 Commentary: The shape was what happenned after the flat sheet had been manipularted using a variety
of fold-forming and raising techniques. The form is very much what the metal said it wished to be.

Baleen was created in a addition to previous works that have all been inspired by pre-historic sea creatures, and like
life itself, how it formed was as much about what the metal wanted to be as the artist intended.
Artwork 1 Image:

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Artwork 2 Title: Kron
Artwork 2 Dimensions: 15 x 18 x 80
Artwork 2 Medium: Copper sheet with organic patina
Artwork 2 Commentary: The shape was what happenned after the flat sheet had been manipularted using a variety
of fold-forming and raising techniques. The form is very much what the metal said it wished to be.

Kron was created in a addition to previous works that have all been inspired by pre-historic sea creatures, and like
life itself, how it formed was as much about what the metal wanted to be as the artist intended.
Artwork 2 Image:

3
Artwork 3 Title: Mollusc
Artwork 3 Dimensions: 140 x 230 x 210
Artwork 3 Medium: Copper sheet with organic patina
Artwork 3 Commentary: The shape was what happenned after the flat sheet had been manipularted using a variety
of fold-forming and raising techniques. The form is very much what the metal said it wished to be.

Mollusc was created in a addition to previous works that have all been inspired by pre-historic sea creatures, and like
life itself, how it formed was as much about what the metal wanted to be as the artist intended.
Artwork 3 Image:

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Artwork 4 Title: Erizo de
Artwork 4 Dimensions: 100 x 200 x 230
Artwork 4 Medium: Copper sheet with organic patina
Artwork 4 Commentary: The shape was what happenned after the flat sheet had been manipularted using a variety
of fold-forming and raising techniques. The form is very much what the metal said it wished to be.

Erizo de was created in a addition to previous works that have all been inspired by pre-historic sea creatures, and
like life itself, how it formed was as much about what the metal wanted to be as the artist intended.
Artwork 4 Image:

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Catalogue4 ID0249
Artist ID: 0249

Artist Name: Dana Ingesson


Website: danaingesson.se
IG: dana_ingesson

Artist Statement: My name is Dana Ingesson. Born and raised in Czech republic and lives in Sweden since several
years ago.
With my aquarelles I want to create a dialogue with the visitor. I find inspiration from everydays life. I t can be a
dragonflys flight in the sunshine or trees and grass in the wind but at least I want my visitors find their own
interpretations of my works. My motives are often abstract and I find it exciting watching an artwork during its
process. With this process I hope my visitors feel the art being the mystery of life, a soul’s journey in pictures.

Notes:

1
Artwork 1 Title: Empty rooms
Artwork 1 Dimensions: 53 x 40
Artwork 1 Medium: Aquarell. Watercolor
Artwork 1 Commentary: Abstract
Artwork 1 Image:

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Artwork 2 Title: Kiss for the night
Artwork 2 Dimensions: 76 x 56
Artwork 2 Medium: Aquarell. Watercolor
Artwork 2 Commentary: Abstract urban art
Artwork 2 Image:

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Artwork 3 Title: The end not only for season
Artwork 3 Dimensions: 76 x 56
Artwork 3 Medium: Aquarell. Watercolor
Artwork 3 Commentary: Abstract urban art
Artwork 3 Image:

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Artwork 4 Title: On my own
Artwork 4 Dimensions: 76 x 56
Artwork 4 Medium: Aquarell. Watercolor
Artwork 4 Commentary: Abstract urban art
Artwork 4 Image:

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Catalogue4 ID0251
Artist ID: 0251

Artist Name: Matthew Dibble


Website: www.matthewdibbleart.com
IG: @sculptordib

Artist Statement: At the heart of my practice lies a constant need to explore the creative potential and capabilities of
materials. I question pre-prescribed notions of use from building and DIY trades, through experimentation with
material combinations and conditions of use. Repurposing the discarded and unwanted materials that society deems
unfit for purpose, is something that constantly challenges me, and I believe that proving a use and value to
unwanted things is an important message to convey.
The physical process of construction is hugely important. The imprint of physical endeavour combined with the
remaining harsh surfaces created by ripping out embedded materials and the working back of layered surfaces to
reveal colours, textures and objects of significance, enables the work to embody a physicality and echo the presence
and endeavour of the creator that relates to people on a human scale.
For me to truly understand something I must have lived through it. Embodied life experiences from childhood, work,
travel and learning, and the memories of them, are continued influences on my approach to thinking and making
works of art. Often this influences the objects that are embedded in my works or the titles of them, as this indicates
the mindset I was in when constructing them.
I work in the expanded fields of both painting and sculpture, using sculptural materials in a painterly way. I like to
push the boundaries between painting and sculpture which, I believe, are becoming more blurred as materials and
methods evolve in the contemporary art world.

Notes:

1
Artwork 1 Title: Safeguarding can kiss my ass
Artwork 1 Dimensions: 160 cm x 210 cm x 10cm
Artwork 1 Medium: Plaster, Wood Board, Expanding foam, Pine cones, Gloss Paint, Spray Paint, Plaster edging tape.
Pencils, Rope, Netting.
Artwork 1 Commentary: This work came from a reaction to an interview I had for an art teachers’ job. When
asked what safeguarding meant to me, by a young deputy head who clearly knew all the buzzwords in education, I
found myself thinking ‘what the fuck has education become’. This resulted in me wanting to explore how and
why I’d fallen out of love with teaching. Using a mixture of materials and objects that could be found in my art
classroom, I built up a multi-layered, highly textured piece which explores the relationship between surface,
textures, object and colour. This piece reflects the intensity of the complex feelings I was experiencing whilst facing
the reality of my long teaching career coming to an end. A hard yet cathartic process to work through.
Artwork 1 Image:

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Artwork 2 Title: Strip Club Paranoia
Artwork 2 Dimensions: 180 cm x 90 cm x 10cm
Artwork 2 Medium: Plaster, Expanding foam, Iron Rod, Netting, String, Spray Paint, Dried Flowers, Ornamental
organic objects, Florescent Paint and Florist's wire..
Artwork 2 Commentary: This piece was born out of the paranoia that comes with a hangover these days. A deep
state of uneasy that grumbles inside me, not quite remembering what happened on a night out. The possibilities of
‘what if’s?’ ‘how much?’ ‘could I really have?’. All these questions and thoughts, which could
be nothing or could be an unbelievable reality, gradually build up and worsen over a series of days as my hangover
slowly dissipates. All these questions seem to have become more serious and menacing as I’ve grown older. This
work uses these questions and the resulting feelings as a catalyst to explore the physicality of material, use a
psychologically ‘tweaky’ state to enhance my working of the materials.
Artwork 2 Image:

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Artwork 3 Title: Toodaloo Mudda Fucca
Artwork 3 Dimensions: 180cm x 90 cm x 15 cm (each piece)
Artwork 3 Medium: Plaster, Wooden Board, Iron Rod, Florist Wire, Rope, Netting, Florescent Paint, Spray Paint,
Artwork 3 Commentary: This piece was born out of one of my most vivid memories from my teaching career, when I
said “Toodaloo Mudda Fucca’s― whilst giving the bird sign with both hands to a group of work colleagues. I
was walking backwards out of the room to find that I was stood with my back to the headmaster and the entire
board of governors, still displaying the bird sign at my colleagues. I turned to look directly into the headmasters’
eyes, and he stopped what he was saying to the governing board of a very expensive swiss boarding school, and said
“this is Matthew, he’s one of the characters on staff―. I think this says it all really!
This memory reminds me of how accepted I was, and how different this was to my experience on returning to
another secondary education system where I felt unable to be myself. This piece represents the stark contrast of my
feelings, from joy and acceptance, to discomfort and sadness. It has bright vibrant colours and incudes objects
related to art teaching but also has an extremely harsh textured layered surface. It is a further exploration of the
qualities of materials and how far they can be pushed before they break.

Artwork 3 Image:

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Artwork 4 Title: Half Sheppy's - Half Wilkin's
Artwork 4 Dimensions: 160 cm x 70 cm x 6cm
Artwork 4 Medium: Plaster, Board, Paint, Magazine Pages.
Artwork 4 Commentary: Two halves coming together to create a thing of beauty. Half Sheppy’s and Half
Wilkin’s is the best combination of ciders. The memory of this drink sparked a memory of a time I met up with an
old friend at a quirky old boat pub called the Apple in Bristol, and the experience of sharing how we had changed for
the best, whilst remembering with great joy and laughter the memories of old. This work is a trip down memory lane
mixed with the now and the present, represented through layers of material, worked and exposed to real elements
of the old and the new.
Artwork 4 Image:

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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:

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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 ID0255
Artist ID: 0255

Artist Name: Glyn Bateman


Website: www.glynbateman.com
IG: @nohoroscope

Artist Statement: My art practice developed from within the spheres of graphical design, advertising, photography
and illustration. My work uses image manipulation and compositing, achieved either by hand or through digital
means and incorporates elements of painting, drawing, digital photography, collage and printmaking.

My work often employs the language of advertising and corporatism to vehicle social commentary about the human
condition, living in 21st Century, contemporary society in addition to this, my other artworks refer to mythologies
and ancient symbolism. Most pieces display my obsession with detail and using visual devices such as repetition and
pattern in my compositions.

The works that I have submitted for entry are two dimensional Metallic Lamba and Digital Giclée Prints.

Notes:

1
Artwork 1 Title: Eye #3
Artwork 1 Dimensions: 800mmX800mmX4.5mm
Artwork 1 Medium: Metallic Lambda Print / 3mm Diasec & 1.5mm Aluminium
Artwork 1 Commentary: Eye is commenting directly upon the ultimate panoptic control of our contemporary society
that is being achieved through endemic surveillance. In the name of national security, crime prevention and safety,
our basic rights to privacy are quickly diminishing. Each of the patterns that form Eye are constructed mainly out of
many different varieties of CCTV camera, that were photographed and documented across areas of Cardiff and
South Wales.

There are also other pattern formations situated within the composition that are produced from chains and security
gates. The human eye at the centre of the image signifies mankind’s awakening consciousness in the face of
evasive technology global oppression and the Orwellian state.

Although the image has been produced digitally through use of a computer, it is not purely a ‘computer-
generated’ image. Each pattern (variable) has been hand built and placed into the composition.

Artwork 1 Image:

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Artwork 2 Title: Gubenare A/P
Artwork 2 Dimensions: 800mmX1400mmX40mm
Artwork 2 Medium: Metallic Lambda Print on 3mm Black PVC Housed in black box frame.
Artwork 2 Commentary: Governance of the body, mind and soul... plus all of the red tape.
Artwork 2 Image:

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Artwork 3 Title: Skulduggery with Orchids A/P
Artwork 3 Dimensions: 860mmX860mm
Artwork 3 Medium: Metallic Lambda Print Framed and mounted in Black
Artwork 3 Commentary: A two-dimensional, fractal image that incorporates digital photography and mix media. The
work is influenced by and to a larger extent, parodies Late Baroque style wall paper patterns. The composition is
constructed out of contrasting variables of Orchid Flowers and Skulls.
Although the piece has been produced digitally through use of a computer, it is not purely a ‘computer-
generated’ image. Each variable has been hand built and placed into the composition. The overall pattern
imitates towards ‘an order‘ and being symmetrical whilst subsequent elements of ‘rebellious’
asymmetry occur randomly throughout. This adds a tension and energy to the piece.

Artwork 3 Image:

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Artwork 4 Title: Blodeuwedd
Artwork 4 Dimensions: 450mmx450mm
Artwork 4 Medium: Digital Giclée Print Mounted in Silver Metallic Frame.
Artwork 4 Commentary: I was mainly drawn to story of Blodeuwedd that is found in the Fourth Brach of the Welsh
Mabinogion. In a very brief summary - Blodeuwedd was a beautiful woman created entirely out of flowers and
meadowsweet by magicians Gwydion and Math. After being wed to Prince Llew, Blodeuwedd commits adultery with
a Hunter and they both fall in love and conspire to kill the Prince so they can be together. At the close of the story
Blodeuwedd faces her punishment – instead of death she is turned by Gwydion into an Owl to be banished from
the daytime forever: ―…you will never dare show your face in daylight for fear of all the birds and all the birds
will be hostile towards you…―
Artwork 4 Image:

7
8
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:

2
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:

3
4
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:

5
6
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:

7
8
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:

2
3
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:

4
5
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:

6
7
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 ID0259
Artist ID: 0259

Artist Name: Manss Aval


Website: www.manssaval.com
IG: instagram.com/avalmanss

Artist Statement: My work builds on a strong science background and is influenced by the practice of geometric
designs and calligraphy traditional to Middle Eastern art.

Many of my paintings typically begin with observations of natural patterns, textures or other structures that evolve
into lyrical compositions of form and colorful rhythms.
I see many of my pieces as embodiment of fantastic creatures and dream scenarios.

My most recent series of paintings and photographs integrates inorganic objects into dynamic compositions. It
focuses on inanimate constructs and their conversion into actors that place viewers into the realm of the strange
while also anchoring themselves in familiar and connectable elements. These works feel like imaginative adaptations
of a readily recognizable world. This interplay draws one in closer for a more intimate examination to uncover the
identifiable elements while also exploring the elements of the strange within them. These interactive pieces invite
viewers to give free reign to their fantasies and memories.

Notes:

1
Artwork 1 Title: At the Beach
Artwork 1 Dimensions: 25"x40"x1"
Artwork 1 Medium: Photography
Artwork 1 Commentary: In my photography I am always struck by the solitude and anonymity of individuals in urban
environments, one of the striking characteristics of Western society.
Artwork 1 Image:

2
Artwork 2 Title: Origin of Order
Artwork 2 Dimensions: 40"x40"x1"
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: This series originate from geometric constructs and explores the concept of how these rigid,
well-defined and nominally inanimate elements, can morph into moving, transforming, three-dimensional
constructs. When ordinary circles can assume dynamic, doughnut-shaped faces and rectangles in perceptually
transition to hexagons, octagons… as elements of a twisting, flexible and growing multigonal boundary of
abundant complexity and depth, the viewer’s eyes begin a journey to wherever it leads them, often returning to
the origin to depart for a different destiny. This work combines elements of uniformity and structure with those of
chaos and disorder.
Artwork 2 Image:

3
4
Artwork 3 Title: Triad
Artwork 3 Dimensions: Triptych, each panel 60“ x 40" x 1"
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: This series originate from geometric constructs and explores the concept of how these rigid,
well-defined and nominally inanimate elements, can morph into moving, transforming, three-dimensional
constructs. When ordinary circles can assume dynamic, doughnut-shaped faces and rectangles in perceptually
transition to hexagons, octagons… as elements of a twisting, flexible and growing multigonal boundary of
abundant complexity and depth, the viewer’s eyes begin a journey to wherever it leads them, often returning to
the origin to depart for a different destiny. This work combines elements of uniformity and structure with those of
chaos and disorder.
Artwork 3 Image:

5
6
Artwork 4 Title: Simple Origins
Artwork 4 Dimensions: 60" x 40“ x 1―
Artwork 4 Medium: acrylic on stainless steel
Artwork 4 Commentary: This series originate from geometric constructs and explores the concept of how these rigid,
well-defined and nominally inanimate elements, can morph into moving, transforming, three-dimensional
constructs. When ordinary circles can assume dynamic, doughnut-shaped faces and rectangles in perceptually
transition to hexagons, octagons… as elements of a twisting, flexible and growing multigonal boundary of
abundant complexity and depth, the viewer’s eyes begin a journey to wherever it leads them, often returning to
the origin to depart for a different destiny. This work combines elements of uniformity and structure with those of
chaos and disorder.
Artwork 4 Image:

7
8
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 ID0264
Artist ID: 0264

Artist Name: Jess Loseby


Website: www.rssgallery.com
IG: https://www.instagram.com/jessloseby/

Artist Statement: Jess Loseby was trained in fine art and went on to specialise in bringing these skills in the then,
newly emerging media and medium, of digital art and the internet.

