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Catalogue 2C

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:

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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:

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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:

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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 ID0250
Artist ID: 0250

Artist Name: Patrick Brien


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

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I draw to make my work are as varied as art historical references, drawn sketches, screen shot glitches, and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

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

Notes:

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

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

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

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

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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:

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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 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:

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Catalogue4 ID0256
Artist ID: 0256

Artist Name: Dinah Case


Website: dinahcaseart.com
IG: @dinah1613

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

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

Notes:

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

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

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

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

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Catalogue4 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:

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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:

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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:

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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:

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Catalogue4 ID0260
Artist ID: 0260

Artist Name: Lidia Lidia


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

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

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

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

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

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

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


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

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

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

Artwork 2 Image:

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

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

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

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

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

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

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Catalogue4 ID0261
Artist ID: 0261

Artist Name: Ana Vanessa Urvina


Website: www.anavanessaurvina.com
IG: @anavanessaurvina

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

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

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

Notes:

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

Artwork 1 Image:

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

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

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

5
Catalogue4 ID0263
Artist ID: 0263

Artist Name: Susan Bunn


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

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

Notes:

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

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

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

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

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

5
Catalogue4 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 ID0266
Artist ID: 0266

Artist Name: Lucia Rusinakova


Website: www.lightandtransience.com
IG: @luciarusinakovaart

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

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

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

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

Notes:

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

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

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

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

5
Catalogue4 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 ID0269
Artist ID: 0269

Artist Name: Abdul Rashid


Website: N/A
IG: abdulrashid806

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

Notes:

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

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

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

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

5
Catalogue4 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:

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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 ID0273
Artist ID: 0273

Artist Name: Uma Aslam


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

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

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

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

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

Notes:

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

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

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


Winner of numerous awards.
Artwork 2 Image:

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

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

5
Catalogue4 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:

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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:

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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:

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9
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:

2
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:

4
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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9
Catalogue4 ID0277
Artist ID: 0277

Artist Name: Minju Kim


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

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

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

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

Notes:

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

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

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

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

5
Catalogue4 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 ID0279
Artist ID: 0279

Artist Name: Lisa Batts


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

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

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

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

Notes:

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

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

Artwork 2 Image:

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

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

5
Catalogue4 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:

6
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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9
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
3
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:

4
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:

5
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:

6
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 ID0283
Artist ID: 0283

Artist Name: Silke Weissbach


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

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

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

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

https://vimeo.com/306789092

Password: SW100
Artwork 1 Image:

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

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

Video can be seen here:

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

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

5
Catalogue4 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:

6
7
Catalogue4 ID0286
Artist ID: 0286

Artist Name: Oliver Kellert


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

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


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

Notes:

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

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

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

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

5
Catalogue4 ID0289
Artist ID: 0289

Artist Name: Benji Thomas


Website: benjithomas.com
IG: benjithomasart

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

Notes:

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

Artwork 1 Image:

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

Artwork 2 Image:

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

Artwork 3 Image:

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

Artwork 4 Image:

8
9
Catalogue4 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 ID0293
Artist ID: 0293

Artist Name: Philip Gurrey


Website: www.philipgurrey.com
IG: @philipgurrey

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

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

Notes:

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

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

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

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

7
Catalogue4 ID0295
Artist ID: 0295

Artist Name: Gabrielle Turner


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

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

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

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

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

Notes:

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

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

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

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

5
Catalogue4 ID0297
Artist ID: 0297

Artist Name: Takuya Aoyama


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

Artist Statement: What can you feel from one photos?


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

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

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


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

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


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

Notes:

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

Artwork 1 Image:

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

Artwork 2 Image:

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

Artwork 3 Image:

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

Artwork 4 Image:

8
9
Catalogue4 ID0298
Artist ID: 0298

Artist Name: Michelle Karpus


Website: mkarpus.com
IG: michellekarpus_artists

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

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

She used acrylic on canvas or paper.

Notes:

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

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

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

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

5
Catalogue4 ID0300
Artist ID: 0300

Artist Name: Philip Williams


Website: www.philipwilliamsart.com
IG: @philipmwilliams

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

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

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

Notes:

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

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

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

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

5
Catalogue4 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 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 ID0306
Artist ID: 0306

Artist Name: Heejoh Lee


Website: www.heejohlee.com
IG: he_joli

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


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

Notes:

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

Artwork 1 Image:

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

Artwork 2 Image:

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

Artwork 3 Image:

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

8
Catalogue4 ID0307
Artist ID: 0307

Artist Name: Johan Reisang


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

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

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

***

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

Notes:

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

More info about us:


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

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

More info about us:


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

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

More info about us:


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

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

More info about us:


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

5
Catalogue4 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 ID0313
Artist ID: 0313

Artist Name: Joyce Moloney


Website: www.joycemoloney.com
IG: moloneyjoyce

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

Notes:

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

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

Artwork 2 Image:

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

An extract from the Poem

The sick grey feeling


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

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

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

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

8
Catalogue4 ID0315
Artist ID: 0315

Artist Name: Andrew Mcdonnell


Website: www.themacdonnell.com
IG: @andrew_james_mcdonnell_artist

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

Notes:

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

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

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

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

7
Catalogue4 ID0316
Artist ID: 0316

Artist Name: Joon Hee Kim


Website: www.junniekim.com
IG: junniekim18

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

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

Notes:

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

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

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

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

5
Catalogue4 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:

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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:

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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:

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Catalogue4 ID0320
Artist ID: 0320

Artist Name: Angelika Millmaker


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

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

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

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

Notes:

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

Artwork 1 Image:

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

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

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

Artwork 4 Image:

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8
Catalogue4 ID0321
Artist ID: 0321

Artist Name: Neil Horsefield


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

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

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

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

https://spanartists.wordpress.com

Notes:

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

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

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

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

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

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8
Catalogue4 ID0323
Artist ID: 0323

Artist Name: Peter Elia


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

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

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

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

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

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

Notes:

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

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

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

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

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

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

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

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

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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 ID0326
Artist ID: 0326

Artist Name: Amy Tiffany Hemingway


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

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

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

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

Notes:

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

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

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

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

5
Catalogue4 ID0327
Artist ID: 0327

Artist Name: Maddie Phipps


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

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

Notes:

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

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

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

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

5
Catalogue4 ID0329
Artist ID: 0329

Artist Name: Amy Robson


Website: www.amyrobson.co.uk
IG:

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

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

www.amyrobson.co.uk

Notes:

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

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

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

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

5
Catalogue4 ID0333
Artist ID: 0333

Artist Name: Gary Sheridan


Website: www.sheridanphotography.com
IG:

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

Notes:

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

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

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

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

5
Catalogue4 ID0334
Artist ID: 0334

Artist Name: Emilio Vavarella


Website: http://emiliovavarella.com
IG:

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

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

Notes:

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

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

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

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

Artwork 2 Image:

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

Artwork 3 Image:

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

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

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

Artwork 4 Image:

8
9
Catalogue4 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 ID0338
Artist ID: 0338

Artist Name: Lydia Cecil


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

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

Notes:

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

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

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

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

6
Catalogue4 ID0339
Artist ID: 0339

Artist Name: Kristan Campbell


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

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

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

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

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

Notes:

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

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

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

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

5
Catalogue4 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 ID0342
Artist ID: 0342

Artist Name: Jose Nicolas Zomeno


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

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

Notes:

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

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

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

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

5
Catalogue4 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 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 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 ID0349
Artist ID: 0349

Artist Name: HeLoã¯Se Bergman


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

Artist Statement:

Notes:

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

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

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

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

Artwork 3 Image:

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

TÄ• Moko- Modern MÄ•ori Warriors Project

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

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

6
7
Catalogue4 ID0352
Artist ID: 0352

Artist Name: Delia Milko


Website:
IG:

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

Notes:

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

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

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

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

Artwork 4 Image:

5
Catalogue4 ID0353
Artist ID: 0353

Artist Name: Ana-Maria Pop


Website:
IG:

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

Notes:

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

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

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

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

5
Catalogue4 ID0354
Artist ID: 0354

Artist Name: Sirius Chan


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

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

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

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

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

Notes:

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

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

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

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

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

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

Artwork 4 Image:

6
7
Catalogue4 ID0355
Artist ID: 0355

Artist Name: Sarah Gries


Website:
IG: sarahgriesart

Artist Statement:

Notes:

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

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

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

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

5
Catalogue4 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 ID0357
Artist ID: 0357

Artist Name: Catherine Pickop


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

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

Notes:

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

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

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

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

5
Catalogue4 ID0360
Artist ID: 0360

Artist Name: Denise Thomas


Website:
IG:

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

Notes:

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

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

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

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

5
Catalogue4 ID0362
Artist ID: 0362

Artist Name: Rebecca Salter


Website: www.rebeccasalter.co.uk
IG:

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

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

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

She celebrates the inherent nature of bronze.

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

Notes:

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

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

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

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

5
Catalogue4 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 ID0364
Artist ID: 0364

Artist Name: Julie Gillespie


Website:
IG:

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

Notes:

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

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

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

Artwork 2 Image:

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

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

6
Catalogue4 ID0365
Artist ID: 0365

Artist Name: Jim Hack


Website:
IG:

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

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

Notes:

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

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

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

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

5
Catalogue4 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 ID0367
Artist ID: 0367

Artist Name: Magdalena Gluszak - Holeksa


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

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

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

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

Notes:

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

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

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

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

5
Catalogue4 ID0368
Artist ID: 0368

Artist Name: Woo Jae Lim


Website: www.woojaelim.com
IG:

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

Notes:

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

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

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

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

6
Catalogue4 ID0373
Artist ID: 0373

Artist Name: Ermina Avramidou


Website: erminaavramidou.com
IG: ermina.avramidou

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

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

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

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

Notes:

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

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

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

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

5
Catalogue4 ID0374
Artist ID: 0374

Artist Name: Katherine Lubar


Website: www.katlubar.com
IG: @katherinelubar

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

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

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

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

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

Notes:

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

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

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

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

5
Catalogue4 ID0376
Artist ID: 0376

Artist Name: Patryk Kuleta


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

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

Notes:

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

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

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

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

5
Catalogue4 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 ID0378
Artist ID: 0378

Artist Name: Dianne Kaufman


Website: diannekaufman.co.uk
IG:

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

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

Notes:

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

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

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

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

5
Catalogue4 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 ID0381
Artist ID: 0381

Artist Name: Greg Ioannou


Website:
IG: ioannougreg

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

Notes:

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

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

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

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

5
Catalogue4 ID0383
Artist ID: 0383

Artist Name: Meghana Sengupta


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

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

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

Notes:

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

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

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

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

5
Catalogue4 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 ID0386
Artist ID: 0386

Artist Name: Jaroslav Zapletal


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

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

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

Notes:

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

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

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

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

5
Catalogue4 ID0387
Artist ID: 0387

Artist Name: Kate Huang


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

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

Notes:

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

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

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

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