Living as she does, with a severe disability and frequent ill health, she lives within constantly shifting borderlands
and her art reflects this. Being a conceptual artist allows her to cross the invisible but intimidating borders in art by
mixing high tech and lo-tech art with both Fine art and lo- art technique .

Although she is still relatively unknown in the UK this has allowed her to established an International exhibition
profile in galleries, public spaces and online, particularly with her digital painting,Video art, interactive installations
&augmented photography. Although her art is always rooted in drawing.

She is also known for her Curation of international artist collaborations and artist residencies. This led to the
privilege of being the first British artist to a fully virtual, online residency, creating art live online 6 hours a day 4
months for the net.art pioneers Futherfield and A.C.E.

At its heart her work visually annotates her life; the small, the unheard, the everyday, the trivial and the borderless
streams of light & life that they are bathed in as it flows from the screens around us.

Jess Loseby married her her childhood sweetheart Clive Loseby at 18. They have 3 children whom she refuses to
accept are pretty much grownup as that would be she is.

Notes:

1
Artwork 1 Title: Heartburn
Artwork 1 Dimensions: Part 1; 40 x30 x8 cms Part 2; Projection is site specific
Artwork 1 Medium: New Media: "Heartburn" is a 2 part Mirror artwork. Part 1 is a single Edition Acrylic Print
(30x40x8cms) & Part 2 is a one floor projection using looped video (size is site specific).
Artwork 1 Commentary: Friday. Long Week.
————————————————
I have to admit I dislike supporting statements for artwork. I wish you would just let me draw another picture!
I’m afraid I have decided to no longer write them. I hope my explanation why and the comment I made on Social
Media I made when posting it (above) will be acceptable in its place.
My goal for many years now, rather pretentiously, is to be a digital Flâneur’- visually annotating my life.
However, as someone who is disabled and lives with daily chronic pain, I follow a difficult and intangible line as I do
so. One where I am truthful in my annotation whist trying not to create art that so self referential it cannot
communicate to anyone else but me.

Anxious, as I am , that art that becomes too literal when trying to represent the narratives of the amorphous in our
lives is always in danger of making something very multifaceted very uninteresting (I might as well just paint all my
canvasses black!), I suspect artists statements foster further an idea I dislike - that one has to understand art to enjoy
or communicate with it.

There is if course a valuable place for art as therapy in helping people deal with their pain or a disability - it’s just
not at my table.
For me, one of the greatest aspects of art is that two or a hundred people (or now with the internet, many
thousands) can view a piece of art and each one will connect with it differently. Sometimes the difference may be
very small but it can be completely contradictory and make all the difference to their connection (if any) to the
artwork they are viewing .

Please forgive me if I try as to interrupt that process as little as possible.

Artwork 1 Image:

2
3
Artwork 2 Title: Particparory Particles
Artwork 2 Dimensions: 40x30x3cms
Artwork 2 Medium: New Media: Print on Aluminium
Artwork 2 Commentary: Tuesday. Today it seems I have nothing better to do than beat randomly generated particles
into submission...
————————————————

I have to admit I dislike supporting statements for artwork. I wish you would just let me draw another picture!
I’m afraid I have decided to no longer write them. I hope my explanation why and the comment I made on Social
Media I made when posting it (above) will be acceptable in its place.
My goal for many years now, rather pretentiously, is to be a digital Flâneur’- visually annotating my life.
However, as someone who is disabled and lives with daily chronic pain, I follow a difficult and intangible line as I do
so. One where I am truthful in my annotation whist trying not to create art that so self referential it cannot
communicate to anyone else but me.

Anxious, as I am , that art that becomes too literal when trying to represent the narratives of the amorphous in our
lives is always in danger of making something very multifaceted very uninteresting (I might as well just paint all my
canvasses black!), I suspect artists statements foster further an idea I dislike - that one has to understand art to enjoy
or communicate with it.

There is, of course, an extreemly valuable place for art as therapy in helping people deal with their pain or a
disability - it’s just not at my table.

For me, one of the greatest aspects of art is that two or a hundred people (or now with the internet, many
thousands) can view a piece of art and each one will connect with it differently. Sometimes the difference may be
very small but it can be completely contradictory and make all the difference to their connection (if any) to the
artwork they are viewing .

Please forgive me if I try as to interrupt that process as little as possible.

Artwork 2 Image:

4
5
Artwork 3 Title: As Stated: Everybody Hurts (sometimes)
Artwork 3 Dimensions: 60 x 30 x 8cms
Artwork 3 Medium: New Media:Created with #charcoal & digital charcoal and chalk printed on Wood
Artwork 3 Commentary: Friday. As stated, Everybody hurts (sometimes)

I have to admit I dislike supporting statements for artwork. I wish you would just let me draw another picture!
I’m afraid I have decided to no longer write them. I hope my explanation why and the comment I made on Social
Media I made when posting it (above) will be acceptable in its place.
My goal for many years now, rather pretentiously, is to be a digital Flâneur’- visually annotating my life.
However, as someone who is disabled and lives with daily chronic pain, I follow a difficult and intangible line as I do
so. One where I am truthful in my annotation whist trying not to create art that so self referential it cannot
communicate to anyone else but me.

Anxious, as I am , that art that becomes too literal when trying to represent the narratives of the amorphous in our
lives is always in danger of making something very multifaceted very uninteresting (I might as well just paint all my
canvasses black!), I suspect artists statements foster further an idea I dislike - that one has to understand art to enjoy
or communicate with it.

There is, of course, an extreemly valuable place for art as therapy in helping people deal with their pain or a
disability - it’s just not at my table.

For me, one of the greatest aspects of art is that two or a hundred people (or now with the internet, many
thousands) can view a piece of art and each one will connect with it differently. Sometimes the difference may be
very small but it can be completely contradictory and make all the difference to their connection (if any) to the
artwork they are viewing .

Please forgive me if I try as to interrupt that process as little as possible.


Artwork 3 Image:

6
7
Artwork 4 Title: Im mobility
Artwork 4 Dimensions: 60x40x8cms
Artwork 4 Medium: Photography
Artwork 4 Commentary: Monday: Does all mundane things become beautiful at night?

————————————————

I have to admit I dislike supporting statements for artwork. I wish you would just let me draw another picture!
I’m afraid I have decided to no longer write them. I hope my explanation why and the comment I made on Social
Media I made when posting it (above) will be acceptable in its place.
My goal for many years now, rather pretentiously, is to be a digital Flâneur’- visually annotating my life.
However, as someone who is disabled and lives with daily chronic pain, I follow a difficult and intangible line as I do
so. One where I am truthful in my annotation whist trying not to create art that so self referential it cannot
communicate to anyone else but me.

Anxious, as I am , that art that becomes too literal when trying to represent the narratives of the amorphous in our
lives is always in danger of making something very multifaceted very uninteresting (I might as well just paint all my
canvasses black!), I suspect artists statements foster further an idea I dislike - that one has to understand art to enjoy
or communicate with it.

There is, of course, an extreemly valuable place for art as therapy in helping people deal with their pain or a
disability - it’s just not at my table.

For me, one of the greatest aspects of art is that two or a hundred people (or now with the internet, many
thousands) can view a piece of art and each one will connect with it differently. Sometimes the difference may be
very small but it can be completely contradictory and make all the difference to their connection (if any) to the
artwork they are viewing .

Please forgive me if I try as to interrupt that process as little as possible.

Artwork 4 Image:

8
9
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 ID0267
Artist ID: 0267

Artist Name: Joy Spence


Website: None
IG: None

Artist Statement: From a little girl I have been passionate about art and sculpture and was forever painting and
drawing, or any paper or creative materials I could get my hands on my passion for art is immense and creativity and
producing art inspires me and I find a deep serenity in creating differing pieces of art with different mediums.

Many thanks for looking at my art work.

Best regards,

Joy Spence

Notes:

1
Artwork 1 Title: Viribus Finis
Artwork 1 Dimensions: 100cm High x 130cm width
Artwork 1 Medium: Recycled plastic, tape, paper mache, textured paste, gesso primer, acrylic paint, acrylic glaze and
fabric
Artwork 1 Commentary: This sculpture represents the twists and turns that life takes. It represents what one always
aims to achieve in life strength to face and over come challenges and obstacles with enough gusto to over come
them with fortitude, love and compassion. The composition resembles the challenging times in life, the luzurious
times and the times of pure love. The statement this piece encapsulates is 'strength in the end.' Which one hopes we
will all have
Artwork 1 Image:

2
Artwork 2 Title: Pax et Concordia
Artwork 2 Dimensions: 51cm wide x length 40.5cm
Artwork 2 Medium: Acyrlic on cnvass, wtih textured paste glaze and glazed in areas.
Artwork 2 Commentary: The beauty of seeing a fabulous view in nature, evokes a sense of wonder of the natural
environment. We sense, feel and touch, this is the intention of this composition. I wanted to add movement and
detail, for people to feel and see the beautiful colours of the ocean and almost be able to touch the leaves in the
foreground.
Artwork 2 Image:

3
Artwork 3 Title: Joi De Vivre
Artwork 3 Dimensions: 90cm wide x 90cm length
Artwork 3 Medium: Acrylic paint on canvass and glazed in areas.
Artwork 3 Commentary: This was a most spontaneous creation on a summers evening, exploring the colours of the
fabulous sunset with the painting as I was painting by moon and candle light. Then months later someone pointed
out that they could se within the painting the face of a woman. Creativity sometimes has no plan but ces la vie,
things happen in ones life in ones painting one day we find out why but the reason may become apparent one day or
never at all.
Artwork 3 Image:

4
Artwork 4 Title: Fortitude
Artwork 4 Dimensions: 199cm length x 555cm wide
Artwork 4 Medium: Acrylic painted on canvas and glazed in areas
Artwork 4 Commentary: I composed this painting ten years ago. It needed a little renovation due to its age. I had
originally painted it horizontally and when renovating it on a summers evening I placed it vertically and saw within
the painting a person with one arm behind their head and shoulders. I had gone through one of the most heart
breaking times in my life, shown by the jagged jutting shapes going into the piece. However, the figure is still
standing in the composition despite tragedy and showing boldness and fortitude.
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 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 ID0271
Artist ID: 0271

Artist Name: Gaynor Perry


Website: www.gaynorperry.com
IG: https://www.instagram.com/gaynorperry_artist/

Artist Statement: In my creative work I am immersed in portraying the truth. What the truth is, what it is composed
of and how to perceive it, are central to my themes.

I believe that to discern the precinct of truth, it is essential to nurture a fluent dialogue with the subconscious. By
developing a keen awareness of intuitive feelings, a curiosity and belief in the imagery and sensory episodes
delivered in the dream state, one can discover an authentic affinity with the world.

Notes:

1
Artwork 1 Title: Physical Medium I
Artwork 1 Dimensions: 50 x 40 cm (framed)
Artwork 1 Medium: Photography
Artwork 1 Commentary: "Physical mediumship is defined as manipulation of energies and energy systems by spirits.
This type of mediumship is claimed to involve perceptible manifestations, such as loud raps and noises, voices,
materialized objects, apports, materialized spirit bodies, or body parts such as hands, legs and feet. The medium is
used as a source of power for such spirit manifestations. By some accounts, this was achieved by using the energy or
ectoplasm released by a medium. In 1944, Helen Duncan was one of the last people convicted under the Witchcraft
Act 1735, which made falsely claiming to procure spirits a crime.― Source: Wikipedia

Resembling cheesecloth, ectoplasm is light-sensitive and can only be produced in a darkened room. Emitted through
the body's natural openings it is the raw material for spirit manifestation. Mediumship is a complex story of belief
and need with a long history which is often associated with the emancipation of women.

"The Witchcraft Act is still in force in Israel, having been introduced into the legal system of the British Mandate over
Palestine; Israel gained its independence before the law was repealed in Britain in 1951. The South African
Witchcraft Suppression Act, 1957, which is still in force, was based on similar 19th-century laws in the Cape Colony
which were themselves based on the Witchcraft Act 1735.― Source: Wikipedia
Artwork 1 Image:

2
3
Artwork 2 Title: Physical Medium II
Artwork 2 Dimensions: 40 x 50 cm (framed)
Artwork 2 Medium: Photography
Artwork 2 Commentary: "Physical mediumship is defined as manipulation of energies and energy systems by spirits.
This type of mediumship is claimed to involve perceptible manifestations, such as loud raps and noises, voices,
materialized objects, apports, materialized spirit bodies, or body parts such as hands, legs and feet. The medium is
used as a source of power for such spirit manifestations. By some accounts, this was achieved by using the energy or
ectoplasm released by a medium. In 1944, Helen Duncan was one of the last people convicted under the Witchcraft
Act 1735, which made falsely claiming to procure spirits a crime.― Source: Wikipedia

Resembling cheesecloth, ectoplasm is light-sensitive and can only be produced in a darkened room. Emitted through
the body's natural openings it is the raw material for spirit manifestation. Mediumship is a complex story of belief
and need with a long history which is often associated with the emancipation of women.

"The Witchcraft Act is still in force in Israel, having been introduced into the legal system of the British Mandate over
Palestine; Israel gained its independence before the law was repealed in Britain in 1951. The South African
Witchcraft Suppression Act, 1957, which is still in force, was based on similar 19th-century laws in the Cape Colony
which were themselves based on the Witchcraft Act 1735.― Source: Wikipedia
Artwork 2 Image:

4
5
Artwork 3 Title: Physical Medium (film)
Artwork 3 Dimensions: Duration 02:57 mins
Artwork 3 Medium: Film (projector required)
Artwork 3 Commentary: "Physical mediumship is defined as manipulation of energies and energy systems by spirits.
This type of mediumship is claimed to involve perceptible manifestations, such as loud raps and noises, voices,
materialized objects, apports, materialized spirit bodies, or body parts such as hands, legs and feet. The medium is
used as a source of power for such spirit manifestations. By some accounts, this was achieved by using the energy or
ectoplasm released by a medium. In 1944, Helen Duncan was one of the last people convicted under the Witchcraft
Act 1735, which made falsely claiming to procure spirits a crime.― Source: Wikipedia

Resembling cheesecloth, ectoplasm is light-sensitive and can only be produced in a darkened room. Emitted through
the body's natural openings it is the raw material for spirit manifestation. In this series of photographs and film
Deborah Griffin skilfully portrays the physical medium. Mediumship is a complex story of belief and need with a long
history which is often associated with the emancipation of women.

"The Witchcraft Act is still in force in Israel, having been introduced into the legal system of the British Mandate over
Palestine; Israel gained its independence before the law was repealed in Britain in 1951. The South African
Witchcraft Suppression Act, 1957, which is still in force, was based on similar 19th-century laws in the Cape Colony
which were themselves based on the Witchcraft Act 1735.― Source: Wikipedia

https://we.tl/t-nsGHjrUDvf
Physical Medium - WeTransfer Link

https://vimeo.com/36363911
Physical Medium - Vimeo Link
Artwork 3 Image:

6
7
Artwork 4 Title: St Anne's Well
Artwork 4 Dimensions: Duration 40 mins
Artwork 4 Medium: Film & Sound (projector & speakers required)
Artwork 4 Commentary: There is little known about St Anne's Well – an ancient holy well, originally called
Wealletune after the place-name (Welton, East Yorkshire), adopted by Christianity and re-named St Anne's Well in
c.1080. Prior to that it is believed to have been a place of pagan ritual, the well being a portal to the Otherworld. It's
particularly meaningful to me as I played around the site of the well as a child. Unaware of the history beneath my
feet at that time, I continue to be drawn back there in dreams.

"... the holy well stands before a long, if tiny and ill-lit, corridor of history with doors leading off into many
unexpected and little-visited rooms..." James Rattue, author of The Living Stream.

As the soundscape evolves, various bird calls sing out, while at the still centre is the heron. The heron is an enigmatic
being richly featured in mythology and folklore. For me, herons can be the most beautiful creatures to grace our
skies, and whenever I see one I instinctively feel it is a 'good omen'; somehow they chime with me. In St Anne's Well,
the heron may be both guardian and oracle, but always an enduring presence in our subconscious landscapes.

https://vimeo.com/233809811
St Anne's Well (excerpt) - Vimeo Link

https://we.tl/t-weu89e0Heh
St Anne's Well (excerpt) - WeTransfer Link
Artwork 4 Image:

8
9
Catalogue4 ID0272
Artist ID: 0272

Artist Name: Katie Torres


Website: https://imagesbykatieelizabeth.com
IG: @Images_by_Katie_Elizabeth

Artist Statement: As an artist, I struggled with photographs the most. Not being able to manipulate the medium with
my hands or a brush made it hard. I wanted to turn the photographs I took into purposeful, artistic images.

I recently stopped trying to control the subjects around me and started to watch what they did, how they moved
about and the emotions they were feeling. Now when I take a photograph I don't think, how can I take this moment
and make it better but instead how can I use my camera to show the people around me just how beautiful and
messy they are. The messiest moments seem to be the most beautiful in the end.

This is the very first contest I have ever entered as an artist and as a photographer. But these photos make me feel
something deep inside and I hope they can do the same for others. So I am going to be brave now, end my artist
statement and hit submit.

Notes:

1
Artwork 1 Title: The Hands That Caught Me
Artwork 1 Dimensions: 88cm x cm63
Artwork 1 Medium: Digital Photograph
Artwork 1 Commentary: Ten hands are found in this image, ten. This new tiny human is just seconds new. Nobody
even knows her gender, nor does anyone seem to care. Baby has no name, gender is unknown, they are naked and
covered in blood, yet all of these hands love this baby. This image shows what love is.
Artwork 1 Image:

2
Artwork 2 Title: Listening In
Artwork 2 Dimensions: 88cm x 63cm
Artwork 2 Medium: Digital Photograph
Artwork 2 Commentary: This image shows the last time this baby will have their heart rate monitored inside her
mom. Just seconds later she was earthside.
Artwork 2 Image:

3
Artwork 3 Title: Powerful Connection
Artwork 3 Dimensions: 88 cm x 63 cm
Artwork 3 Medium: Digital Photograph
Artwork 3 Commentary: The connection between these parents was unreal. They were in sync. Mom seemed to
display pleasure when he held her as her hips were separating and she was pushing a human out of her body.
Artwork 3 Image:

4
Artwork 4 Title: Born in Caul
Artwork 4 Dimensions: 63cm x 88cm
Artwork 4 Medium: Digital Photograph
Artwork 4 Commentary: There is an urban myth that being born in caul is good luck. The sac of fluid that protected
the baby for her entire life was about to bust.
Artwork 4 Image:

5
Catalogue4 ID0274
Artist ID: 0274

Artist Name: Paul Ekwere


Website: Instagram.com/_paulie___
IG: Instagram.com/_paulie___

Artist Statement: i live to make beautiful things .::. art isn't what i see .::. art is what i make others see

my mission is blend two passions of mine, technology and art, in order to push the boundaries of what is commonly
accepted as conventional art, accelerating the future

~ _paulie___

.::. style .::.

the majority of my work is done digitally, hand painted via traditional methods but using software based tools as my
medium. i primarily use sketchbook on the microsoft surface pro to create my art

i occassionally do graphite and charcoal portraiture as well

Notes:

1
Artwork 1 Title: Death Stare
Artwork 1 Dimensions: 30 cm x 58 cm (unframed)
Artwork 1 Medium: Digital Paint (Hand painted on Surface Pro)
Artwork 1 Commentary: .::.
the subject seen in 'death stare' - snake, is a character in a long-running video game series, metal gear.

i was captivated by a similar image and just had to portray it with my own special twist - snake, the old worn out
soldier, is portrayed here with evident signs of wear and tear - battle scars, the eye patch and a prosthetic hand,
painted in a specific rough style to further enhance the rugged nature of the character.

the weathered soldier, rough and tough, and the worn look is deliberately juxtapositioned against the dark
background to further draw you into the character bringing your focus to 'that death stare'... the steely determined
look of a man who is tough as nails and determined to win every battle!

what do you see?

~ _paulie___
Artwork 1 Image:

2
3
Artwork 2 Title: Emrata
Artwork 2 Dimensions: 33cm x 42cm (framed)
Artwork 2 Medium: Digital Paint (Hand painted on Surface Pro)
Artwork 2 Commentary: '@emrata', as she is poularly known on social media, is a model, actress and women's rights
activist.

she is a strong women in a generation that needs positive female role models.

i was captivated by this look and had no choice but to capture and reinterprete it.

the intriguing bit about this piece for me, is how inscrutable the stare of the subject it... you simply cannot tell what
she's thinking

this is my objective here

'emrata' is the first in a limted edition 13 part series of paintings i am working on and hope to exhibit in late 2019 to
early 2020

the series " x-faces; find 'x' " deliberately draws on the lack of expression to allow the observer leeway to interprete
what emotion they think the subject if feeling, in their own way

thoughts?

~ _paulie___
Artwork 2 Image:

4
5
Artwork 3 Title: JILL
Artwork 3 Dimensions: 36cm x 45cm (framed)
Artwork 3 Medium: Digital Paint (Hand painted on Surface Pro)
Artwork 3 Commentary: 'JILL' is the second in a limted edition 13 part series of paintings i am working on and hope
to exhibit in late 2019 to early 2020

the series " x-faces; find 'x' " deliberately draws on the lack of expression to allow the observer leeway to interprete
what emotion they think the subject if feeling, in their own way

i find this look particularly intriguing.

even adding further to the mystery of the subject, is the somewhat androginous appearance of the subject

my overarching goal with the "x-faces" series is to stoke mystery... make you ask questions...

how much can you really tell about what goes on in a persons head simply by observing their face?

~ _paulie___
Artwork 3 Image:

6
7
Artwork 4 Title: Silence
Artwork 4 Dimensions: 33 cm x 28 cm (unframed)
Artwork 4 Medium: Digital Paint (Hand painted on Surface Pro)
Artwork 4 Commentary: 'silence' speaks for the millions of women globally that are oppressed

i am one of the lucky few who have grown up with women and was raised by women (4 sisters, my mother and
numerous cousins)

in this piece i aim to portray the numbness that comes with having your voice taken away from you and not being
allowed to express yourself

art for me has always been the purest form of expression

~ _paulie___
Artwork 4 Image:

8
9
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:

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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:

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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:

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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:

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Catalogue4 ID0276
Artist ID: 0276

Artist Name: Paul Bonomini


Website: www.bonominisculptor.com
IG: paul_bonomini

Artist Statement: Paul Bonomini is a British sculptor. He was born, lives and works in London, UK. He is an elected
and active member of the Royal Society of sculptors (MRSS). His piece 'Deconstructed Cube Form I' was recently on
show at The Venice Biennale 2018.

Paul's work currently follows two flows. The first is based on his interest in the beauty and symmetry of The Platonic
Solids, in particular the cube. The second follows a more organic, narrative driven set of themes. His Memento Mori
or Vanitas works set in vitrines filled with glycerine resemble reliquaries, containing bones, cast iron skulls, and a
forged steel skeletal hand holding a chicken bone. The authenticity of the relics within is a matter for debate. The bar
code labels and seals could indicate that they are part of a valued collection, a kind of bizarre forensic archaeological
archive. His work is driven by process, and materials; casting, forging and constructing pieces in a range of materials,
including bronze, iron, concrete, glass, steel and more recently 3D printed plastics. Although distinctly different his
two current areas of interest are intrinsically linked by their homogeny of material usage. Paul's background in
Theatre Design informs his use of space, spatial relationships and occasionally narrative - as Dan Flavin said "It is
what it is, and it ain't nothin' else"

Notes:

1
Artwork 1 Title: The Pardoner
Artwork 1 Dimensions: H48 X W30 X D30
Artwork 1 Medium: Forged steel, stainless steel, glass, concrete and glycerine.
Artwork 1 Commentary: My reliquary “The Pardoner― is inspired by Chaucer’s Canterbury Tales, I decided
to create a 21st century reliquary combining both narrative in the re-telling of the Chaucerian tale “The
Pardoner―, and an updated presentation of “The Reliquary―. The glass vessel containing the relic is filled
with glycerine which magnifies and distorts the contents adding to the drama of the work. The jar is securely bolted
within the stainless steel structure and has lead seals and an etched aluminium bar code label, which could indicate
that it is part of a valued collection – a kind of bizarre forensic archaeological archive. The rubber bung alludes to
the possible use of the contents as an “Elixir―. The Pardoner like the American carpet baggers of the old west
was a charlatan who sold fake relics to unsuspecting sinners. My sculpture presents his hand-perhaps severed by the
disgruntled recipient of the chicken bone still held twixt finger and thumb. The authenticity of the relic is of course
debatable, but the presentation of the piece, the quality of the materials used, and the finish lends it status and
some credibility.
Artwork 1 Image:

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3
Artwork 2 Title: Barbarossa
Artwork 2 Dimensions: H45 x W25 x D25
Artwork 2 Medium: Cast iron, found bones, glass and concrete.
Artwork 2 Commentary: My Reliquary "Barbarossa" is the second of a series of pieces based on my interest in
Memento Mori. Memento Mori symbolises the fragility and transience of the human race. As the title says -
“remember (that) you will die―. It is related to the Ars Morendi (“The Art of Dying―) and similar Western
literature, although not exclusively. Memento Mori has been an important part of ascetic disciplines as a means of
perfecting the character by cultivating detachment and other virtues, and by turning the attention towards the
immortality of the soul and the afterlife. In this piece I have cast the death mask (perhaps) of the renowned pirate
Barbarossa (Red Beard) in iron and set it within a bone sculpture. This draws on the carvings and artworks created by
seamen as talisman, which they believed carried, the power to protect, as with the reliquaries found in Churches
around the World.
Artwork 2 Image:

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5
Artwork 3 Title: "Kintsugi" Vanitas
Artwork 3 Dimensions: H49 x W34 x D16
Artwork 3 Medium: Cast Iron, Lacquer and gold powder, bees wax, glass, concrete and steel
Artwork 3 Commentary: My Reliquary “Kintsugi― references the Japanese art of repairing broken pottery with
lacquer mixed with gold, silver or platinum. It treats breakage and repair as part of the history of an object, rather
than something to disguise. Kintsugi can be seen to have similarities with the Japanese philosophy of Wabi-Sabi, an
embracing of the flawed or imperfect. It could equally relate to the Japanese philosophy of “no mind―
(Mushin), which encompasses the concepts of non-attachment, acceptance of change, and fate as aspects of human
life. These concepts resonate powerfully with Memento Mori. A broken cast iron skull has been repaired with
lacquer and gold, and is set into bees wax, sealed within a vitrine and mounted in concrete panels, fastened with
stainless steel bolts.
Artwork 3 Image:

6
7
Artwork 4 Title: Memento Mori
Artwork 4 Dimensions: H50 x W40 x D65
Artwork 4 Medium: Forged Steel
Artwork 4 Commentary: My sculpture - Memento Mori symbolises the fragility and transience of the human race. As
the title says - “remember (that) you will die―. It is related to the Ars Morendi (“The Art of Dying―) and
similar Western literature, although not exclusively. Memento Mori has been an important part of ascetic disciplines
as a means of perfecting the character by cultivating detachment and other virtues, and by turning the attention
towards the immortality of the soul and the afterlife. The complexity of the hand forged construction technique was
most certainly character building. The time involved in creating the piece allowed for endless reflection. As to my
soul - well I’ll let fate take its course. This piece forms part of a body of work with the recurring theme of death as
its central narrative.
Artwork 4 Image:

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Catalogue4 ID0278
Artist ID: 0278

Artist Name: Ruth Brenner


Website: https://www.ruthbrenner.co.uk/
IG: https://www.instagram.com/ruthabrenner/

Artist Statement: Ruth Brenner is a Scottish sculptor and installation artist living and working in Newcastle upon
Tyne. After graduated in from Newcastle University in 2012 as a Master of Fine Art, she won a Royal British Society
of Sculptors bursary award in 2013. She is currently working on a practice led PhD combining a study of
phenomenology and sculptural practice to research corporeality and the bodily acts of making.
Corporeality is the quality of being or having a material body, therefore Brenner’s work engages with: the
physical and mental act of making; and material exploration in relation to elemental materials, elemental processes
and direct engagement with materials. The influences of corporeality are central to her practice as the work has a
direct association to her bodily dimensions; physical ability; sensory awareness and her relationship with the
material. Making is, therefore, inextricably linked with the outcome which is a visual record of cognitive processes.
When emotion, perception and material work together, they become one.
In an attempt to close the gap between the theoretical and the practical, Brenner’s work aims to celebrate the
immersive experience of using one’s hands to engage with the materials of the world whilst giving the embodied
practice of making theoretical underpinning.

Notes:

1
Artwork 1 Title: 'Carnal' 2017
Artwork 1 Dimensions: Clay form: dimensions variable. Pallet 16 x 60 x 120 cms (hwd).
Artwork 1 Medium: Fired porcelain and terracotta on bespoke hardwood pallet.
Artwork 1 Commentary: 'Carnal' is part of a collective of works that are bodily both in form and in the process in
which they are made. Porcelain and terracotta layers were pressed using my body weight and feet. The volume and
weight of the material, together with my physical limitations, dictated the form which resembles a beautifully
repulsive internal organ.
Artwork 1 Image:

2
Artwork 2 Title: 'Coddled' 2017
Artwork 2 Dimensions: Clay form: 16 x 30 x 43 cms (hwd). Pallet: 16 x 60 x 100cms (hwd).
Artwork 2 Medium: Unfired porcelain and stoneware, cotton muslin and bespoke hardwood pallet.
Artwork 2 Commentary: 'Coddled' is part of a collective of works that are bodily both in form and in the process in
which they are made. This form was manipulated on muslin before being wrapped and bound with muslin. The
skin-like qualities of the clay body along with the protective white bedding give the form a precious look and provoke
associations of nurturing.
Artwork 2 Image:

3
Artwork 3 Title: 'Experimentum' 2016
Artwork 3 Dimensions: Dimensions variable (approximately 200cms high)
Artwork 3 Medium: Charred wood, glass and concrete
Artwork 3 Commentary: ‘Experimentum’ are works based on an interdisciplinary project between Durham and
Sunderland Universities researching treaties written by Robert Grosseteste; a Medieval Bishop, Master of Theology,
philosopher and natural scientist. The works were based on experiential learning.
Artwork 3 Image:

4
Artwork 4 Title: 'Raku Vessels' 2016
Artwork 4 Dimensions: 25 x 35 x 50 cms
Artwork 4 Medium: Raku fired stoneware and steel nails
Artwork 4 Commentary: ‘Raku Vessels’ pay with aesthetic hierarchy – are the vessels containers or are they
a metaphor for the human vessel? Brenner is interested in the idea of the ritual object and how we fetishize or
anthropomorphise objects.
Artwork 4 Image:

5
Catalogue4 ID0280
Artist ID: 0280

Artist Name: Lucia Brauburger


Website: www.artandbuilding.de
IG: luciabrauburgerpaintings

Artist Statement: “I play with prototypical depictions of women, convey the arbitrary reproduction and reduction
that lies behind these portrayals. The digital manipulation exaggerates this even further, like a collage. In fact, this
exaggeration is part of the reality that women are confronted with every day. They are reduced to rudimentary
formulas, making them interchangeable. This interchangeability is also conveyed in the way I make and use the
paper templates. They are like modules that can be attached to the canvas and moved about at will. It’s all a
game – a game that is not meant to reflect the perspective of the women concerned, but rather an reflective,
distant gaze. And my pictures do not show any recognisable, real individuals. All the elements have been
manipulated, so it’s impossible to identify any original. So, what are we looking at here?―

Notes:

1
Artwork 1 Title: I see you
Artwork 1 Dimensions: 120 x 160 cm
Artwork 1 Medium: acylic on canvas & paper
Artwork 1 Commentary: “I play with prototypical depictions of women, convey the arbitrary reproduction and
reduction that lies behind these portrayals. The digital manipulation exaggerates this even further, like a collage. In
fact, this exaggeration is part of the reality that women are confronted with every day. They are reduced to
rudimentary formulas, making them interchangeable. This interchangeability is also conveyed in the way I make and
use the paper templates. They are like modules that can be attached to the canvas and moved about at will. It’s
all a game – a game that is not meant to reflect the perspective of the women concerned, but rather an reflective,
distant gaze. And my pictures do not show any recognisable, real individuals. All the elements have been
manipulated, so it’s impossible to identify any original. So, what are we looking at here?―
Artwork 1 Image:

2
3
Artwork 2 Title: Big lips
Artwork 2 Dimensions: 30 x 30 cm
Artwork 2 Medium: acylic on canvas & paper
Artwork 2 Commentary: “I play with prototypical depictions of women, convey the arbitrary reproduction and
reduction that lies behind these portrayals. The digital manipulation exaggerates this even further, like a collage. In
fact, this exaggeration is part of the reality that women are confronted with every day. They are reduced to
rudimentary formulas, making them interchangeable. This interchangeability is also conveyed in the way I make and
use the paper templates. They are like modules that can be attached to the canvas and moved about at will. It’s
all a game – a game that is not meant to reflect the perspective of the women concerned, but rather an reflective,
distant gaze. And my pictures do not show any recognisable, real individuals. All the elements have been
manipulated, so it’s impossible to identify any original. So, what are we looking at here?―
Artwork 2 Image:

4
5
Artwork 3 Title: I can´t see you
Artwork 3 Dimensions: 30 x 30 cm
Artwork 3 Medium: acylic on canvas & paper
Artwork 3 Commentary: “I play with prototypical depictions of women, convey the arbitrary reproduction and
reduction that lies behind these portrayals. The digital manipulation exaggerates this even further, like a collage. In
fact, this exaggeration is part of the reality that women are confronted with every day. They are reduced to
rudimentary formulas, making them interchangeable. This interchangeability is also conveyed in the way I make and
use the paper templates. They are like modules that can be attached to the canvas and moved about at will. It’s
all a game – a game that is not meant to reflect the perspective of the women concerned, but rather an reflective,
distant gaze. And my pictures do not show any recognisable, real individuals. All the elements have been
manipulated, so it’s impossible to identify any original. So, what are we looking at here?―
Artwork 3 Image:

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7
Artwork 4 Title: No brain
Artwork 4 Dimensions: 30 x 30 cm
Artwork 4 Medium: acylic on canvas & paper
Artwork 4 Commentary: “I play with prototypical depictions of women, convey the arbitrary reproduction and
reduction that lies behind these portrayals. The digital manipulation exaggerates this even further, like a collage. In
fact, this exaggeration is part of the reality that women are confronted with every day. They are reduced to
rudimentary formulas, making them interchangeable. This interchangeability is also conveyed in the way I make and
use the paper templates. They are like modules that can be attached to the canvas and moved about at will. It’s
all a game – a game that is not meant to reflect the perspective of the women concerned, but rather an reflective,
distant gaze. And my pictures do not show any recognisable, real individuals. All the elements have been
manipulated, so it’s impossible to identify any original. So, what are we looking at here?―
Artwork 4 Image:

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Catalogue4 ID0281
Artist ID: 0281

Artist Name: Sampy Sicada


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

Artist Statement: I was born in Hong Kong, developing low level anxiety in my childhood in the vastly frantic and
stress ridden environment. I moved to the UK later on, living in East Sussex for school before moving to Leeds, where
I currently reside. As a result of my travels I have experienced first hand the differences in culture, values, and social
conditioning between not only the North and South in England, but the East and West continentally. As a sufferer of
PTSD and its recurring flashbacks, my work is a constant representation of my inner psyche. Inspiration comes from
said flashbacks, dreams or things that could have been from dreams. Using traditional fine artist mediums (oils,
charcoal, colour pencil etc.), I aim to create impactful images that stem from my history of mental health, many
times using motifs that breakdown the societal norms that have affected me personally.

The most exciting part of my work is hearing about it from other people, due to the different meanings and
programming individuals have obtained in their respective upbringings, there are no wrong assumptions made about
my artwork, but ultimately I admit to wanting people to like it and find it interesting in discussion.

Notes:

1
Artwork 1 Title: TRIBUTE TO BELOVED NARCISSIST
Artwork 1 Dimensions: 11x14 inches
Artwork 1 Medium: colour pencil
Artwork 1 Commentary: This piece was drawn after a dream I had, I tend to psychoanalyze such experiences as a
form of growth and reprogramming. The art is a representation of the ego upon a session of detribalization and
reflection. People of all cultures feel part of a side ie. politics, race, gender etc. With the narcissist, I feel their side is
unknowingly or knowingly with themselves. Regardless of what people are brought up to be aligned with, the world
will be a better place if we can detach from the ego at times. There is a place for it as we all need to protect
ourselves, but your side is not you, nor should it be.
Artwork 1 Image:

2
Artwork 2 Title: The child inside us all I
Artwork 2 Dimensions: A4
Artwork 2 Medium: CHARCOAL
Artwork 2 Commentary: A focus on the impact on mental health growing in today's digital environment. Perspectives
taken from both child and parents
Artwork 2 Image:

3
Artwork 3 Title: The child inside us all II
Artwork 3 Dimensions: A4
Artwork 3 Medium: CHARCOAL
Artwork 3 Commentary: part of the "child inside us all" series
Artwork 3 Image:

4
Artwork 4 Title: The child inside us all III
Artwork 4 Dimensions: A4
Artwork 4 Medium: CHARCOAL
Artwork 4 Commentary: part of the "child inside us all" series
Artwork 4 Image:

5
Catalogue4 ID0282
Artist ID: 0282

Artist Name: Spadge Hopkins


Website: spadgehopkins.co.uk
IG: spadgeart

Artist Statement: Spadge Hopkins Artist b 1966

Spadge Hopkins is creating on a full time basis, informed by experience gained during a creative career that has so
far involved leadership, product design, the music industry and automotive engineering. Currently he tends to work
in three dimensions and in metal.

His copper sculptures are variously figurative and explore two of the binaries of sculpture; volume and void; whilst
playing with the use of light and shadow and whose form is also influenced by the work of Alexander Calder. Spadge
enjoys the various colours of copper, particularly after heat treatment and lacquer, the combination of the metal
with the shining solder and the fluidity of the shapes achievable with this type of construction. Movement is a
conscious theme in his natural history subjects whereas other pieces often concern mystery and the evocation of
history.

Notes:

1
Artwork 1 Title: Silver Shadow
Artwork 1 Dimensions: 30 x 60 x 20
Artwork 1 Medium: Copper on an oak base
Artwork 1 Commentary: Inspired by memories from a rural childhood, days at the races and the iconic images of
horses in mythology, American and ancient cultures, I have attempted to capture the graceful movement of a fine
horse at the trot.

This sculpture benefits from the shadow it can produce but does not rely on it for its message or visual appeal.
Artwork 1 Image:

2
Artwork 2 Title: Raedwald - First King of England
Artwork 2 Dimensions: 56 x 29 x 28
Artwork 2 Medium: Copper on a wooden base
Artwork 2 Commentary: This sculpture representing the Anglo Saxon King Raedwald attempts to convey the atavistic
inspirations of Sutton Hoo the ancient burial site overlooking the Deben Estuary in Suffolk.

The void alludes to the past. The shining and heat- patinated copper used lends itself to hinting at the precious
metals used in the famous helmet that was found on the site and remains a powerful icon of this important, ancient
and spiritual place.

This sculpture benefits from the shadow it can produce but does not rely on it for its message or visual appeal.
Artwork 2 Image:

3
4
Artwork 3 Title: The Burial Ship
Artwork 3 Dimensions: 60 x 80 x 30
Artwork 3 Medium: Copper
Artwork 3 Commentary: An interpretation of the Anglo Saxon ship that sailed proudly up the Deben Estuary and was
somehow hauled up to Sutton Hoo in Suffolk to become the final resting place of Raedwald, the first king of England.

This sculpture benefits from the shadow it can produce but does not rely on it for its message or visual appeal.
Artwork 3 Image:

5
Artwork 4 Title: Dave
Artwork 4 Dimensions: 50 x 50 x 30
Artwork 4 Medium: Copper on a wooden base
Artwork 4 Commentary: I met two friendly chaps at one of my exhibitions. They became Dave.

This sculpture benefits from the shadow it can produce but does not rely on it for its message or visual appeal.
Artwork 4 Image:

6
Catalogue4 ID0284
Artist ID: 0284

Artist Name: Marie Lenclos


Website: www.marielenclos.com
IG: https://www.instagram.com/marielenclos_painting/

Artist Statement: Marie Lenclos is a French painter who lives and works in South London. Lenclos came back to
painting recently, after a break of over 17 years. She is currently developing a series of urban paintings called
‘Moments’. They are highly detailed figurative representations of mundane or domestic scenes from London
streets and buildings. As a documentary video maker for over ten years, Lenclos got into the habit of 'framing' things
all the time, even without a camera. Cycling or walking to and from work, she would suddenly see something and
think: 'this would make a good shot'. Now, no longer a filmmaker, Lenclos captures these moments of seeing in her
paintings. Sudden impressions where lines, light and colours come together at the same time, her subjects present a
unique stillness in urban spaces and architecture. The paintings work like long exposure photographs, intensifying
colours and removing traces of people and activity, allowing both artist and observer to contemplate the interplay of
colour, light and lines in the physical environments we inhabit.

Notes:

1
Artwork 1 Title: Hello
Artwork 1 Dimensions: 90x70x3
Artwork 1 Medium: oil on linen
Artwork 1 Commentary: I attended the 5th Year Celebration and Launch of the Art Prize at Ashurst Emerging Artists
Gallery in the Autumn of 2018. It was my first 'physical' contact with the Art Prize and I arrived at the venue full of
anticipation and slightly nervous too, having little experience of these sorts of events. As I entered the building and
was directed to go upstairs, I came across the impressive entrance hall of Ashurst's offices. I was struck by the space,
its lines, its colours, its glossy yet warm atmosphere. I loved the wood panelling, present everywhere, and felt
instantly in love with the symmetry and order of the place. I decided there and then that this would be my entry for
the prize. It fully represents a 'moment of seeing', where I get struck by a visual composition I could not have
expected or imagined before.
Artwork 1 Image:

2
3
Artwork 2 Title: The bridge by the studio
Artwork 2 Dimensions: 61x46x3
Artwork 2 Medium: Oil on linen
Artwork 2 Commentary: This is another 'moment of seeing'. This bridge cuts the road I go down everyday on my way
to the studio, but also to the shops, train station, school, doctors, everywhere I go, basically. I must have walked
under this bridge thousands of times in the fifteen years I have lived in Loughborough Junction. I never looked at it,
really, until that day, when I noticed that the bridge was exactly the same colour as the sky. I suddenly saw the
beauty of it, its lines, projected shadows, colours.
Artwork 2 Image:

4
Artwork 3 Title: Lunch break
Artwork 3 Dimensions: 90x70x3
Artwork 3 Medium: Oil on linen
Artwork 3 Commentary: Last December, I was summoned to Jury Service at Blackfriars Crown Court. I spent a long
morning in a dull waiting room, surrounded by grey carpets and public space furniture. I was cold, bored, listless. I
wasn't called to be part of a trial. I waited and waited, sitting next to other people, from all walks of life, also waiting,
also bored. At last, we were released for lunch and I decided to walk to the nearby Tate Modern for a bit of air and
beauty. This sight caught me by surprise as I neared the River. Its vibrant colours, perfect composition and shapes
was like an antidote to a dull morning.
Artwork 3 Image:

5
Artwork 4 Title: Welcome 8
Artwork 4 Dimensions: 50x60x3
Artwork 4 Medium: Oil on linen
Artwork 4 Commentary: One winter morning, I was sent by my doctor to attend a pre-diabetes workshop at my local
health centre. I had never been there. The day was grey and cold. I cycled there, and passively entered the space,
registered my attendance and was told to wait. I sat down. I did not look forward to this workshop. I felt I was
wasting my time. I felt disempowered, despondent, anxious. I waited. Suddenly, I looked up, and I saw the space in
front of me. Its perspective, warm tones, shiny surfaces and the window at the back looked magical, like a promise. I
covertly took a couple of photos from the height of my knees, feeling slightly stupid as I did so. And was called into
the workshop. That afternoon, or the next day, I made the big step to trust myself and what I had seen, and decided
to paint this space. It was the beginning of a repetitive exercise in trusting my vision and creating paintings from
sudden 'moments of seeing'.
Artwork 4 Image:

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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
4
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:

5
6
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:

7
8
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 ID0290
Artist ID: 0290

Artist Name: Elizabeth Gleave


Website: www.elizabethgleave.com
IG: www.instagram.com/elizabeth.gleave

Artist Statement: Elizabeth is a photographer, who's work centres around anthropological and environmental issues.
She has worked for a wide range of charities as well as running photography workshops for children with social
communication difficulties. Her personal art practice is focused on supporting positive social change using the
medium of photography

Notes:

1
Artwork 1 Title: Living like a local
Artwork 1 Dimensions: 45 x 81 cm Print
Artwork 1 Medium: Photograph
Artwork 1 Commentary: This image was taken at a farm in Greece, Kefalonia, where I was spending time working
with local farmers who were still recovering from the Earthquake of 2014.
Artwork 1 Image:

2
Artwork 2 Title: Girl and Komodo Dragon
Artwork 2 Dimensions: A2 Print 42.0 x 59.4 cm
Artwork 2 Medium: Photograph
Artwork 2 Commentary: This work brings to light the vast disparateness between the human and the dragon,
opening up questions about everything inbetween these two forms of life and how and where we connect.
Artwork 2 Image:

3
Artwork 3 Title: By the Sea
Artwork 3 Dimensions: 76 x 76 cm Print
Artwork 3 Medium: Photograph
Artwork 3 Commentary: An image looking at the textures and forms of sea scapes taken from a project that looks at
words used for nature that are slowly being forgotten.
Artwork 3 Image:

4
Artwork 4 Title: By the Sea
Artwork 4 Dimensions: 45 x 81 cm Print
Artwork 4 Medium: Photograph
Artwork 4 Commentary: An image looking at the textures and forms of sea scapes taken from a project that looks at
words used for nature that are slowly being forgotten.
Artwork 4 Image:

5
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 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 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 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 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 ID0302
Artist ID: 0302

Artist Name: Aziz Basan


Website: azizbasan.com
IG: Aziz BaÅŸan Art

Artist Statement: What defines us? Our achievements? Our failures?

To be sure, we all aspire to something, but mostly we find ourselves in situations outside our control. These need not
be as violent as revolution or war, as grave as pestilence, or as fateful as race or family. Yet, whether we
acknowledge it or not, they contribute to a growing sense of inescapable loss – of innocence, of hope, of
childhood, loved ones, a way of life, our peace of mind, livelihood or property, and, when we dare glance back and
begin to see events differently, of our mutual past.

Various types of line drawings are used in the compositions to differentiate the persons depicted in them from the
situations they are questioning.

Notes:

1
Artwork 1 Title: Syria - Past, Present and Future
Artwork 1 Dimensions: 120x90x5
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: From the series "That Which Is Lost".

This painting addresses the consideration that not only Syria's present but also its past and future are being
destroyed. The colors are intentionally that of the desert...
Artwork 1 Image:

2
Artwork 2 Title: De-struction
Artwork 2 Dimensions: 90x120x5
Artwork 2 Medium: Oil & acrylic pen on canvas
Artwork 2 Commentary: From the series "That Which Is Lost".

The hooded young man's world is being turned upside down, but he can see no way out of his situation.
Artwork 2 Image:

3
Artwork 3 Title: 22063
Artwork 3 Dimensions: 120x90x5
Artwork 3 Medium: Oil & acrylic pen on canvas
Artwork 3 Commentary: From the series "A History of the Republic".

The work refers to the first military coup in Turkey, on 27th May, 1960, when I was 17.

The cigarette packet depicted commemorated the coup with the slogan "together as a nation". At the time we were
studying classical Ottoman literature at school, to which the upside down miniature refers, a love story by Firdausi
about a Persian king and an Armenian princess. The partial photograph is of the gallows from which the Prime
Minister Adnan Menderes was later hung. That was the reality, not what we were being taught or told.
Artwork 3 Image:

4
5
Artwork 4 Title: Inheritance
Artwork 4 Dimensions: 120x90x5
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: From the series "A History of the Republic".

This work refers to the legacy of the Ottoman Empire, the problems the Turkish Republic inherited.

The miniature motif refers to the dysfunction of the empire's administrative elite, which founded the republic, but
failed to change its culture despite all the reforms (engineering, alphabet, dress code, etc.).

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 ID0304
Artist ID: 0304

Artist Name: Carolina Mejia


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

Artist Statement: Carolina MejÃ-a Niño (Stockholm, 1987)

My work consistently tries to aware the viewer of the need and existence of others, pushing them to evolve from
living individually to co-live and get infected by the necessity of coexistence. My work is a world of faces,
expressions, and color mixtures that provide energy for the development of collective consciousness. Using copper
and bronze as a constant protagonist of the process, I introduce the viewer in the painting reflecting themselves on
someone else's flesh.

The series "Emakumea" (2018) claims the power, strength, and independence of women, willing to show the value,
energy, and capabilities of 49.6% of the world's population. The series is born from the need to empower and
support women in the struggle for gender equality. The word Emakumea means "the woman" in Euskera, this being
a language that has no gender, and which gives an example of equality in one of the most basic tools of the human
being, language.

The portraits look at the viewer inviting him to connect with them and feel the claim in the fight against the glass
ceiling and the wage gap, as well as in the construction of equality in education, the labor market, household chores,
and cultural matters. The equality of genders is a mission to be accomplished by the whole society, eliminating
micro-machismo that every person uses in their daily life.

Notes:

1
Artwork 1 Title: Ausardia
Artwork 1 Dimensions: 50x50x4
Artwork 1 Medium: Oil and acrylic on copper
Artwork 1 Commentary: The work is titled "Courage" or "Ausardia" in euskera. The white stains represent the
multiple invisible and normalized struggles of sexism and machismo within society. The stripes represent the
diversity of cultures where these practices are part of the normality.
Artwork 1 Image:

2
Artwork 2 Title: Indarra
Artwork 2 Dimensions: 50x50x4
Artwork 2 Medium: Oil and acrylic on copper
Artwork 2 Commentary: The work is titled "Force" or "Indarra" in Euskera, defending the spirit and impetus with
which you have to start this fight of equality, which will be neither the first nor the last of humanity.
Artwork 2 Image:

3
Artwork 3 Title: Zorrotza
Artwork 3 Dimensions: 50x50x4
Artwork 3 Medium: Oil and acrylic on copper
Artwork 3 Commentary: The artwork is titled "Sharp" or "Zorrotza" in euskera.
Artwork 3 Image:

4
Artwork 4 Title: Aske
Artwork 4 Dimensions: 50x50x4
Artwork 4 Medium: Oil and acrylic on copper
Artwork 4 Commentary: The work is titled "Free" or "Aske" in euskera.
Artwork 4 Image:

5
Catalogue4 ID0305
Artist ID: 0305

Artist Name: Lucy Ralph


Website: lucy-ralph.com
IG: @lucyralphart

Artist Statement: My painting questions the human body and how it functions. The body's natural processes and also
the exterior interventions it undergoes. Recurring themes of fragmented figures, raw canvas and erasure depict the
body's fragility and unreliability. I frequently use thread and stitch my canvas which allows me to enter into a
cathartic journey, doing to the canvas with self-control what is often done to me by surgeons. Literature and poetry
often plays a role in my practice, whereby I write onto the canvas my train of thought, in a continuous process of
erasing, reapplying and obscuring.

Notes:

1
Artwork 1 Title: Brokeback
Artwork 1 Dimensions: 135cm x 200cm
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: Brokeback relates to the fragility, presence and unreliability of the human body, and also its
strength in holding itself together. Having a troublesome relationship with my own body and passing through
recurrent spinal fusions and surgeries, the split down the middle of the painting, the spine of the painting if you will,
carries a very symbolic weight. The painting can be visualised as two separate halves that have found a complicated,
yet firm way back together. Brokeback varies in texture, with parts of bare canvas and thick brush strokes coinciding
with erasure and fissures.
Artwork 1 Image:

2
Artwork 2 Title: Body in my Path
Artwork 2 Dimensions: 130cm x 270cm
Artwork 2 Medium: Oil and pencil on canvas
Artwork 2 Commentary: Body in my Path has autobiographical connotations and depicts fragmented bodies which
align with the recurrent themes in my practice of fragile and unreliable bodies. The painting portrays a road running
right through the spine of a fragmented figure kneeling down, metaphorically highlighting the body as an obstacle in
life's path.
The painting varies in texture with parts of bare canvas and traces of pencil, to very thick layers of paint.
Artwork 2 Image:

3
Artwork 3 Title: Silent Waters
Artwork 3 Dimensions: 183cm x 138cm
Artwork 3 Medium: Oil, pencil and thread on canvas
Artwork 3 Commentary: Silent waters speaks about the mind and its functions. I am intrigued by the state of sleep
and what happens inside our brains during unconsciousness and how it takes this time to process our conscious
thoughts. Thread is used to depict the brain and I chose this material because of its virtuosity and delicacy. The
process of stitching the canvas relates back to my own personal relationship with surgery. The whirlpools inside the
brain symbolise the pressures of thoughts being processed, constantly beating, like bodily functions which never
sleep. The canvas acts like a chalk board where I am conveying my emotions towards my personal relationship with
sleep. Verses of poetry, phrases and repeated words are both present and erased. For often what is obscured is
often seen more.
Artwork 3 Image:

4
5
Artwork 4 Title: Convergence of Passages
Artwork 4 Dimensions: 90cm x 130cm
Artwork 4 Medium: Oil, pencil and thread on canvas
Artwork 4 Commentary: Convergence of Passages is autobiographically rooted, referencing the spine and its relation
to stitch. The process of stitching the canvas allows me to enter into a cathartic journey, whereby I do to the canvas
what surgeons do to my body, yet here, I am in total control. The thread up the skewed centre of the painting also
acts as a surface of reflection to the drawn faces on either side. Obscured vertical writing embossed in paint can be
just about read on each side of the faces. One word says INSTINCT, the opposing says SLEEP. These two words stare
at each other, interrogating the use of general anaesthesia and more largely speaking, intervention of man in nature.
Artwork 4 Image:

6
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 ID0311
Artist ID: 0311

Artist Name: Kyungmin Son


Website: www.kyungminsophiason.space
IG: sophiakmson

Artist Statement: Kyungmin Sophia Son works with various forms of immersive installation, using collage and
diagrams of objects to explore discourses around Posthuman conditions and ontologies. Sophia’s interest in the
haptic or sensual experience of everyday life informs her choice of materials: objects that are familiar yet estranged
or lose their place in time and mutate into a fictional realm. Her work questions human desires and our social
relationships, the invisible powers and nerves that influence our perceptions and feelings of being in the world.

Sophia's interest is in consumer culture and products that mimic aspects of ‘reality' and nature, illusions, andÂ
fantasies that represent an imagined or idealised human future. Science and new technologies have become a
crucial aspect of her research, thinking about the relationships and separations between the natural world and the
manufactured or machine world. These ideas transform in her installations, where objects and forms become
suspended, covered, joined, hung and fitted in gestures that restlessly deconstruct and reconstruct their original
status. Humour and irony are also an important aspect of her practice, these ideas are played out through the
placement of objects. Sophia’s rigorous observations of the world and collected scenes from everyday
experiences inform her understanding and ideas around precarity and new body forms.

Notes:

1
Artwork 1 Title: IF YOU ARE LUCKY YOU WILL SEE IT
Artwork 1 Dimensions: 250x240x120 cm
Artwork 1 Medium: Wood, Styrofoam, printed fabric, velvet, chain, eyelets, thread, sewing, ball head pin, synthetic
cotton, clay, car spray paint, vinyl print, fishing net, ball, toy, rope, tieback, beads, bolt, metal ring, copper ring,
copper pipe, cable ties
Artwork 1 Commentary: IF YOU ARE LUCKY, YOU WILL SEE IT (2018), The work acts as props or set pieces,
referencing the artificial landscape and playroom. The work developed through artist’s experience of two months
residence in Athens. It has a connection to a geographical understanding of playing a video game as in the same way
inhabiting self to adopt and get familiar to a new place. Rules, language, and direction systems are becoming
emerging forms with found and collected images of occupying from surrounding and build new landscape. Two
biomorphic embellishments dangled and suspended from the water pipe that arched over and embedded
underneath the ground platform which made of a metallic surface that resembles 3D scanning visual recording. The
platform mimics Ancient agora ruins and remains across the city. Remanent gestures of flying marks on the wall and
lining fragmented garment that discarded from a pattern remain on the floor are a hint or a trace of the past and
present and the guess for the future. The constructed landscape is indicative of how the historical residue and recent
economic crisis left the city with vacant buildings and ruins architecture. Historical treasures and the ancient residue
is sharing the life together in the present.
Artwork 1 Image:

2
3
Artwork 2 Title: Believe Me / Life Attitude
Artwork 2 Dimensions: DIMENSION VARIABLE
Artwork 2 Medium: laser cut Aluminium, metal, ceramic, synthetic fabric, fabric strings, bubble wrap, glass, steel
chain, perspex, rubber glove, PVC, eyelet button, print on paper, print on film, rubber basket, rubber gloves, cement,
wheat, cereal, jubilee clip, wire, Alum
Artwork 2 Commentary: Believe Me / Life Attitude (2017) is a collection of sculpture, print, and collages include a
various form of sense and complicated relationship between materials. Using juxtaposition of fabricated and
manufactured objects activate as a network, body, theatre or stage that might be inhabited or animated.
Throughout the composition, suggests various forms of relational confrontation from an everyday situation
surrounded by machine, nature and synthesized material, images, and other living figures. The work aims to
emphasize the vulnerability of human emotions in front of the power relationship and situations that forced to be
trust and their uncertainty of the fear in our time. Confrontation and emotional fluctuation in daily experience
presented using composition of overlapping, covering, hanging and shifting from the scale and materiality that
estrange from reality yet surreally affected throughout the work. At once looking fictional ambiance, at the same
time using a domestic product, the artist tries to immerse the confusion from a visual connection as we living in
shared digital fluxes with tangible stubbornness. Such a human-position in front of the machine becomes a torturing
threat when we still quivered by the gentle breeze. The weakness and fragility of our body in front of disease and
their process of recovery, treatment and the pain meet the coldness of the machine, combine with the absurdity of
once looking at a playground, with smiley mouth and pastel color, embossed protection, planting by creating a
pseudo-natural atmosphere to comfort patient. The systematic mechanical structure entangled with machinery
mimics with operating element of wheels, chains, mobility. The title Believe me / Life Attitude suggests uncertainty
and disruption and doubt moment within the surroundings of multiple meeting points.
Artwork 2 Image:

4
5
Artwork 3 Title: Inhale and Exhale
Artwork 3 Dimensions: 60x250x120cm
Artwork 3 Medium: Aluminium sheet, sponge, acrylic ink (saturated)
Artwork 3 Commentary: The sponge stays as soaking wet. it is placed in the middle of a rectangular aluminium mat.
It saturated a considerable amount of black ink on its entire body. It holds and stands without losing shape or
leaking. There is energy sustaining that is present. It is a continual activating entity. The title gives the object become
a breathing mass. As if exercise standing with all the concentration and control all of the body.
My curiosity comes whether the liquid is have reached until in the very middle of the sponge and when it happens.
Or when this the object going to be dry out entirely until the very centre of the sponge, when would it happened and
how do I know. The inner infinitive space and the porous matter become a black hole and unknown path.
The exhibition space as a Crypt with arched ceiling, the humidity of surrounding, they are within the continuously
interact. The porous object oscillates between moisture and evaporates as a breading mass in the middle of the
room.
Artwork 3 Image:

6
7
Artwork 4 Title: Crocs
Artwork 4 Dimensions: 85x30x35cm
Artwork 4 Medium: Crocs, dog chain, plant bracket, Christmas bauble, gravel, soil, Ivy
Artwork 4 Commentary: Crocs (2016) takes an approach to imbibe and recomposing the surrounding world: whether
materially, conceptually, or visually. The work reconstitutes the tenuous condition of the consumerism desire, the
muddling of space between pedagogy and production, and the dysfunction of progress in a dismembered society.
The work present the abundant materiality and consumer product our prediction to the future and romanticism. The
simplicity of uniformity and hygienic designed product which gave a chance the customer to decorate, identifying to
make a unique style with their own choice which by also sold by the same company. Artist identifying the shoes to
become a plant growing pot that is suspended from plant bracket using dog chain. The relation among the everyday
objects reflect our life fitted into an artifact, and that grew living form through the holes on the shoes which it brings
life again — the juxtaposition of material from the various background composed to be once hopeful but tragic to
be seen as hanging as it might suicide. Artist continually attempts to everyday object to find their meaning and
relationship with us together as a living organism. Artist anticipates a situation it might be in the future when Eve
from the animation ‘Wall-E’ find a plant after the apocalypse not from an old leather shoe but in the bright
white rubber shoes that never rust.
Artwork 4 Image:

8
9
Catalogue4 ID0312
Artist ID: 0312

Artist Name: Liam Collins


Website: Liamcollinsart.com
IG: Liamardo007

Artist Statement: Im a UK Artist who has dedicated much of my career to a life-long love working with and exhibiting
concept Art and Site specific Sculpture where possible. The things i use in my work are made from precious metals
and found materials. The work includes Ancient archaic boxes adorned with Roman artefacts & other works, like my
Site Specific sound installations that all theme around ancient history and the preservation of nature. My work has
featured all over Europe and North East USA where i eventually branched out into the media world. I created a
Television show for Discovery channel that showcased my skills as a professional recycler/ up-cycler along with my
building skills too. The show is called "fix your house for free" with the BBC's Celebrity builder Tommy Walsh from
Ground Force. I have also worked with Celebrity presenter Dominic Littlewood whose show is dedicated to catching
fly tippers & people who dump waste in the streets. I was called in to help assemble the waste materials which I up-
cycled and sold to the public as part of the show. My media image as an eco specialist is often used by large building
materials suppliers companies as an endorsement for thier ethical products.
Amongst many other projects, my recent Cicada Guitar sound piece has just showcased at the Lighthouse Gallery in
Wolverhampton, after which it will fearure at the Cotswold sculpture park. I aim to continue working with my latest
collection that reflects the deeper meanings salvaged from the ancient past & connectivity between my philosophy
with nature & the quantum world of expression. I thought reaching out to your competition seemed a perfect place
for me to align myself with at this moment.

Notes:

1
Artwork 1 Title: Cicada Guitar
Artwork 1 Dimensions: 1m x 40xm
Artwork 1 Medium: Mixed media / sound installation
Artwork 1 Commentary: Cicada Guitar ' is an Audio piece. This work plays sounds of the rain forest and stops playing
when approached just like the Cicada. It starts playing again when someone walks away out of the zone.
This work demonstrates nature's evolutionary survival ability by camouflage in order to avoid predators, thus
emulating the threat mankind has on the environment.
Artwork 1 Image:

2
Artwork 2 Title: Monas imaginary muse
Artwork 2 Dimensions: 50cm x 40xm
Artwork 2 Medium: Mixed media. Collage, acrylics and ink.
Artwork 2 Commentary: A lot of my renaissance collage has an underlying vein of humour and a play on words. In
particular I love toying with interplay between the great masters like Leonardo and Michelangelo for example. This
piece is an homage to Leonardos muse, La Giaconda. Looking slightly miserable, there's a certain irony in that her
name is in fact a visual representation of happiness and yet i find that uncertainty in her look humorous.

I like to lure the viewer into fun historical journeys of discovery down pathways of made up scenarios that may
actually be closer to reality.
This woman represents the Mona Lisas imaginary muse. Someone who she herself would have liked to have painted.
Artwork 2 Image:

3
4
Artwork 3 Title: Tasteful palette
Artwork 3 Dimensions: 50cm x 40cm
Artwork 3 Medium: Mixed media. Collage, assemblage, acrylics, ink, Roman coins
Artwork 3 Commentary: This piece is a way of showing my appreciation for the incredibly useful humble palette. As a
vehicle of expression, something that is used in the multiple of millions and yet never really thought about deserves
some kind of accolade.
Artwork 3 Image:

5
Artwork 4 Title: One zero one
Artwork 4 Dimensions: 50cm x 70cm
Artwork 4 Medium: Mixed media. Powdered marble and latex adhesive. Old rusty typewriter
Artwork 4 Commentary: Great writers shaped and paved the way forward. This piece simply represents the death
knell of the old reliabe mechanical typewriter. The drowning of old technology making way for the unstoppable force
of cyber technology. What was once considered itself to have been a modern revolutionary form of rapid
communication is now consigned to room 101
Artwork 4 Image:

6
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 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 ID0319
Artist ID: 0319

Artist Name: Margaret Scott


Website: www.maggiescottonline.com
IG: maggiescottonline

Artist Statement: As a Visual Artist, my work is created from the particularity of who I am: a black woman, a feminist,
a daughter, a mother, an activist and a British Textile Artist.

My large-scale works draw on the aesthetic and symbolic potential of the laborious process of felting. The hand-
felted re-interpretations of photographic images often explore the politics of the representation and tensions and
contradictions of a Black British or Black European identity.

Notes:

1
Artwork 1 Title: I see you Zwarte Piet
Artwork 1 Dimensions: 127 x 200 x 1
Artwork 1 Medium: Printed Silk Chiffon, hand felted with Merino wool then hand stitched.
Artwork 1 Commentary: The catalyst for this work is the phenomenon of ‘Zwarte Piet’- the black servant/slave
who accompanies Saint Nicolas at Christmas in the Netherlands. It is one of a set of large felted portraits in a series
that includes a short film and photomontage prints all of which are direct critiques of this quaint (and offensive)
Dutch ritual.
‘Teddy’ was inspired by an interview with a Dutch parent who defended the practice of ‘blacking up’ as
Zwarte Piet as a great way for young white children to get used to black people!

Artwork 1 Image:

2
3
Artwork 2 Title: No On came here to hide //5
Artwork 2 Dimensions: 80 x 60 x 1
Artwork 2 Medium: Tetxile print, Felt, stitch
Artwork 2 Commentary: This textile is part series of works called ‘No One came here to hide’. The title is a
quote by the writer and performer Bill Withers in a recent radio interview. The portraits were a natural progression
from my previous work investigating black face and Zwarte piet and had a working title of ‘I see you - but do you
see me…?’ While my initial focus was on capturing certain regard, the juxtaposition of layers allows me to
explore the tension and possible

Conflicting narratives – escaping or hiding? Opening up or closing down? Object or subject?

Artwork 2 Image:

4
5
Artwork 3 Title: ICU//2
Artwork 3 Dimensions: 65 x 65 x 0
Artwork 3 Medium: Mixed Media - Textile, Felt, Stitch
Artwork 3 Commentary: ICU //2 is one a group of Textile that continue the exploration of conflicting narratives; the
softness and flexibility of the textures contrasting with the uncompromising expression.

Artwork 3 Image:

6
Artwork 4 Title: ICU PRINT //1
Artwork 4 Dimensions: 60 x 40 x0
Artwork 4 Medium: Photographic print
Artwork 4 Commentary: For many years Photography and specifically self-portraiture has played a key role in all my
work. While many of the manipulated images become textiles, each series of work always generate ‘stand
alone’ photographs.

ICU is a set of limited edition photographic prints. Like the Textile images, the prints continue my exploration of
conflicting narratives; the softness and flexibility of the textures contrasting with the uncompromising expression.

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 ID0324
Artist ID: 0324

Artist Name: Jamie Andrews


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

Artist Statement: As a working artist for more than thirty years, I understand the process and problems of creating a
visual structure in whatever form that might be. My method of operating has always been that of 'making is
thinking,' which recognizes the experiential creative process over one that is purely mechanical or coldly conceptual,
and where the materials and processes mediate between thoughts and ideas.
The work is about 'play' in every sense of the word, mind games to tease the eye and engage the senses. Fed by an
obsessive desire for the childish and childlike naive innocence as viewed through the eyes of an adults knowledge
and experience, the work is far from puerile and often leads to challenging and thought-provoking images and
sculptures.
Having never lost a fascination for toys and games, as children, we view them as innocent playthings, objects that
explore our fantasies and imaginary adventures, and they act as a social connection enabling us to make friends,
have arguments and learn important interactions. I use them to connect with an audience in different ways,
communicating a variety of messages, threatening, humorous, sexual, rude, political, religious and often ironic.

Notes:

1
Artwork 1 Title: St Ives.
Artwork 1 Dimensions: 41cm x 51cm x 5cm
Artwork 1 Medium: Acrylic and plastic objects on canvas.
Artwork 1 Commentary: These landscapes are created from imagination and memory, although based on real places,
they have a false, plastic quality in mind, but still respecting the ideas and techniques of the great modern masters.
Much in the way that Cezanne's painting dealt above all with the sensations of space, the ambiguity in particular of
our perceptual experience of distance in the way, for example, La Montagne Ste Victoire seems at the same time
both very far away, and yet so near that it is almost touchable. Starting with observational drawings that are then
ignored as work goes into the studio, I'm inclined to react and create by instinct rather than work to any set theory.
Blocks of solid colour form the basic structure of any composition, embedded plastic toys, and objects set into the
thick acrylic paint act as compositional devices. These often give a sense of scale and a touchable reality that play
with ideas of figurative representation. The canvas is often open to abuse, cut, re-constructed and re-worked in a
number of ways in an attempt to question those traditional values of painting and creating a visual structure.
Artwork 1 Image:

2
3
Artwork 2 Title: Brentor Church after the rain.
Artwork 2 Dimensions: 51cm x 41cm x 5cm
Artwork 2 Medium: Acrylic, solid silver and plastic on canvas.
Artwork 2 Commentary: These landscapes are created from imagination and memory, although based on real places,
they have a false, plastic quality in mind, but still respecting the ideas and techniques of the great modern masters.
Much in the way that Cezanne's painting dealt above all with the sensations of space, the ambiguity in particular of
our perceptual experience of distance in the way, for example, La Montagne Ste Victoire seems at the same time
both very far away, and yet so near that it is almost touchable. Starting with observational drawings that are then
ignored as work goes into the studio, I'm inclined to react and create by instinct rather than work to any set theory.
Blocks of solid colour form the basic structure of any composition, embedded plastic toys, and objects set into the
thick acrylic paint act as compositional devices. These often give a sense of scale and a touchable reality that play
with ideas of figurative representation. The canvas is often open to abuse, cut, re-constructed and re-worked in a
number of ways in an attempt to question those traditional values of painting and creating a visual structure.
Artwork 2 Image:

4
5
Artwork 3 Title: Pig Farm.
Artwork 3 Dimensions: 51cm x 61cm x 5cm
Artwork 3 Medium: 0
Artwork 3 Commentary: These landscapes are created from imagination and memory, although based on real places,
they have a false, plastic quality in mind, but still respecting the ideas and techniques of the great modern masters.
Much in the way that Cezanne's painting dealt above all with the sensations of space, the ambiguity in particular of
our perceptual experience of distance in the way, for example, La Montagne Ste Victoire seems at the same time
both very far away, and yet so near that it is almost touchable. Starting with observational drawings that are then
ignored as work goes into the studio, I'm inclined to react and create by instinct rather than work to any set theory.
Blocks of solid colour form the basic structure of any composition, embedded plastic toys, and objects set into the
thick acrylic paint act as compositional devices. These often give a sense of scale and a touchable reality that play
with ideas of figurative representation. The canvas is often open to abuse, cut, re-constructed and re-worked in a
number of ways in an attempt to question those traditional values of painting and creating a visual structure.
Artwork 3 Image:

6
7
Artwork 4 Title: Brentor Church.
Artwork 4 Dimensions: 51cm x 61cm x 5cm
Artwork 4 Medium: Acrylic, solid silver and plastic on canvas.
Artwork 4 Commentary: These landscapes are created from imagination and memory, although based on real places,
they have a false, plastic quality in mind, but still respecting the ideas and techniques of the great modern masters.
Much in the way that Cezanne's painting dealt above all with the sensations of space, the ambiguity in particular of
our perceptual experience of distance in the way, for example, La Montagne Ste Victoire seems at the same time
both very far away, and yet so near that it is almost touchable. Starting with observational drawings that are then
ignored as work goes into the studio, I'm inclined to react and create by instinct rather than work to any set theory.
Blocks of solid colour form the basic structure of any composition, embedded plastic toys, and objects set into the
thick acrylic paint act as compositional devices. These often give a sense of scale and a touchable reality that play
with ideas of figurative representation. The canvas is often open to abuse, cut, re-constructed and re-worked in a
number of ways in an attempt to question those traditional values of painting and creating a visual structure.
Artwork 4 Image:

8
9
Catalogue4 ID0325
Artist ID: 0325

Artist Name: Fiorella Lopez


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

Artist Statement: Fiorella Lopez (Lima, 1994) is a student in critical literary studies and emerging photography artist
who lives and works in Lima, Peru. She has studied in the Hispanic Literature career at the Pontifical Catholic
University of Peru (PUCP) and in the Faculty of Romanistics at the University of Bonn (Germany). She also studied at
the Fine Arts School in Lima for two years. She has been published some of her artwork in a Spanish Magazine called
Flamantes and invited to participated in an art exhibition in Saint Petersburg (Rusia) by Crisolart Galleries. Currently,
she is in a photography practice under the aesthetics of Walter Benjamin's thought and also applying for a master's
degree in Art History and Curatorship at PUCP.

Notes:

1
Artwork 1 Title: The eternal return of the forgotten
Artwork 1 Dimensions: 22.58x33.48 CM
Artwork 1 Medium: Photography
Artwork 1 Commentary: According to Walter Benjamin, the dialectical image is what leaps from the past and leaves
its mark on the present. All the rest of the past that does not want to die and that demands a change in the present.
This temporary conception produces a shock, since there is something of the past that refuses to die. In the present
artistic work, the memory of a Peruvian town almost abandoned but still valid in rural areas is evoked.
Artwork 1 Image:

2
Artwork 2 Title: The presence of myth
Artwork 2 Dimensions: 28.10x18.81 CM.
Artwork 2 Medium: Photography
Artwork 2 Commentary:
According to Theodor Adorno and his Aesthetic Theory, art always had a need to represent what is outside, for
example a landscape. This appears many times as the sublime. The natural beauty is the myth of the suspension of
history. In this sense, this artistic work attempts to imitate the unspeakable nature of nature's language.
Artwork 2 Image:

3
Artwork 3 Title: Policemen on the streets
Artwork 3 Dimensions: 24.40x18.16 CM
Artwork 3 Medium: Photography
Artwork 3 Commentary: Modernity is living in a society of control. One of the most emblematic figures of the control
system or the law is the police. In the current times, citizens no longer feel protected by them but threatened or
helpless. In this artistic work, I sought to represent how a police group crosses or metaphorically breaks the freedom
of citizens in a democracy.
Artwork 3 Image:

4
Artwork 4 Title: Drawn of trails
Artwork 4 Dimensions: 22.58x14.96 CM
Artwork 4 Medium: Photography
Artwork 4 Commentary: In this artistic work, I sought to represent the long journey that the inhabitants of a remote
Peruvian town must follow to access different municipal services. It portrays two villagers, an elderly woman and a
child on the way to their small community.
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 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 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 ID0336
Artist ID: 0336

Artist Name: Josh Hollingshead


Website: joshhollingshead.net
IG:

Artist Statement: I am a self-taught artist whose work is predominantly figurative with strong narratives that reflect
socio-political situations in the places I have visited and reflect on social, environmental, religious and political
themes.

I adapt my technique for each new painting; be it through use of metallic underlayers, phosphorescent paints,
viscous thick oils or powdery paint rubbed into the canvas.

With the large scale and varied, heightened colour of my canvases I aim to create a sense the spectator could enter
the painting, wherein myriad vignettes tell a story, and details at the margins of a scene reveal hidden meanings.
I am at ongoing work on several series of paintings of which my entries are focused on themes of mortality and the
environment.

Notes:

1
Artwork 1 Title: Famadihana
Artwork 1 Dimensions: 183 x 183 x 3
Artwork 1 Medium: oil
Artwork 1 Commentary: A painting with a spiral composition and almost isometric perspective, showing the
famadihana ceremony in central Madagascar. This brings together a family every 7 years to open the family tomb,
unwrap the woven and silk wrappings from around the ancestor’s remains, then rewrap them afresh. There
follows an exuberant dance around the town with the ancestors, raising them up in the air, throwing them from
relative to relative, and finally a large communal meal. Their attitude to death is refreshing, open and without
mourning.

Though this is defined as ancestor worship, in fact many of the participants are Christian or agnostic. The ritual
persists as a way of showing respect for the past, and seeing death in perspective, without much of the sorrow, fear
and morbid fascination that seems to hold sway elsewhere. The blood red colour i have used shows bond the living
have with the ancestors.

Artwork 1 Image:

2
3
Artwork 2 Title: Man Made Geysers
Artwork 2 Dimensions: 197 x 189 x 6
Artwork 2 Medium: oil
Artwork 2 Commentary: A corner of Central Madagascar scarred by colonial mining projects was the basis of this real
and symbolic landscape of mineral protuberances and man-made geysers.

In 1911 drilling for oil fractured the groundwater and the aquifer, resulting in polluted drinking water and diverted
rivers. This strange landscape of gouged red mineral streams, and gold domes which spout hot mineral rich water is
now a spa for those who wish to cure ailments, particularly skin diseases.
The curse of this region has become part of its livelihood.
I emphasised the viscous textures of this painting with heavy use of poppy oil.

Artwork 2 Image:

4
5
Artwork 3 Title: Graves of St Petersburg
Artwork 3 Dimensions: 189 x 197 x 3
Artwork 3 Medium: oil and acrylic
Artwork 3 Commentary: This painting shows the graveyards of St Petersburg as a celebration of human variety, joy
and sorrow, so often lost in the serried ranks of oblong slabs for the newly dead.

Set in the vast grounds of Nevsky Monastery, characters of all stations and statuses are represented by individual
monuments, social history set in stone.

In the foreground is a repenting woman is begging god for forgiveness in a wishful memorial erected by a family
wishing she had done so sooner. An apparatchiks star, a German poet at rest, a privateer and his stone jolly roger, an
adventurer buried below the coral he brought home from a distant atol, all the monuments are distinctive.
Tchaikovsky is surrounded by his own musical score, and a campaigner against the cold war and its munitions is
memorialised by christ crucified on a missile.

A writer of ghost fiction has a strange carving in his memory, a haunted man whose leg is transformed into a howling
wolf. The colours of this painting show this as a scene of hope, verdant greens showing how memory of the dead is
sustained and refreshed by such personal memorials.

Artwork 3 Image:

6
7
Artwork 4 Title: Poachers
Artwork 4 Dimensions: 180 x 180 x 5
Artwork 4 Medium: oil
Artwork 4 Commentary: Poachers shows the theft of wild animals from an increasingly denuded rainforest under the
cloak of twilight. A group of poachers hold lemurs and a fosa, a sack of unseen creatures and a cage with chameleons
and geckos. They are being brought from a clearing by a river and it is unclear whether the animals are for bushmeat
or export.

Behind the poachers an illegal logger fells a rosewood tree and foliage, forest floor and tree trunks are difficult to
distinguish in the ultramarine of nightfall.
Artwork 4 Image:

8
9
Catalogue4 ID0337
Artist ID: 0337

Artist Name: Rochelle Williams


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

Artist Statement:

TEMPLE OF SOPHIA
Rochelle Williams

This is no time to revolt, and pretend that deep down we do not crave a constant warm spot in life. That's the role of
a Mother Earth and I pay tribute to her allowing her warm supple soil with her replenishing tears to bear these fruits
you see today. Behold the, “Temple of Sophia― when life through lemon seeds I grew soursop trees juicy
watermelons, sensuous strawberries, the Venus fly trap of the mind, the ripest pineapples the flowering and buds of
the soul, the tart bitterness of the journey, the fresh cocktails of love and pure consciousness. Each fruit satisfies a
different craving and believe me ladies and gentlemen there is nothing better than fresh fruit. Like a mother
nourishing her child. And so the enlifenment begins bringing in more life.

Please feast your eyes on the rarest fruit on Planet Rock, “Temple of Sophia.―
Welcome to the real world that looks beyond society’s constraints and perversions.

Take a look at the pregnant trees; eat with me there is an abundance!


To some it's a force to others it's called nature.

Notes:

1
Artwork 1 Title: THOUGHTS BECOME THINGS
Artwork 1 Dimensions: 121.92x91.44
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: You’ll realize this isn’t regular money, money that is usual monotonous. It has vividly
transformed into something so colorful. We have to be more lovingly playful so we can plant seeds that the future
will yield the fruits of. Currency is expansive with who we have become, knowing that unconditional love yields the
best fruit.
The worry will stop about the “what ifs― that we toy with to drive ourselves mad and instead cultivate cosmic
consciousness by seeing with our hearts. The power of Love and joyful feelings gather so much energy and
momentum it re-creates our reality. This painting represents the universe under a microscope, which is an energetic
structure contained within a membrane that equals unlimited possibilities.

Artwork 1 Image:

2
3
Artwork 2 Title: THE KISS
Artwork 2 Dimensions: 121.92x91.44
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: Mathematically represents that 1+1=3
It was from a strong vision I received after giving my girlfriend a kiss. I could feel these two beings exuding so much
love while merging to become one. And from that oneness planets, worlds, universes, dimensions, and realities
being created.

Artwork 2 Image:

4
Artwork 3 Title: 3MMMs
Artwork 3 Dimensions: 121.92x91.44
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: (Maiden Mother Madame)
The Maiden, The Mother, and The Madame represents the divine feminine energy contained in Nature. The Triple
Goddesses that symbolizes the phases of the moon and nature's merry-go rounds on Mother Earth's beautiful
bosom. The Creatrix, The Preserver, The Destroyer, birth, growth, death a microcosm reflecting the macrocosmic
cycle of transformation.

Artwork 3 Image:

5
Artwork 4 Title: CRYSTAL CHILD
Artwork 4 Dimensions: 121.92x91.44
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: It is our destiny to be happy. Experiencing the harmonious wholeness that brings peace and
fulfillment. Crystallization process is the inner alchemy that gives birth to spiritual transformation and perfects
materialization of true self. Like an acorn everything that is needed to fulfill one’s destiny and becoming an oak
tree is fully integrated in our hearts, a frequency teaching us to grow and love unconditionally.
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 ID0340
Artist ID: 0340

Artist Name: David Chaney


Website: davidchaney.co,uk
IG:

Artist Statement: In the last couple of years my work has come to concentrate on representations of urban
landscapes. By this I mean scenes from everyday life using the fabric of my city, Newcastle upon Tyne. The scenes
are not chosen to represent a particular moralistic standpoint, rather they aim to articulate the texture of lived
experience. They are not literal accounts, more expressionistic essays exploring a city in the process of change. In
order to claim something distinctive in this form of representation, as compared say to photographic essays on
similar themes, here the painted surface is quite heavily worked so that texture and vitality are emphasised. This
form of work has dominated my recent paintings but I have also addressed other aspects of everyday life. In my
submissions I have nominated three urban scenes and a painting of one of my grandsons being held by his aunt. I
should also say that these works are at present unframed, some unstretched, should they be chosen for exhibition I
would change this.

Notes:

1
Artwork 1 Title: Gable end corner of Strawberry Place and Strawberry Lane, Newcastle
Artwork 1 Dimensions: 85x55x1
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: Until recently the wall of this building had been hidden by and advertising hoarding, when
revealed I found the wall facinating
Artwork 1 Image:

2
Artwork 2 Title: Laing Gallery New Bridge St. Newcastle upon Tyne
Artwork 2 Dimensions: 60x90x1
Artwork 2 Medium: oil on linen
Artwork 2 Commentary: Although given a street name this plaza has been pedestrianised
Artwork 2 Image:

3
Artwork 3 Title: Pilgrim St, winter evening, Newcastle upon Tyne
Artwork 3 Dimensions: 75x105x1
Artwork 3 Medium: oil on linen
Artwork 3 Commentary: An area dense with leisure activities
Artwork 3 Image:

4
Artwork 4 Title: Rose and Bailey
Artwork 4 Dimensions: 65x85x1
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary: I have often explored the relevance of ikonic iconography for contemporary concerns and
this theme seemed to lend itself to these concerns.
Artwork 4 Image:

5
Catalogue4 ID0341
Artist ID: 0341

Artist Name: Hsingchun Chen


Website:
IG: @cxingchun

Artist Statement: I concentrate on extracting the essence from the scene and developing patterns more than
conveying the subject. Making inner landscape, the consideration of visible pattern to create space between it,
extract and simplify it, to make my personal statements about devout attentiveness to the beauty of the nature, to
the response of wonderland in the mundane of reality .
Using modern devices incorporate more conceptual elements from Chinese Literati painting which smallness of men
against the grand landscape present the humble of people to the nature. It is an expression of actual landscape
which image has been further collected and metabolized over time by inner world, a reflection of sensibility in a
specific moment .

Notes:

1
Artwork 1 Title: hide and seek
Artwork 1 Dimensions: 110*90
Artwork 1 Medium: acrylic on canvas, cotton thread
Artwork 1 Commentary: I am probing the reality of my life through practicing mindfulness and making art. I can feel
the clear and balanced quiet mind occasionally but dim and chaos most of the time. It is like the hide and seek game,
playing and searching hidden layers with people and events in the mundane, I will find nothing in it maybe.
Even so, I still keep practicing every day as far as possible. Practicing gently while I don't ask anything then I learn
something.
Artwork 1 Image:

2
Artwork 2 Title: the instant light dances between trees
Artwork 2 Dimensions: 130*100
Artwork 2 Medium: acrylic on canvas
Artwork 2 Commentary: The vibration of air between trees let the light instant twinkling while the waterfall is singing
and splashing down. It always makes us fresh and opens our sensitive sensations when we are surrounded by trees.
Just like the light comes into the trees and cast light on the dark surface of old lake. Using more conceptual elements
from Chinese Literati painting which smallness of men against the grand landscape present the humble of people to
the nature.
Artwork 2 Image:

3
Artwork 3 Title: Reclining with the wind
Artwork 3 Dimensions: 110*70
Artwork 3 Medium: acrylic on canvas
Artwork 3 Commentary: People need retreat in the tight modern life.
Where is the place we can go to be alone, to get away from it all?
There are things to do when mind engaged. Breathe slowly in and out, when mind let go, there is nothing to do. We
can recline with the wind.
Artwork 3 Image:

4
Artwork 4 Title: the wonderland in reality
Artwork 4 Dimensions: 30*25
Artwork 4 Medium: digital output, matte coating, photo paper
Artwork 4 Commentary: It was as a jarring change in atmosphere as we passed through the park on Sunday
afternoon.
The sky was tremendous blue with dramatic clouds on this sunny day. Very loud music came out from this gigantic
tent with reflecting light under sunshine where the dress rehearsal of a fashion show was stacked with stars.
A girl was reading quietly on the beautiful green lawn where closed to the silver tent. She ignored the shinning and
awkward around. The wonderland is experienced through an appreciation of choosing where we will stay in the
mind.
Artwork 4 Image:

5
6
Catalogue4 ID0343
Artist ID: 0343

Artist Name: Herve Bichet


Website: www.hervebichet.com
IG: hbichetart

Artist Statement: Hello, my name is Hervé BICHET, I was born in France (Burgundy) in 1969. I live in Morocco since
2007.
All my works are related to the Nature and its Elements, water, fire, earth…I have been crating for over 20 years
going from Oil painting to acrylic then to mixed media including chocolate powder,…; . I like mixing Materials to
create something new. I found a new idea which involves Plaster of Paris and Fire. My technique has evolutes since
and I do use polyurethane foam and acetone to make the work lighter

Notes:

1
Artwork 1 Title: Red eyes
Artwork 1 Dimensions: 100x100x2
Artwork 1 Medium: Metallic paint on cardboard on canvas
Artwork 1 Commentary: Part of a serie called DUO
Duo or two also comes from the fact that for each painting, two materials are used (cardboard and paint, painting on
canvas, painting on wood).
Two paintings are made in a same time
Artwork 1 Image:

2
Artwork 2 Title: Flash, Black and White
Artwork 2 Dimensions: 10x100x2
Artwork 2 Medium: Metallic paint on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Poppy
Artwork 3 Dimensions: 100x100x2
Artwork 3 Medium: Metallic paint on canvas
Artwork 3 Commentary: Part of a serie called DUO
Duo or two also comes from the fact that for each painting, two materials are used (cardboard and paint, painting on
canvas, painting on wood).
Two paintings are made in a same time
Artwork 3 Image:

4
Artwork 4 Title: Love through time
Artwork 4 Dimensions: 100x100x
Artwork 4 Medium: POLYURETHANE AND BURNED CARDBOARD ON WOOD
Artwork 4 Commentary: Love is not simple, this painting represents love through time, through life with different
experiences, feelings known during a relationship or a friendship: joy, tenderness, hurt, sadness,....
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 ID0345
Artist ID: 0345

Artist Name: Vytautas Kavaliauskas


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

Artist Statement: Vytautas Kavaliauskas, an engineer and a businessman by profession, and artist by heart, lives in
Neringa, Lithuania, where he leads an idyllic lifestyle – sculptor likes to stroll along the Baltic sea coast collecting
driftwood, or the peculiar ‘letters’ that have been washed ashore, as he calls them. Each piece of wood has
experienced endless adventures as witnessed by their scars, fractures, furrows and polished forms which contain
valuable information. Then the next step is a lengthy inspection, an attempt to ‘read’ those letters. At times
there is a need to carefully remove the patina - the ‘clothing’ of the wood soaked in sea-salt. The sculptures
then undergo remodeling by sanding, while in some cases their original forms are preserved thus trying to convey
the envisaged whole of the sculpture, its colours, shapes and the variety of textures. The sculptures exhibit a broad
scope of moods-from static character and inner peace to expressive and impetuous dynamism. These pieces of art
are inspired by nature, literature, music, personal life, even political affairs. Each piece carries its own character,
which varies from ironic, provoking and witty to deeply expressive and engrossing.
The brand name Seart Driftwood has been around for more than 10 years, and many sculptures have found their
home in restaurants, industrial spaces and offices around Lithuania and other countries.

Notes:

1
Artwork 1 Title: Révérence
Artwork 1 Dimensions: H 73cm x W 20cm x D 28cm
Artwork 1 Medium: Driftwood
Artwork 1 Commentary: Driftwood body, sanded;
Oak base, oil finish;
Artwork 1 Image:

2
Artwork 2 Title: Torso
Artwork 2 Dimensions: H 45cm x W 26cm x D 39cm
Artwork 2 Medium: Driftwood
Artwork 2 Commentary: Driftwood Body, sanded;
Oak Base, oil finish;
Artwork 2 Image:

3
Artwork 3 Title: Self-portrait
Artwork 3 Dimensions: H 46cm x W 21cm x D 18cm
Artwork 3 Medium: Driftwood
Artwork 3 Commentary: Driftwood body, sanded;
Oak Base, oil finish;
Artwork 3 Image:

4
Artwork 4 Title: Caesar's triumph
Artwork 4 Dimensions: H 75 cm x W 33cm x D 28cm
Artwork 4 Medium: Driftwood
Artwork 4 Commentary: Driftwood body, sanded;
Wood base, painted detail;
Artwork 4 Image:

5
Catalogue4 ID0346
Artist ID: 0346

Artist Name: Tjili Grant Wetherill


Website: www.TJILI.com
IG: https://instagram.com/TjiliGW

Artist Statement: TJILI (pronounced ‘Chilli’) is a talented young artist who has cerebral palsy, is deaf and
cannot speak.

With great determination and enthusiasm TJILI is able to overcome her challenges to create amazing paintings
featuring her favourite creatures, characters and places from around the world.

Born in 2001 weighing just 1kg, TJILI was the only survivor of triplets abandoned at a Cambodian hospital.

She was adopted by a British couple and now lives in Malaysia.

TJILI’s artistic success and life story has been widely covered in the media, with BBC coverage (Global News and
The One Show), attracting tens of millions of TV and online views globally.

Unknown as an artist at the start of 2017, TJILI’s work is now critically-acclaimed and globally-recognised after
three of her paintings featured in the Royal Watercolour Society’s 2017 and 2018 international Contemporary
Watercolour Competition exhibitions in London.

TJILI’s art now graces public and private collections worldwide and her creative talents and determination to
succeed have inspired countless millions worldwide.

TJILI has also raised substantial funds for good / charitable causes in the UK and internationally.

To conclude her amazing debut, four of TJILI’s Colourful Creatures paintings have been issued as Tanzanian
(“Wildlife of Africa―) stamps and Rubik’s group have partnered with TJILI to create Special Edition “Art-
Cubes―: official Rubik’s Cubes (the world’s best-selling toy and TJILI’s favourite hobby) with TJILI’s
art on the faces.

Visit www.TJILI.com to view TJILI’s vibrant Artwork and see more about her inspirational life story.

Notes:

1
Artwork 1 Title: Bird. Humming.
Artwork 1 Dimensions: 42x59x0.01
Artwork 1 Medium: Graphite pencil + fine watercolour pastels on art paper.
Artwork 1 Commentary: "Bird. Humming." was inspired when a family of humming birds nested in the oasis of our
tropical Singapore garden. Beautiful, colourful, darting around, friendly and unafraid, TJILI loved them and watched
them raise their young.

“Bird. Humming.― was selected by the Royal Watercolour Society for its 2017 Contemporary Watercolour
Competition and exhibition from thousands of entries submitted by artists from around the world.
Artwork 1 Image:

2
Artwork 2 Title: Tyga
Artwork 2 Dimensions: 42x59x0.01
Artwork 2 Medium: Graphite pencil + fine watercolour pastels on art paper.
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Technicolour Dreambird
Artwork 3 Dimensions: 59x42x0.01
Artwork 3 Medium: Graphite pencil + fine watercolour pastels on art paper.
Artwork 3 Commentary: TJILI loves the power and elegance of birds of prey, and "Technicolour Dreambird" is one of
her, and our, all-time multicoloured, feathered favourites.

“Technicolour Dreambird― was selected by the Royal Watercolour Society for its 2017 Contemporary
Watercolour Competition and exhibition from thousands of entries submitted by artists from around the world.
Artwork 3 Image:

4
Artwork 4 Title: Elefante
Artwork 4 Dimensions: 42x30x0.01
Artwork 4 Medium: Graphite pencil + fine watercolour pastels on art paper.
Artwork 4 Commentary: Our family feels strongly about the conservation of wildlife. TJILI particularly loves
elephants, lions and tigers.

"Elefante" beautifully captures the soul of these magnificent creatures as viewed through TJILI’s technicolour
lens on our wonderful world.
Artwork 4 Image:

5
6
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 ID0348
Artist ID: 0348

Artist Name: Julian Camilo


Website: juliancamilo.com
IG:

Artist Statement: My work is focused on transitions and state changes, such as rebirth, growth, decay and death. I'm
also interested in using organic materials and incorporating natural processes in production of the work.

Notes:

1
Artwork 1 Title: This Too Shall Pass 02
Artwork 1 Dimensions: 23x15x3
Artwork 1 Medium: Paper, fungus, insects
Artwork 1 Commentary: This piece is part of an on-going series which uses books and literature as a starting point to
explore ideas of decay, entropy and breakdown of communication. It was created by influencing fungus and insects
to decompose and consume the pages of books. As they destroy and delete information, so the piece is created and
new meaning arises; as such it is a product of a constant dialogue. I like to think of it as a wordless dialogue, a
collaboration between destructive natural forces and the creative impulse of the artist.
Artwork 1 Image:

2
Artwork 2 Title: This Too Shall Pass 01
Artwork 2 Dimensions: 23x15x3
Artwork 2 Medium: Paper, fungus, insects
Artwork 2 Commentary: This piece is part of an on-going series which uses books and literature as a starting point to
explore ideas of decay, entropy and breakdown of communication. It was created by influencing fungus and insects
to decompose and consume the pages of books. As they destroy and delete information, so the piece is created and
new meaning arises; as such it is a product of a constant dialogue. I like to think of it as a wordless dialogue, a
collaboration between destructive natural forces and the creative impulse of the artist.
Artwork 2 Image:

3
Artwork 3 Title: Stop Motion 02 (Calliphora vomitoria)
Artwork 3 Dimensions: 23x14x10
Artwork 3 Medium: Glass storage jars, formalin, flies
Artwork 3 Commentary: My Stop Motion series of works focuses on state changes and the process of transition
between one form and another. This particular piece looks at the metamorphosis of a blowfly (Calliphora vomitoria).
The process of a maggot becoming a fly can take weeks, and I have tried to show this process as a timeline, a series
of slices of time, each layer of maggots consisting of those that lived for a slightly longer period of time than those
below, progressing slightly further in their life transition but now dead and fixed in this in-between state forever.
Artwork 3 Image:

4
Artwork 4 Title: Action At A Distance (Red, Yellow, Black)
Artwork 4 Dimensions: 40x40
Artwork 4 Medium: Flyspeck on paper
Artwork 4 Commentary: Every mark that makes up this piece was made by flies, and all the marks are fly excrement.
It is part of a series which explores the possibility of removing the artist's hand from the work's production, by
designing a process which both works within strict frameworks of colour, shape and texture, but also embraces the
inherent chance and chaos of organic materials and natural processes. In this way the works can be seen as
collaborations with nature.
Artwork 4 Image:

5
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 ID0356
Artist ID: 0356

Artist Name: Carmen Lucia Grad


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

Artist Statement: Like the life itself, Carmen Lucia's puzzling paintings are made of fragments that burst when put
toghether in a crazy colorful puzzle with layers of meanings and stories to be uncovered. Romanian by birth and
European by nature and upbringing, Carmen Lucia Grad spent more than a decade in Germany working as a medical
doctor and has recently moved to Vienna in order to follow her true calling. In her newest paintings she combines
pieces that might say nothing when taken separately but unexpectedly fit together, giving birth to new structures
and senses while unveiling unpredictable and yet familiar stories. Like the life itself.

Notes:

1
Artwork 1 Title: Birth of a new world
Artwork 1 Dimensions: 60x50x3
Artwork 1 Medium: collage of fluid acrylic skins
Artwork 1 Commentary: Birth is both beautiful and scary.
Artwork 1 Image:

2
Artwork 2 Title: Fluid decisions
Artwork 2 Dimensions: 60x50x3
Artwork 2 Medium: collage of fluid acrylic skins
Artwork 2 Commentary: There comes a time when a choice is due. And of course you find only too late whether you
met the right decision or not. What if this process were actually fluid?
Artwork 2 Image:

3
Artwork 3 Title: Can you spot the flame?
Artwork 3 Dimensions: 50x50x2.5
Artwork 3 Medium: collage of fluid acrylic skins
Artwork 3 Commentary: There is a fire in every one of us and we manage to hide it, sometimes even from ourselves.
Artwork 3 Image:

4
Artwork 4 Title: Don't throw garbage in the pool!
Artwork 4 Dimensions: 50x40x2.5
Artwork 4 Medium: collage of fluid acrylic skins
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 ID0363
Artist ID: 0363

Artist Name: Rebecca Connolly


Website: https://www.rebeccalatourette.com/
IG: https://www.instagram.com/bexlatourette/

Artist Statement: In my practice I am engaged with a binary of emotions such as pain, anxiety, isolation, revulsion,
and trauma, as to comfort, care, connection, beauty, and sublimity. I am interested in how these oppositions create
narratives of human experience, specifically, an embodied experience that materially speaks to the visceral
sensations of what it is to be in a body and interact with the self and others. As a synaesthete, my work has always
been concerned with an overlap of sensations. Given synaesthesia is an unusual perceptual condition, characterized
by visual auras or shapes, it’s symptomology lies in a grey area on a spectrum of what may be characterized as
normal vision or hallucination. This lean towards pathology has led to a line of enquiry in my contextual research,
concerned with mental illness and how various forms of neurosis or psychosis may effect the aforementioned ideas
of embodiment and the other. Therefore in my practice I look to form, and constituent material, as a vehicle to
communicate this sensuous overlap while also constructing narratives that interrogate normative familial and sexual
relationships. The intention of the work is to use anthropomorphic suggestion to suspend the composition in a
primordial space between figure and abstraction and therefore a space that is indistinguishably of one’s
habitation, of the self, or of the other. This primordial space is a transcription of the visual experience of optical
occlusion, of hallucination, and of the liminal memory space of relived trauma

Notes:

1
Artwork 1 Title: Good Object (1)
Artwork 1 Dimensions: 21 x 51 x 33 cm
Artwork 1 Medium: Plaster
Artwork 1 Commentary: 'Good Object(s)' reference the psychoanalytic term 'internal object' from Melanie Klein's
Object Relations Theory. The internal object describes the mental and emotional image of an object (most often a
parent/guardian) in childhood, which the child takes inside the self and continues to build an image of themselves as
in relation to that of the other. This sculptural series examines this reciprocal development of the body and the self
in relation to the other--how our relationships form our psychological states and our embodiment of our physical
selves. In stature, these objects reference gargoyles, deities, or anthropomorphic creatures of folklore to asses the
role of the 'internal object' as a totem or guardian.
Artwork 1 Image:

2
3
Artwork 2 Title: Good Object (2)
Artwork 2 Dimensions: 10 x 18 x 9 cm
Artwork 2 Medium: Glass Wax
Artwork 2 Commentary: 'Good Object(s)' reference the psychoanalytic term 'internal object' from Melanie Klein's
Object Relations Theory. The internal object describes the mental and emotional image of an object (most often a
parent/guardian) in childhood, which the child takes inside the self and continues to build an image of themselves as
in relation to that of the other. This sculptural series examines this reciprocal development of the body and the self
in relation to the other--how our relationships form our psychological states and our embodiment of our physical
selves. In stature, these objects reference gargoyles, deities, or anthropomorphic creatures of folklore to asses the
role of the 'internal object' as a totem or guardian.
Artwork 2 Image:

4
5
Artwork 3 Title: Barrier
Artwork 3 Dimensions: 200 cm x 200 cm (dimensions variable)
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary:
Artwork 3 Image:

6
Artwork 4 Title: The Ovipositor
Artwork 4 Dimensions: 200 cm x 200 cm `
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary:
Artwork 4 Image:

7
Catalogue4 ID0366
Artist ID: 0366

Artist Name: Mary Wong


Website: www.bymarywong.com
IG: bymarywong

Artist Statement: Mary Wong is a multimedia artist who received MA Jewellery Futures at Middlesex University,
London. In her current practice, she focuses on themes of ephemera and imperfection. Her work focuses on notions
of beauty residing in flaws and an appreciation for things found that are in a constant state of flux. She experimented
with a series of non-static installation.
In her current project, she created site-specific ice installations in a natural environment in Sweden, and she
documented the fleeting moment of her works through photography.

Ice and water are the primary elements of her works. Ice is in constant flux; it captures the essence of transient and
mutable qualities that symbolise the stream of time. Ice is a solid substance produced by the freezing of water which
is the essence of life. Where there's water, there's life. It serves as a metaphorical depiction of life and the passage
of time. She aims at highlighting the fundamental way that the nature functions.

Notes:

1
Artwork 1 Title: A flower that bloom below 0 °C
Artwork 1 Dimensions: 39.71 x 26.47 cm
Artwork 1 Medium: Site-specific ice installation, documented in photography
Artwork 1 Commentary: Influenced by a traumatic experience of losing a beloved one, I was drawn into the notion of
ephemerality. Shunryu Suzuki, a Japanese Zen monk, once said ‘Because we cannot accept the truth of
transience, we suffer. ‘ Most things in life do not last, we can merely enjoy them for a moment before they fade
away.

In January, I travelled to Sweden to work on site-specific installations. I cast real plants and flowers into ices and
situated the ice sculptures into a hidden forest. As the ice was in constant flux, I considered the works were fragile
and alive. I recorded the brief existence of the pieces and the transient collaborations with nature through
photography.
Artwork 1 Image:

2
3
Artwork 2 Title: A little closer
Artwork 2 Dimensions: 39.71 x 26.47 cm
Artwork 2 Medium: Site-specific ice installation, documented in photography
Artwork 2 Commentary:
Artwork 2 Image:

4
Artwork 3 Title: Last but not least
Artwork 3 Dimensions: 39.71 x 26.47 cm
Artwork 3 Medium: Site-specific ice installation, documented in photography
Artwork 3 Commentary:
Artwork 3 Image:

5
Artwork 4 Title: Flowers that bloom below 0 °C
Artwork 4 Dimensions: 39.71 x 26.47 cm
Artwork 4 Medium: Site-specific ice installation, documented in photography
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 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 ID0377
Artist ID: 0377

Artist Name: David Caines


Website: www.davidcaines.co.uk/art
IG: www.instagram.com/davidncaines/

Artist Statement: For the past decade I have been creating a series of figurative paintings of imagined groups of
seemingly unrelated characters in carefully arranged groupings against empty backgrounds. To help my cast of
characters interact in this liminal state, they have an array of banal props such as masks, chairs, sticks and ropes.
Sometimes this leads to dramas involving subjugation or violence. These encounters are awkward and ambiguous,
and the aim is to evoke feelings of foreboding, melancholy and unease in the viewer, that echo the absurdity and
charade of human encounters. The paintings contain red herrings and false clues, and it is left to the viewer to
conjure the narrative. The collage-like nature of the figures emerges from a gentle interrogation of the past, and the
pictures contain visual references to early photography, silent film, threatrical costume, dance, colonialism and non-
western art.

Notes:

1
Artwork 1 Title: dumb crush
Artwork 1 Dimensions: 101x101x3
Artwork 1 Medium: acrylic paint on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: nerve damage
Artwork 2 Dimensions: 76x76x3
Artwork 2 Medium: acrylic paint and paper on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: lachrymose liaison
Artwork 3 Dimensions: 76x76x3
Artwork 3 Medium: acrylic paint and paper on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: return the gift
Artwork 4 Dimensions: 101x101x3
Artwork 4 Medium: acrylic paint on canvas
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 ID0380
Artist ID: 0380

Artist Name: Yulia Iosilzon


Website: yuliaiosilzon.com
IG: yuliusprime

Artist Statement: Yulia Iosilzon draws on children’s illustration, fashion and theatre to posit fragmentary
narratives in large-scale paintings.

An initial readability in her work is thrown into question by the persistent use of techniques which serve to interrupt
the image and break down earlier impressions of visual plenitude.

Yulia's circular approach to narrative is leavened with her lightness of touch. This is seen primarily through the
artist’s own deployment of burlesque, the grotesque, irony and humour in images which use as their starting
point everyday scenes.

Meaning is subverted in Iosilzon’s work through persistent duality between text and subtext, clarity and
opaqueness. Often painting directly on silk or thin cotton or linen, the artist’s approach is thoughtfully
communicated through materials that point to weightlessness and delicacy. Yet these surfaces, which suggest the
“looming, conscious fragility― of narrative thread, reconfigure themselves as a ploy to create distance, with the
artist likening her choice of medium to a “mosquito net―, at once offering transparency and impenetrability,
courting the parasitic viewer but frustrating ultimate consummation.

Yulia Iosilzon graduated from the Slade School of Fine Art, UCL in 2017. She is currently enrolled on the MA Fine Art
program at the Royal College of Art and will graduate in June 2019.

Notes:

1
Artwork 1 Title: Hooligans
Artwork 1 Dimensions: 160 x 150 cm
Artwork 1 Medium: oil, silk-screen print, silicone on transparent fabric
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Reversed Dreams
Artwork 2 Dimensions: 200 x 170 cm
Artwork 2 Medium: oil, silicone on transparent fabric
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Looking For Rainbow
Artwork 3 Dimensions: 150 x 130 cm
Artwork 3 Medium: oil on transparent fabric
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Fear Of Orange Water
Artwork 4 Dimensions: 180 x 160 cm
Artwork 4 Medium: oil, silicone, glitter on transparent fabric
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 ID0384
Artist ID: 0384

Artist Name: Marta Jagoda-Blaszczak


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

Artist Statement: I call my type of photography the micro expressionism. This derives from a psychological definition
of micro expressions that relates to facial expressions.
Micro in my definition serves two purposes. Firstly, it’s linked to the scale of the images I photograph. These are
very sensual small objects or pieces of a bigger picture that are quite intimate and risky at the same time. It is like
being a fox in a wood focusing on its prey without noticing the potential danger of its surroundings. Secondly, the
term micro refers to the the time of the emotional expressions that I experience when photographing these objects.
These short moments allow me to focus my whole attention on a single item and fully experience it in a mindful and
spiritual way. These are very sensual shots of emotions that last just a fraction of a second but allow me to switch off
from the surrounding life which creates exciting danger of being caught off guard, like a fox hunting its prey.
My work is mostly inspired by art galleries. I like to photograph walls and floors in those areas as gallery space is
densely cumulated art with heavy load of emotions which makes it art on its own.
I believe that industrial and urban areas are loaded with micro expression that, if only noticed and captured, create
art on their own, very closely linked to the natural environment. It is abstract art and a sign that every modern city is
strongly connected to its natural roots.

Notes:

1
Artwork 1 Title: industial rain
Artwork 1 Dimensions: 59,4 x 42 cm
Artwork 1 Medium: Photographs
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: 0
Artwork 2 Dimensions: 59,4 x 42 cm
Artwork 2 Medium: Photography
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: 0
Artwork 3 Dimensions: 59,4 x 42 cm
Artwork 3 Medium: Photography
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: 0
Artwork 4 Dimensions: 21.0 x 29.7
Artwork 4 Medium: Photography
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue4 ID0385
Artist ID: 0385

Artist Name: Ben Wilson


Website: https://benwilsonartist.blogspot.com
IG:

Artist Statement: My work embraces the quality and passion of the classical arts whilst adapting it to modernity and
contemporary settings; capturing in paint the people existing here and now in this time period.

I aspire to create the illusion of being in the presence of a real person and connecting with them on a deeper level.
The subject matter is simply a portrait of a person; however, it is the model’s meditative introspection that adds
complexity. I try and create a conflicting moment between fragility and strength, which I believe largely defines us as
human beings, but to also leave it open to the viewer’s interpretation.

Contemplating that death will inevitably come one day and the ageing process complementing this realisation but
taking it all with a sense of humour or analysing it with pensive melancholy are truly the range of defining qualities
that human beings possess.

I use a consistent palette of minimal colours which creates harmony in conjunction with the full repertoire of effects
to create a continual sense of movement and energy as if the person is alive, thinking, breathing or about to move.
The plain featureless background enhances the starkness of the image. However, technique is only one part of the
process and it is the deeper human poignancy of the image that must take priority.

Notes:

1
Artwork 1 Title: Christine
Artwork 1 Dimensions: 64.5cm x 49cm x 3.5cm x
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Kerry
Artwork 2 Dimensions: 64.5cm x 49cm x 3.5cm x
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Ramona
Artwork 3 Dimensions: 64.5cm x 49cm x 3.5cm x
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Self portrait
Artwork 4 Dimensions: 64.5cm x 49cm x 3.5cm x
Artwork 4 Medium: Oil on canvas
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
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4
Artwork 4 Title: Perspectives
Artwork 4 Dimensions: 50x40x2
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary:
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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:
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4
Artwork 4 Title: Girl
Artwork 4 Dimensions: 21cm x 15cm
Artwork 4 Medium: brown paper
Artwork 4 Commentary:
Artwork 4 Image: