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Catalogue 3C

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
Catalogue3 ID0390
Artist ID: 0390

Artist Name: Julie Cross


Website: www.juliecross.co.uk
IG: juliecrossart

Artist Statement: We tell ourselves stories, even when we sleep. They are the raw materials of human
consciousness and basic themes are shared throughout all cultures. My work examines the power of story,
especially narratives and imagery pertaining to fate, creation and death, in classical mythology, fairy tales and
children's literature. These are often combined with my childhood memories to produce intriguing, new visual
narratives, which also capitalise on my doctorate in Children's Literature. The works usually feature semi-abstracted
female forms, which ebb and flow between representation and abstraction, in an eternal dance between light and
dark, redemption and fate.

Notes:

1
Artwork 1 Title: Kazoom and the Green Lady
Artwork 1 Dimensions: 50cm x 40cm x 4cm
Artwork 1 Medium: Oil on cradled wood panel
Artwork 1 Commentary: Inspired by my childhood images of the story-teller, Scheherazade, from the Arabic tales,
'One Thousand and One Nights', this work conflates the famous 'Green Woman' print of the 1970s (ever present on
my grandmother's walls!) with the 'exotic' heroine of the tales. Also part of this 'new' story is my friend's misnamed
pet rabbit, Kazoom, named after a character in the tales (the character is actually Cassim!) These two elements, the
exotic 'other' and the familiar domestic animal, are forever linked together in a dialectic of fascinating but
frightening strangeness and reassuring 'hum-drum' reality.
Artwork 1 Image:

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Artwork 2 Title: Burial of the Bee
Artwork 2 Dimensions: 50cm x 40cm x 4cm
Artwork 2 Medium: Oil on cradled wood panel
Artwork 2 Commentary: More conflated 'images', from feelings of discomfort and even guilt (from killing a bee) and
childhood reading of the very 'grim' Grimm's fairy tale, 'The Juniper Tree'. Again, feelings of contented domesticity
are momentarily cast aside by the revelation of the uglier aspects of human nature - jealousy, revenge, even murder.

Artwork 2 Image:

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Artwork 3 Title: 'Walkies!'
Artwork 3 Dimensions: 50cm x 40cm x 4cm
Artwork 3 Medium: Oil on Cradled wood panel
Artwork 3 Commentary: The dark side of seemingly happy domesticity is again illuminated in the conflation of 'Red
Riding Hood' and my grandma's outmoded models of dog training! The terrifying wolf of the perennial warning tale
becomes my nan's obedient pet dog, contentedly and adoringly looking up at its owner, as it has literally been
'brought to heel' by the choke chain and the familiar refrain of 'Walkies!' (you have to be old enough to remember
dog trainer, Barbara Woodhouse, to get this reference!) This work is part of a trilogy linking ideas of cruelty and
kindness.
Artwork 3 Image:

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Catalogue3 ID0391
Artist ID: 0391

Artist Name: Joanne Finnegan


Website: www.joannefinnegan.com
IG: jf_art_gallery

Artist Statement: I am a British born Mountain, Landscape expressionist artist, living and working in Zug, Switzerland
since 2007.

After I moved to Switzerland in 2007 the ‘still life’ painting was soon pushed to one side and the Alps started
to invade my work. I devoured the landscapes of Ferdinand Hodler and the stories of Heinrich Harrer.

I began to explore the Alps in paint. I became increasingly obsessed by the way the mountains play with the light in
different weather and how their forms adjust with the changing seasons. Every morning I find myself gauging my
mood from their stance on the horizon.
I always start with outdoor sketches and photographs, then I return to the studio, producing perhaps four or five
drawings to give me ideas for the larger canvas. Then, working fast, the painting starts to take shape as different
base colours are added. At this stage, colours are added directly into the sky to give depth and atmosphere. I am
apprehensive as the painting comes together, working in bursts of several hours at a time over several months. I
then bring the painting out of the studio and into our home so I can live with the image and get a feel of its direction
– what works and what needs to be reworked. The painting slowly becomes my representation of the mountain
and the impact it has on me.
The idea of using old maps and collage to produce a mixed media image was a natural progression from my
sketchbook drawings. The images are built up on vintage maps from the region, with ink, paint and a collage of old
photographs, drawings and prints.

Notes:

1
Artwork 1 Title: Rigi Queen of the Alps
Artwork 1 Dimensions: 97 x 118 x 3
Artwork 1 Medium: Acrylic and ink on canvas
Artwork 1 Commentary: Rigi is my mountain, she has been a huge support to me in my adventure here in
Switzerland. When I first saw her (she is a female mountain in the German language) we had no real connection.
Made famous by Turner she is now very much a favourite subject for me. She sits on the landscape with great royal
presence.
Artwork 1 Image:

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Artwork 2 Title: 0
Artwork 2 Dimensions: 60 x 80
Artwork 2 Medium: Collage/mixed media
Artwork 2 Commentary: I began to work on the maps in 2015, first was to but the mountain on the map then after
finding old photographs of Zurich and people ice skating on the frozen lake my imagination was ignited.
Artwork 2 Image:

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Artwork 3 Title: Eiger on the map Grindelwald
Artwork 3 Dimensions: 60 x 80
Artwork 3 Medium: Collage/mixed media
Artwork 3 Commentary: The history of this mountain speaks for it's self. It is about putting the mountain back into
it's landscape and the adventure that it takes to get there.
Artwork 3 Image:

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Catalogue3 ID0392
Artist ID: 0392

Artist Name: Maria Falk Larsson


Website: www.mariafl.com
IG: bymariafl

Artist Statement: She is a curios creator, inspired to follow her heart, trying to go behind the representing reality and
fashion her soul. She doesn´t need all the answers when she starts. She rather lets the process take command and
follow its lead. of course she chooses different ways at different times and you might finns all various parts of her
personality in one and the same painting. Acryl and water are on her palette, colorful or not, sharp forms and
shadows, or just a lot of doubt, hesitation, love and humor. Nature and all that comes with it, the spacing in between
and what's there, but you might not see, inspires her.

Notes:

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Artwork 1 Title: In the night
Artwork 1 Dimensions: 70x70
Artwork 1 Medium: acrylics
Artwork 1 Commentary: Thick layers pouring slowly, making lines and dots of gold. Thin lines showing figures out in
the night.A lot of contrasts in both technique and ideas making the painting whole.
Artwork 1 Image:

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Artwork 2 Title: The golden path
Artwork 2 Dimensions: 70x70
Artwork 2 Medium: acrylics
Artwork 2 Commentary: Smooth movement in both technique and feeling.Kind of a dance taking place above the
black bottom with more quietness and stillness. The golden path to the right showing the path to take for a free and
happy condition now and in the future. Find your path for joy and Comfort. 'Yin/yang brings harmony.
Artwork 2 Image:

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Artwork 3 Title: Something behind the mountains
Artwork 3 Dimensions: 70x70
Artwork 3 Medium: acrylics
Artwork 3 Commentary: Acrylics and a lot of water making a background letting the artwork grow step by step. Like
from ancient time or fantasy story, the artwork gives you a whole story with you as a storyteller.Soft colors and
forms alternately gives you a feeling that everything sticks together.
Artwork 3 Image:

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Catalogue3 ID0394
Artist ID: 0394

Artist Name: Helen Hughes


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

Artist Statement: Irish Independent Artist living and working from a studio in the Isle of Man.

I am best known for my non-objective abstract art, displaying a strong focus on mid century block colour. I work
mainly with acrylic on large scale canvas. My collections exhibit contemporary bold simplicity. Inspiration can come
from traditional landscapes, buildings and interesting linear surroundings. Overall, my modern approach explores
the beauty of line, shape, space and form.
An appreciation for European art had been instilled early on in my career. Living and working in Luxembourg for
many years, opened my eyes to some exciting new European movements. Things were really changing. You had the
fall of communism a few years earlier and a fresh new optimism was coming through. It was a really exciting time.
After a busy period heading up the Art & Design department of St. George's International School Luxembourg, I took
the leap to immerse myself into painting full time and focus on my own art.

Notes:

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Artwork 1 Title: Stitch in Time
Artwork 1 Dimensions: 125x100x4.1cm
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: Painting: Acrylic on Canvas.

Through deliberate imperfect marks there is an expression of healing. Despite only three appearances, white
somehow dominates the painting, stitching together the strong orange and navy background. Overall the color
combination expresses a togetherness and healing.
Artwork 1 Image:

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Artwork 2 Title: Breakthrough
Artwork 2 Dimensions: 100cmx75x4.1cm
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: Painting: Acrylic on Canvas.

What does a thought look like? This is my interpretation of what a thought might look like. The moment when
problematic meets possibility - breakthrough.
Artwork 2 Image:

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Artwork 3 Title: Waterlogged
Artwork 3 Dimensions: 50x50x2cm
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: Painting: Acrylic on Canvas.

Abstract snap shot of woods in the background on a rain soaked day. Partially flooded fields reflecting the earthy
tones of the countryside.
Artwork 3 Image:

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Catalogue3 ID0395
Artist ID: 0395

Artist Name: Lala Drona


Website: www.laladrona.com
IG: https://www.instagram.com/dronalala/

Artist Statement: The Power of the Click


Clickbait, Ctrl+click / Cmd+click, Ctrl+V / Cmd+V

Can a click on a virtual body invite transgressions on real body? Do we exploit ourselves in exchange for clicks, and
does that exploitation manifest differently across age/race/sex/gender?

This triptych examines the actions we take on women’s bodies in the digital world, and their impact on the real
world. The seemingly inconsequential act of clicking while interacting under the mask of anonymity, behind the
screen. In a world where clicks are the new currency, how do we avoid inflicting or perpetuating suffering on others
though our clicks? Is it possible to empower ourselves through the action of clicking?

A mouse click on a virtual body can be an act of affirmation, an act of curiosity, or an act of violence. However,
above all, a click today represents an exchange. One sees this in our tendency to value ourselves and content
through the “likes,― “friends,― and “followers.― In a world where the virtual overlaps with the real,
it is vital that we become more conscious of the impact of this value system on our daily lives.

Artist Biography
Lala Drona (b. 1988) is a Venezuelan-American painter and videaste, born in Denver, Colorado. After receiving a
Bachelor of Arts from the University of Colorado, Lala Drona has since published and exhibited her work from North
America to South America, and from Western Europe to Asia. Her paintings, videos, and writing explore the themes
of identity, women’s bodily experience, and the effects of social media on human beings, all media tying together
to create a cohesive and complex narrative. She is currently based in Paris, France. To see more of her work, please
visit:

Instagram: @dronalala
Website: www.laladrona.com
Blog: www.basedonafact.com

Notes:

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Artwork 1 Title: Clickbait / Double-click
Artwork 1 Dimensions: 100cm x 100cm
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: Clickbait / Double-Click (1/3 in the triptych) examines how we use (women's) bodies as a
means of "click-currency." We commodify sexualised images of women to lure in users to click and give advertisers
money. I would like to be considered for the Ashurst Emerging New Media Prize 2019.
Artwork 1 Image:

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Artwork 2 Title: Ctrl + Click / Cmd + Click
Artwork 2 Dimensions: 100cm x 100cm
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: Ctrl + Click / Cmd + Click (2/3 of triptych) examines the urge to acquire "followers" and
"likes". It looks at how we create an online identity and use it to hoard the virtual compensation (likes/follows) for
our posts. I would like to be considered for the Ashurst Emerging New Media Prize 2019.
Artwork 2 Image:

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Artwork 3 Title: Ctrl + V / Cmd + V
Artwork 3 Dimensions: 100cm x 100cm
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: Ctrl + V / Cmd + V (3/3 of the triptych) examines the idea of the woman's body as a "click
battlefield." Representations of (sexualized) violence against women, women's bodies to be consumed by the
viewer's eyes. The Internet is a reflection of society, and the war is perpetuated by the way in which we use
women's bodies online. I would like to be considered for the Ashurst Emerging New Media Prize 2019.
Artwork 3 Image:

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Catalogue3 ID0396
Artist ID: 0396

Artist Name: Sophie Peters


Website: www.sophiepetersartwork.com
IG: @sophie_peache

Artist Statement: Peters explores use of paint to disrupt conventional narratives and discourses surrounding identity
and environmentalism. Her practice investigates post-structuralist concepts and draws upon on visual and literary
references including Jericho Brown, Virginia Woolf, Francis Bacon, Dali and Bohemian symbolism as well as themes
from biological science. Their most recent explorations investigate inter-sectional environmentalism and the
communication of empirical information through creative mediums. Sophie practices a rhizomic understanding of
art, whereby disparate aspects of a socio-political landscape are entangled within a composition to describe
networks of power. They are is interested in societal binaries and existence outside of identity politics. Sophie is
currently studying Biology as part of a Liberal arts and Sciences program at the University of Birmingham (UK).Â

Notes:

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Artwork 1 Title: SKIN
Artwork 1 Dimensions: 100x100x10 depth
Artwork 1 Medium: Oil on Stretched Canvas
Artwork 1 Commentary: A detailed map of North and South America is described using the imagery of flesh and skin.
Borders and divisions of the land are situated upon a fleshy and sexually vibrant sea. This tumultuous but beautiful
ocean is red and pink, indicative of the years of violence between different cultures, genders and groups. The piece
reflects on the earth's troubled past but simultaneously brings all skin tones together in one image and further
unites them with the pink of the flesh shared by every human. The piece was created using fluid and feminine
shapes and imagery to represent the sexuality and power of a group repressed for centuries.
Artwork 1 Image:

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Artwork 2 Title: THEO'S PLASTIC BEACH
Artwork 2 Dimensions: 150X100X6
Artwork 2 Medium: Oil and Acrylic on unframed stretched canvas
Artwork 2 Commentary: The artists student kitchen is full of plastic. It makes up the chairs, window linings, cupboard
surfaces, bottles and even the clothes of the sitter. As viewers see this piece they are encouraged to observe each
part of the scene as a unique element and consider what it is comprised of. The bright flat acrylic tones reflect the
artificial nature of modern living, with the oil painted reflections, trousers and skin of the subject displaying a sense
of the natural life. Peters is fascinated by human overuse of plastic in everyday life and with the textures and shifts
of tone that each plastic material brings. The piece is designed to subtly remind viewers of their dependency on a
vastly overused material, whilst simultaneously celebrating its vibrancy and uses.
Artwork 2 Image:

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Artwork 3 Title: The Kiss
Artwork 3 Dimensions: 66.2x 90x 3
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: The artist's friend and her lover are depicted tenderly displaying their love for one another.
Created in reaction to current worldwide tensions between different groups, the image highlights the need for unity
and understanding between cultures, races men and women (and non identified genders). The painting is a symbol
of hope.
Artwork 3 Image:

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Catalogue3 ID0397
Artist ID: 0397

Artist Name: Natalya Kosteneva


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

Artist Statement: Reflecting reality through subconscious is the guiding principle that lies at the heart of my art. The
search is very important...Sometimes, it takes an ugly shape but, still, it must go on. I'm least interested in Realism in
Art. Reality is what should be in the conception but not the expression.

What intrigues me is the way we, as humans, are built. Our animal nature and the nature of our perversions. The
mechanism of EVIL. The mechanism of GOOD. Our brain is the most wonderful thing that I feel compelled to praise
and elevate. Yet it drives us to perform the most violent of deeds. Or is it the other way round?
What concerns me is how humanity and violence can so easily co-exist in a man. I tremble to think that we were
created after God’s image.
The paradox is that the multitude of laws people spend hours creating are hardly observed at all. Every law will
always be contradicted by a crime: “thy shall not kill, thy shall not steal, thy shall not rape...―

The only laws we do observe are those of our INSTINCTS. Nature’s laws. They apply to all living beings. The
animal world where no government introduces amendments every year. They transcend time. What I see now is
man fighting his own nature. This is where culture comes in together with spirituality and will. Culture is the greatest
invention by the human race. Right now, I feel like it’d be very hard for me to live without this antidote to our
chaotic behaviour. Yet I see it as a very strange, hybrid thing inherent only to man. It’s a SYNTHETIC, not organic
product. Animals neither possess nor practise it. They follow their instincts, the laws of survivals, brute force.
Nothing to do with humanity. They do not operate along the ideas of sacrifice for the sake of an idea, spirituality or
religious dogma for the sake some deity or prophet, they do not invent atomic bombs to destroy life, they do not
cultivate death as some goal to strive for, they do not get a kick from drugs, they do not embrace death experience
for the sake of a performance, they do not paint weird abstract paintings…All this is contrary to the natural circle
of life. Culture is abnormal.

Notes:

1
Artwork 1 Title: Attack on Eden
Artwork 1 Dimensions: 200x200
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Based on the Old Testament.
The action depicted takes place in the future. Son of Man, brought up in the most righteous of ways, receives a
mission from his mother for the afterlife. To find the Garden of Eden, get past the "cherubim with a flaming sword"
that Lord ordered to guard the Tree of Life (after Eva plucked the apple and tasted it together with Adam) and to try
the apple himself. And that way grant people the gift of eternal life.

The Hebrews and a lot of religious people around the world believe in the Second Coming, in Messiah, so I thought
to myself, what if someone attacked Eden? So, we see this son wrestle for the apples, for eternal life.

22 And the Lord God said, "The man has now become like one of us, knowing good and evil. He must not be allowed
to reach out his hand and take also from the tree of life and eat, and live forever." 23 So the Lord God banished him
from the Garden of Eden to work the ground from which he had been taken. 24 After he drove the man out, he
placed on the east side[a] of the Garden of Eden cherubim and a flaming sword flashing back and forth to guard the
way to the tree of life.
(Book of Genesis)
Artwork 1 Image:

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Artwork 2 Title: Tea party
Artwork 2 Dimensions: 200x200
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: A whodunnit story, puzzle, thriller. The client, the victim, the executioner and the
accomplice. But who did it? The answer is encoded and you have to read between the lines. The viewer is invited to
look at the painting and find out for themselves.
Artwork 2 Image:

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Artwork 3 Title: Mr. C
Artwork 3 Dimensions: 100x90
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: Meditation on the theme of Creation. Each of us has a particular understanding about God
and the process of creation. I see it a flow of energy of the Universe that sometimes takes human shape. It’s
neither kind nor evil. Not good, not bad. It’s indifferent and cold like life itself, like nature, cosmos, but it’s
also pulsating and burning like a chemical mass of atoms, like human flesh. Here it has semblance of a man but
it’s only one of its countless manifestations.

Artwork 3 Image:

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Catalogue3 ID0398
Artist ID: 0398

Artist Name: Henrietta Macphee


Website: http://henriettamacphee.com/
IG: https://www.instagram.com/etta_mac/?hl=en

Artist Statement: Henrietta MacPhee is a British artist (b.1985). She graduated with a Diploma in Ceramics from City
Lit in 2017 and works from her studio based in South London.
Her artistic practise is centred in ceramics. Modelling by hand and painting on the clay she creates a language that
blends the visual and tangible to create entertaining illusions and a sense of complexity that traverses the border
between 2D and 3D.
Through a fresh child-like perspective of the world, she portrays scenes of poetic tenderness and humour,
interweaving metaphors for embracing life’s diversity of peoples and their cultures. It is playful, representing an
innocent yet thought provoking relationship with the material form.

Notes:

1
Artwork 1 Title: In the sauna
Artwork 1 Dimensions: 24 x 23 x 10
Artwork 1 Medium: Ceramics
Artwork 1 Commentary: A sculpture to expose the secluded inner sanctum of the sauna. Turning that world inside
out to reveal the entertaining tensions and emotions experienced in that small intense space.
Artwork 1 Image:

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Artwork 2 Title: Yogaposer
Artwork 2 Dimensions: 24 x 23 x 10
Artwork 2 Medium: Ceramics
Artwork 2 Commentary: This piece plays with the gravity and comedy of paired yoga poses. A tactile ceramic
sculpture; modelled and carved by hand, glazed in lapis lazuli blue. Blue as the ancient Babylonian Ishtar temple
walls and blue as unearthly embodiments of our imagination, it represents both the past and the future.
Artwork 2 Image:

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Artwork 3 Title: Adoration of the pot
Artwork 3 Dimensions: 28 x 16 x 16cm
Artwork 3 Medium: Ceramic
Artwork 3 Commentary: ‘The adoration of the pot’ comes from a personal passion for the love of all things
made by our hands.
It is a vessel partially sculpted and partly thrown on the wheel, showing a caressing action by the same hands that
made its existence.

I wanted to make a piece that could encapsulate my love of this art form. I chose a yellow glaze over a green body to
create an almost florescent hue that catches the light and evokes the magical aspect of creating.

Artwork 3 Image:

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Catalogue3 ID0399
Artist ID: 0399

Artist Name: Gesa Reuter


Website: www.gesareuter.art
IG: https://www.instagram.com/gesareuter.art

Artist Statement: Being born in the north of Germany, I have always felt a close connection to the elements water,
wind, air and northern skies. The colors of skies, clouds, waters and light keep fascinating me and give me strength
and power. I have been a semi-abstract landscape painter since 1996 and have started to professionalize my work
since 2016 with lots of exhibitions, exhibiting and selling my art to national and international clients.
Recently I have been painting a lot with watercolors and gouache because painting in thin layers gives a special
lightness that I love very much and have first experienced when seeing the works of Mark Rothko. My colours are
usually applied in layers with different mixed media. Changing between works on paper and works on canvas allows
me to explore many of the chances and possibilities that lie in letting the water do the painting. Traces, running
marks, dripping are wanted and welcome. This way I can follow the traces left by the water.Later I will start making
decisions about composition and what is allowed to stay, what must go. Sometimes I have to do this process several
times in one work, sometimes the painting will be stuck away for a few weeks to give me the inner distance needed
for those decisions. This way many layers form the painting and this is similar to life itself - we become more
interesting and deeper with each layer of experiences, good or bad, light or shadow.

Notes:

1
Artwork 1 Title: Grey Illusion
Artwork 1 Dimensions: 40x40x2
Artwork 1 Medium: Ink, Gouache, Graphite, Pastels on Canvas
Artwork 1 Commentary: A quiet and tranquil monochrome semi-abstract landscape, lots of layers of stoney grey,
light blue, little white and pitch-black ink. You can see a landscape or you can see abstract structures... I have been
interested in the natural structures that emerge when painting with lots of liquids, the beauty of small traces found
in nature everywhere when you look closely. The grey is a non-color, but I have been really fascinated with its many
shades and beauty. Also, there is always hope and so you can see a little bright white in contrast to the grey.
Like "Blue Illusion" t is part of a small series called "Illusion" and I work the same technique with different colors.
Artwork 1 Image:

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Artwork 2 Title: Blue Illusion
Artwork 2 Dimensions: 40x40x2
Artwork 2 Medium: Gouache, Ink, Pencil, Oil on Canvas
Artwork 2 Commentary: Also a quiet and tranquil monochrome abstract landscape in a series with "Grey Illusion",
lots of layers of blue, light blue, little white and ultramarine. You can either see a landscape, hills or waves... or see
more abstract forms. I like to stay open about that and stay semiabstract. I have been interested in the structures
that emerge when painting with lots of liquids, the beauty of small traces found in nature everywhere when you look
closely and I have been interested in shadows and light.
It is part of a small series called "Illusion" and I work the same technique with different colors.
Artwork 2 Image:

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Artwork 3 Title: Summer Storm
Artwork 3 Dimensions: 23x28x0,3
Artwork 3 Medium: Watercolor, Ink and Gouache on Paper
Artwork 3 Commentary: I also do a lot of watercolors, where I can explore the strucures and traces of water and
paint in the painting process. This is a mixed media painting in more vivid colors, semiabstract, no real landscape but
obviously very much a landscape, it is about light and darkness and these topics keep fascinating me as they are an
analogy to the things we have to experience and go through in life. Works like these are for me also sketches for
bigger works on canvas.
Artwork 3 Image:

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Catalogue3 ID0401
Artist ID: 0401

Artist Name: Celeste Chau Da Luz


Website: celestecdaluz.com
IG: celestecdaluz

Artist Statement: From film production to painting, Celeste's core concern is always to create works that can depict
her understandings on things and to express her personal feelings about them. Rebuilding significant memories is
also her main purpose of creation. Colour is the root of all Celeste's paintings, corresponding with a variety of
materials that can create responsive effects to the memories. Her practice focuses on painting spontaneously onto
the canvas to make abstract compositions, using the specialty of different brushes and tools.

Notes:

1
Artwork 1 Title: Frost's Decent
Artwork 1 Dimensions: 20 x 3.8 x 20
Artwork 1 Medium: Acrylic on Wood Panel
Artwork 1 Commentary: The 24 solar terms represent the alternations of seasons in a year. Even they are formed in
a regular cycle, everyone will have different perspectives and feelings on the climate changes.

'Frost's Decent' is one of the solar terms in Autumn, a season in which the breeze can always evoke different
memories among people. I used colours and multiple textures in my creation to depict my impression and unique
feelings about the season.

Artwork 1 Image:

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Artwork 2 Title: Limitation III
Artwork 2 Dimensions: 20 x 3.8 x 20
Artwork 2 Medium: Acrylic on Wood Panel
Artwork 2 Commentary: The potential of limitation has led to an alternative way of creative thinking. When
limitation stop us, we will then be force to overcome our weakness and enhance our ability to create. Through this
work, I aimed to examine the value of limitation in my creation.

Unlike my previous usual practices, of using a lot of different colours and several tools in one painting, I engaged
with limitation by using limited colour palette and tool. In this work, I manipulated combination of three colours in
each painting and applying them with only one tool to create the series. It constraints me to go further more on the
development of my techniques on applying the paint and on controlling the tool in my paintings.

Artwork 2 Image:

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Artwork 3 Title: but I keep cruising...
Artwork 3 Dimensions: 50 x 5 x 100
Artwork 3 Medium: Acrylic on cotton canvas
Artwork 3 Commentary: Both painting and life are uncontrollable. Seeing painting as life, I try to examine and
investigate the similarity between painting and life in this project. Reimagining moments in time and space I
sketched out, in abstract forms, my past significant and indispensable life events that shaped who I am now.

Understanding the nature and characteristic of painting have allowed me to make connection of it with life. Painters
want to paint out their ideal imagery while people want to design their ideal life. We always want to take control of
things but there is no guarantee of success in the reality.

Responding to the subject, I created ‘but I keep cruising…’ which represents the ups and downs that
happened in my life.
Artwork 3 Image:

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Catalogue3 ID0406
Artist ID: 0406

Artist Name: Harriet Muncey


Website: www.artbyharriet.com
IG: www.instagram.com/artbyharrietm/

Artist Statement: I am a London based artist, working out of an arts community in Dalston. I began creating art
around three years ago as a means of self-expression. I have found myself exploring a wide range of subject matter
in different mediums, from landscapes to portraiture, as a way of examining and understanding my lived experience.

I love attempting to capture the vibrancy and depth of real and imagined landscapes, exploring the scale from hyper-
realism to abstraction. The feeling I have creating these is almost a sigh of relief, as though I’m finding room to
breathe, and I think part of the process of painting landscapes is in wanting to carve out a space for myself in the
world.

I’ve always felt more comfortable observing people than being observed myself, and recently I’ve started
exploring my connections with the people close to me using portraiture. I’m fascinated by how difficult it is to
create a true likeness of a person, what is it that makes the difference in really capturing someone’s expression -
the crease of an eyelid, the corners of the mouth, the shape of a cheek.

My creative journey continues to evolve and I’m greatly encouraged and excited by the response to my art so far.

Notes:

1
Artwork 1 Title: Coming Home
Artwork 1 Dimensions: 42x29.7
Artwork 1 Medium: Oil on paper
Artwork 1 Commentary: I was flying home to London from a work trip and as we came over the city I felt a swell of
love for the place i call home. I wanted to capture the hazy-eyed tiredness and warmth I felt gazing out over the
sunset-tinted city.
Artwork 1 Image:

2
Artwork 2 Title: Alcatraz I
Artwork 2 Dimensions: 90x65x1.5
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: I was in San Francisco visiting a friend and we took the boat to the island for a tour. I was
struck by the fact that inmates of the prison were surrounded by this beautiful landscape that they could see but not
engage with. The metaphor of mental illness as being imprisoned in your own mind is pretty well worn, but these
images for me, represent the idea that there is beauty beyond the confines of personal despair and the longing to
experience that for oneself.
Artwork 2 Image:

3
Artwork 3 Title: Whitstable I
Artwork 3 Dimensions: 40x30x1.5
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: I love gazing at the sky and am always playing with how to capture the light and texture of
the clouds, particularly in relationship to the sea. I painted this after a visit to Whitstable, Kent and for me evokes the
sense of calm and serenity of looking out over the bay.
Artwork 3 Image:

4
Catalogue3 ID0408
Artist ID: 0408

Artist Name: Eddie Day Wells


Website: E8die.com
IG: #E8die

Artist Statement: I try to capture a moment in time, when a song transports you to a moment, the culture the mood,
the references personal and general.

They are of London as I have been raised and heard the stories of the east end from its people, Jack the ripper to the
cable street riots, the 50’s and swinging 60’s the good the bad and the ugly.

I use suburban collectibles and model miniatures to add layers and bring some real London items into the work.

London Walls have a story to tell, but it comes from behind them. They are big bold pop art influenced pieces from a
distance as you close in they have more visual surprises a nod to my main influence LS Lowry.

Images are multilayered and manipulated photographs, the frames consist of reclaimed wood, iron, Brick and resin,
and furniture lacquer finishes for strength and reflectiveness all with original transport collectibles incorporated, to
aid the story.

I would like to create larger pieces, I’m interested in preserving the architecture and feel of London and how art
can highlight that.

I’d like to incorporate installation into the work, to create an whole themed event around the work.

Notes:

1
Artwork 1 Title: These blue jeans
Artwork 1 Dimensions: 50cm x 50cm
Artwork 1 Medium: Mixed
Artwork 1 Commentary: Transport collectibles, reclaimed materials and road marking yellow paint. And multiple
manipulates layers of resin to throw the light and allow the mood of the work to change in the light. Nostalgia and
music are referenced and characters tell my stories in a dream like flash.
Artwork 1 Image:

2
Artwork 2 Title: Underwear
Artwork 2 Dimensions: 30cm x 30cm
Artwork 2 Medium: Mixed
Artwork 2 Commentary: Transport collectibles, reclaimed materials and road marking yellow paint. And multiple
manipulates layers of resin to throw the light and allow the mood of the work to change in the light. Nostalgia and
music are referenced and characters tell my stories in a dream like flash.
Artwork 2 Image:

3
Artwork 3 Title: Young and lovely
Artwork 3 Dimensions: 50cm x 50cm
Artwork 3 Medium: Mixed media
Artwork 3 Commentary: Transport collectibles, reclaimed materials and road marking yellow paint. And multiple
manipulates layers of resin to throw the light and allow the mood of the work to change in the light. Nostalgia and
music are referenced and characters tell my stories in a dream like flash.
Artwork 3 Image:

4
Catalogue3 ID0409
Artist ID: 0409

Artist Name: Caroline Banks


Website: http://art.carolinebanks.co.uk
IG: https://www.instagram.com/cvbanks_art

Artist Statement: The circle or disc is a key element in my visual vocabulary which I return to repeatedly as a
lodestone or talisman. Other elements are almost calligraphic, the marks and rhythms partly inspired by the
conductor Marin Alsop at work in rehearsal as well as experiments in virtual reality.

It all comes down to memory: precious and treasured, elusive, lost, inaccurate yet true. I try to capture the essence
of an experience, a fugitive and unrepeatable moment that was intensely important.
How may the feeling of a particular moment be expressed and how might it change over time? In an age of instant
imagery, my work aims to capture that movement combined with stillness and to reflect an ongoing process of
meditation and reflection.

My current tools are brushes with the use of gesso, ink, paint and gilding in a process that develops over time. As in
life, chance and working on the edge of control play their part. Perfection is unattainable and undesired.

Notes:

1
Artwork 1 Title: Vortex
Artwork 1 Dimensions: 120 x 120 x 0.3
Artwork 1 Medium: Gesso, ink and copper leaf on natural linen board
Artwork 1 Commentary: Vortex reflects a time of nervous energy and of some uncertainty. It was the first large piece
painted in my new studio after several months without a base which had been very unsettling so is, in a way,
indicating a transitional period. The energy is very apparent yet it is balanced by a feeling of serenity: movement and
stillness. Are you falling in or coming out?
Artwork 1 Image:

2
Artwork 2 Title: Black & White Gesso - canvas
Artwork 2 Dimensions: 30 x 30 x 3
Artwork 2 Medium: Gesso on natural linen canvas
Artwork 2 Commentary: Using only black and white gesso on natural linen canvas, this piece record and celebrates
the memory of a repeated and meditative gesture, deceptive in its apparent simplicity. No two movements will ever
be the same, no matter how many times they are repeated with each one uniquely of its particular moment.
Artwork 2 Image:

3
Artwork 3 Title: Pale Blue Strokes Scrolls (pair)
Artwork 3 Dimensions: 250 x 73 x 0.1 each scroll
Artwork 3 Medium: Gesso, ink and copper leaf on watercolour paper
Artwork 3 Commentary: I’ve long been fascinated by scrolls and screens: the storytelling aspect and the shapes
when hung. They travel easily, can be displayed and stored for either private or public use and their location will
always influence how they are viewed. Making them resonates with a time in my life when I led a very peripatetic
existence and I like the possibilities that presents.

This pair is developed on watercolour paper from an earlier study of a memory of music with a close connection to
my father who died many years ago.
Artwork 3 Image:

4
5
Catalogue3 ID0410
Artist ID: 0410

Artist Name: Jennifer Smith


Website: www.jennifersmith.nl
IG: jennifer_smith_art

Artist Statement: The work consists of paintings and drawings of the female body. In artistic terms I am exploring a
more abstract and expressive representation of the female nude. The nakedness of the female figure is heavy with
meaning while also remaining ambiguous. My main objective is to challenge
how we look at the female body in contemporary society.
My paintings respond to a narrative influenced by social media, representations of the female body and
perceptions of female beauty. With regard to meaning, the images of the women in my paintings are rejecting the
consumption of the gaze on their naked bodies. They are not ashamed but silently protesting the explotation of the
female body in contemporary culture and media. The female body has been disconnected from the person and is
used to add beauty or lust to a message without considering the human behind that body.
The figures in the work are covering their bodies, seducatively exposing a breast, hiding their faces and voices,
turning away from the gaze or defiantly challenging you to look at them in positions that have a sexual connotation.
In no way are these women presented in a way that seeks approval. However they challenge the viewer to interact
and respond to how women are individually reclaiming the representation of their own bodies.

Notes:

1
Artwork 1 Title: unseen
Artwork 1 Dimensions: 62 x 52 x 3 (includes frame)
Artwork 1 Medium: acrylic & ink on paper
Artwork 1 Commentary: Nobody is looking at her face anyway.
Artwork 1 Image:

2
Artwork 2 Title: Anonymous
Artwork 2 Dimensions: 62 x 52 x 3 (includes frame)
Artwork 2 Medium: acrylic & ink on canvas paper
Artwork 2 Commentary: Her face is fading away into anonymity.

Artwork 2 Image:

3
Artwork 3 Title: Exposed
Artwork 3 Dimensions: 62 x 52 x 3 (includes frame)
Artwork 3 Medium: ink on paper
Artwork 3 Commentary: Is this all you want ?
Artwork 3 Image:

4
Catalogue3 ID0411
Artist ID: 0411

Artist Name: Ivan Grieve


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

Artist Statement: I begin working prolifically making studies. These are generally small and often collaged or using
textures and mixed media. This helps me explore my subject freely and lets me see patterns and lines that I may use.
I develop the colours that I wish to work with whilst making the studies.
When I start painting I let my emotions out in the first stages of a work, boldly applying the paint. Then from this
point I can refine my work gradually keeping some of the initial marks that I made. I find that I look for rhythms in
the painting, I paint to this rhythm.
People’s lives interest me, the incidental aspects, daily routines, the lists made and discarded. A particular walk
or shape or a pattern something will stand out, I will seek similarities and begin to observe them and maybe
document them. I collect images or elements of my subject, it maybe a dropped shopping list, a note left on a car
windscreen.
I am interested in people and their lives and habits, it makes us unique but there are so many similarities .I
categorise in my mind my findings,I make order through my work from the chaos of

Notes:

1
Artwork 1 Title: Departure
Artwork 1 Dimensions: 50x45x2
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: The subject of people gathering at arrivals and departure gates interested me. Commuters
crowding on a concourse, move like beads in a kaleidoscope. I wanted to convey a feeling of waiting or expectation
in this work.
I have used the paint to add impact and interest as the eye moves across the surface. The figures blur into each
other like the shadows and light on the floor.
I worked directly from my study, using both brushes and palate knives to apply the paint or remove in places.

Artwork 1 Image:

2
3
Artwork 2 Title: Platform
Artwork 2 Dimensions: 45x50x2
Artwork 2 Medium: Oil on canvas.
Artwork 2 Commentary: Train stations and commuters were the subjects here, the reflections on the sides of train
carriages and the figures inside trains.
I worked from a small mixed media collage study. The seating, windows and table provided flat plains. The
commuters rounded shapes.The muted colours seemed to create a natural pattern arranged in the train.
Painting this piece a rhythm of marks helped me create depth to the work. Using thicker layers of paint allowed me
to add texture and interest to the surface.

Artwork 2 Image:

4
5
Artwork 3 Title: Grieve; Self-portrait.
Artwork 3 Dimensions: 50x45x2
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: This was, without a doubt a challenge for me as I have not done a self-portrait for many
years. To express emotion on canvas required some soul searching. The colours I used helped portray my feelings to
some degree.
Initially great daubs of paint were applied, as I wanted to avoid making a piece that would be too contrived. A light
directly above my head added a sense of isolation, set in an empty looking space.

Artwork 3 Image:

6
Catalogue3 ID0413
Artist ID: 0413

Artist Name: Irene Giannettino


Website: http://irenegiannettino.wixsite.com/portfolio
IG: https://www.instagram.com/irene_yreen/

Artist Statement: What is a feeling?


How strong and of impact could it be?
How can I fix a picture of it?
How can I use it to move people and let them think about what life is?

Making art for me is the best way of communication and revolution.


Everything I do comes from deep inside, I capture moments of my life when I feel like I could understand what is the
meaning of it, and I reproduce the moment or the feeling itself.
With frames of my life or with only brushstrokes I tell stories that changed me somehow and made me understand
about life, and I try to create a connection with the viewer.
My art is for the people, I want them to feel what I felt, and see the world the way I see it, I want to tell them to
appreciate life, freedom, love, friendship, and to understand time; enjoy the little things is important, time is life and
we shouldn't waste it.
Colours are very important in my art, they are a powerful force with which I can give the best impact and the right
feelings.

I’m an eclectic artist, during my high school and university years I’ve studied many kinds of techniques and I
love to use a different one for every project because every story has his way to be told.

Notes:

1
Artwork 1 Title: Hanging Memories
Artwork 1 Dimensions: 42x29,8 cm
Artwork 1 Medium: Acrylic on cardboard
Artwork 1 Commentary: Born as an installation in my former flat in Camden, the idea was to hang flowers given to
me and leaves found on my walks at the park in order to not only keep the best memories but also let them decorate
my house.
When I moved out to south London the installation didn’t survive but it turned into a painting and kept the
memories of my past life in Camden.
Artwork 1 Image:

2
Artwork 2 Title: All you need is..
Artwork 2 Dimensions: 76x51 cm
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: What if you could see the feeling of love, how would you see it?
I see love as a dancing explosion of red (passion), yellow (joy), and orange (uniqueness energy).
Artwork 2 Image:

3
Artwork 3 Title: When life is not fair
Artwork 3 Dimensions: 32x29,5 cm
Artwork 3 Medium: Acrylic on paper
Artwork 3 Commentary: I was going through a fight that wasn't mine, I was dragged in because someone I care
about was in it and she was right, and yet everything ended in such an unfair way that only stabbing a piece of paper
with my dark emotions gave me the ability to move forward.
Artwork 3 Image:

4
Catalogue3 ID0414
Artist ID: 0414

Artist Name: Komachi Goto


Website: komachi.weebly.com
IG: komachigoto

Artist Statement: My work is about my world.


My world is made up by connecting my memories and the journey of wonders I experience.
Everyday I wonder many things, and I am fascinated by millions things, and thrilled. and my wonder grew bigger.
I wanted to sort my curiosities and fascinations, by paint and draw them, and then I made up the word Boobamblla.
And Boobamblla is where all my curiosities and found wonders lives in the form of drawing and paintings.
A lot of residents in my paintings are result of what and how I feel in real life events, and some are made up
creatures that took a forms and shapes from found objects or stories I heard. and little note and memos I find from
my sketchbook, all together make my world Boobamblla.

Notes:

1
Artwork 1 Title: invisible comment
Artwork 1 Dimensions: 32 x 25 x 3
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: this is slightly animated self portarait painting. it is about the moment when I wanted to
comment but decided not to say or the moment I spoke out but nobody heard.
Artwork 1 Image:

2
Artwork 2 Title: Ms Kameleon
Artwork 2 Dimensions: 32 x 27 x 3
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: this is also slightly animated self portrait. in this self portarait, I wanted to express the
moments when I hide all emotional rage inside and try to pass by another day.
Artwork 2 Image:

3
Artwork 3 Title: Ms Kameleon@s Child
Artwork 3 Dimensions: 32 x 25 x 3
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: this is a portrait of my daughter and the cat, I wanted to express that how feeling to
another being doesn't always synchronise in the way you expect, just because you want them to.
Artwork 3 Image:

4
Catalogue3 ID0415
Artist ID: 0415

Artist Name: Cherrie Mansfield


Website: www.cherriemansfield.com
IG: cherriemansfieldartist

Artist Statement: Colour excites me, grabs my attention and feeds my creativity. So it’s no surprise that it’s
the striking feature of my work.

I use acrylic paint to create vibrant and richly textured paintings in an abstract style. I prefer palette knives to
brushes and anything that can be used to make marks and create interesting textures.

I love exploring how different colours work together – complementing, detracting, enhancing, zinging, , even
jarring.

You can find references to science and the natural environment in some of my work or perhaps the pattern from a
friend’s dress or a display of plastic spades at the seaside.

Sometimes I begin a new piece with a clear idea in mind, at other times colour is the starting point, and everything
else flows from there. I love the freedom of painting, the joy of experimenting, not fully knowing where it will lead.

I want to create work that provokes a reaction from the viewer. That provokes their curiosity and causes them to
take a closer look.

The excitement I experienced as a child opening a new tin of crayons or a bumper pack of felt tip pens in every
colour imaginable has never quite worn off.

Notes:

1
Artwork 1 Title: Carmine configuration
Artwork 1 Dimensions: 60 x 60 x 0.2
Artwork 1 Medium: Acrylic , paper and matt glaze medium on canvas board
Artwork 1 Commentary: This style of work was first inspired by the pattern on a friend’s dress and an exhibition
of Matisse’s later work in which he cut out coloured paper because he no longer had the strength to paint. The
piece consists of an array of large liberally painted and textured dots precisely placed on white painted canvas. Each
dot comprises a unique bold, abstract piece of artwork that can be viewed in its own right as well as forming a
constituent part of the whole work.
Artwork 1 Image:

2
Artwork 2 Title: For the love of #2
Artwork 2 Dimensions: 50 x 50 x 0.2
Artwork 2 Medium: Acrylic , paper and matt glaze medium on canvas board
Artwork 2 Commentary: Climate change is impacting on the people, places and things we love. This painting was
inspired by the Show the Love campaign. Each February the campaign invites people to make, wear and share a
green heart to #ShowTheLove for things they want to protect from climate change – from homes and special
places, to children and wildlife.
Artwork 2 Image:

3
Artwork 3 Title: Momentum | stepped right out
Artwork 3 Dimensions: 30 x 30 x 0.2
Artwork 3 Medium: Acrylic on canvas board
Artwork 3 Commentary: I created this piece this piece on day 22 of #100daysofrevivingdiscardedart during this
year’s #the100dayproject. Each day of the project I delved into a pile of discarded paintings and brought them
back to life. My choice of palette for this piece, which almost obliterates the underlying work, contains several
colours that I rarely use, giving me the impetus to step out and create something right out of my comfort zone.
Artwork 3 Image:

4
Catalogue3 ID0416
Artist ID: 0416

Artist Name: Suman Gujral


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

Artist Statement: I have recently completed an MA in Fine Art with distinction. I started the MA interested in
excavating my experience of cancer and reconnecting with my Indian heritage. This led to conversations with my
mother about her experience of Partition and realising its impact on our family. Understanding the reverberations of
Partition on my own history caused me to explore other stories from the diaspora, prompting a broader
consideration of the effects of local and global traumas. I found myself pondering on the current migration crisis,
where, according to the UNHCR, every two seconds, someone is forcibly displaced; on the roots of this wave of
displacement, the damage caused by imposed borders and considering how to explore these issues through my
practice.

I explore my concerns through printmaking, particularly monoprint and etching. For me, the way that the acid etches
marks on the plate echoes the way that life events, global and local traumas leave their traces on us as individuals
and as a planet. ' Story' is about my cancer and Partition- the dense centre symbolises the trauma and the fractures
around it the damage caused. 'Told/ Untold' refers to the migrant crisis.

'Precious' represents my belief that life is precious- yes, there is damage but there is also beauty and that is why
people undertake dangerous journeys in hopes of a better life. Underlying my practice is admiration for human
resilience and a firm belief that artists can be agents for change.

Notes:

1
Artwork 1 Title: Told/Untold
Artwork 1 Dimensions: 1.5mx2mx3mm
Artwork 1 Medium: monoprint installation
Artwork 1 Commentary: Told/Untold was inspired by an article in the Guardian relating that over 34,000 people have
died in the last 25 years trying to reach Europe. I made 20 monoprints-printed on both sides, in sea colours to
reference the Med. I cut boats out in shapes such as a child might to reference the children who have made the
journey. The boats are held together with fishing hooks and line referring to migrants being fished out of the water.
The remnants from cutting out lie beneath lie debris from the sunken boats. The exact numbers of people lost are
not known- hence the title. This work is an attempt to bring attention to both known and unknown stories.
Artwork 1 Image:

2
Artwork 2 Title: Story
Artwork 2 Dimensions: 40x40cm
Artwork 2 Medium: etching
Artwork 2 Commentary: This piece is an etching- the plate was left in the acid for an extended period of time as an
experiment to see what marks would emerge. The 'story' is about my cancer and also Partition. In both causes there
is a central trauma with fractures extending outwards-some anticipated, others not. This plate looks like a map and a
landscape. There is a certain beauty here despite the damage as there is with life. Although the fractures cannot be
erased, the plate remains whole- life goes on even though everything has changed.
Artwork 2 Image:

3
Artwork 3 Title: Precious
Artwork 3 Dimensions: 60x50cm
Artwork 3 Medium: monoprint with handwoven Indian silk paper
Artwork 3 Commentary: 'Precious' reflects my belief that life is precious- we can see the damage here with the
pieces that have ripped away from the centre but there is still beauty here. I think this piece has a certain spirituality
and tranquility to it.
Artwork 3 Image:

4
Catalogue3 ID0417
Artist ID: 0417

Artist Name: Katie Nathan


Website: katiecornet.com
IG: #katiecornetartandphotography

Artist Statement: Katie Nathan is a local artist living in a Buckinghamshire Village. She has a passion for painting in
acrylics, oils and watercolours and prefers working on canvas. She also sketches with pencil and pastels and is a self -
taught creative photographer.
Katie is inspired by the natural world, particularly nature, animals, water and the sea, finding that nature contains
endless expressions of majesty, imagination, power, colour and creativity. Recently, Katie has begun painting
animals; what started with a giraffe and a zebra turned into a full-scale project going on to paint many different
animals, both domestic and wild. Katie enjoys using colour and different media to express the diverse nature of her
surroundings and hopes to impart something of its majesty and beauty to her audience. Katie finds the landscapes
and seascapes of Devon and Cornwall and the country and culture of Austria, where she lived for a year, also to be
particularly inspiring, as well as taking in all the seasonal scenes that rural Buckinghamshire has to offer.
In the past year Katie has begun a fledgling website, in which some of her paintings and photographs can be viewed
and with a contact form for inquiries. She has also recently begun painting animal portraits by commission and sells
some of her work at a local art galleries. Most paintings and photographs may be purchased bespoke as cards,
signed Fine Art Prints and canvases. Katie is also now taking commissions for pet portraits.

Notes:

1
Artwork 1 Title: Bridge at Bennetts Water Garden.
Artwork 1 Dimensions: 50x60cm
Artwork 1 Medium: Acrylic on canvas.
Artwork 1 Commentary: This painting in acrylics on canvas was inspired by a visit to the magnificent Bennetts Water
Garden in Dorset. Lillies and water fascinate me and the Garden , being modelled on Monet's Giverney, lends itself
to a modern rendition of the traditional waterlily painting. I chose acylics due to their vibrant nature and wanted to
convey the rich greenness of the gardens and the reflection of the bridge in the water to maximum effect.
Artwork 1 Image:

2
Artwork 2 Title: Waterlilies at Bennett's Water Garden
Artwork 2 Dimensions: 40x50cm
Artwork 2 Medium: Oil on canvas.
Artwork 2 Commentary: My visit to Bennett's Water Garden inspired me to photograph and then paint a study of a
lily in bloom and a lily bud on the water. I chose oil to convey the smoothness of the water and the lilly pads
themselves and have tried to convey the delicate beauty of the lilies.
Artwork 2 Image:

3
Artwork 3 Title: Snowy Walk in Upper Austrian Countryside
Artwork 3 Dimensions: 40x60cm
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: This painting is highly significant to my life. I spent a year in Upper Austria in 1990, 1 month
after losing my mother. I spent hours alone walking the Austrian countryside whilst dealing with the grief and
photographed the often bleak, winter landscape. I began the painting whilst staying at l'Institut Biblique in Paris in
1991, with a canvas lent to me by a Belgian colleague, who said he would only lend it to me if I promised to finish the
painting. I finished it last year and haven't stopped painting since.
Artwork 3 Image:

4
Catalogue3 ID0418
Artist ID: 0418

Artist Name: Alison Gargett


Website: Facebook - Alison Gargett Artist
IG: Alison Gargett

Artist Statement: My style of painting is very bold. I enjoy abstract art as it is all encompassing and a physical
experience whether the canvass is large or small. There is nothing simple about abstract art. You start and then go
on a journey until you feel you are finished. If you feel you have reached a conclusion before you are physically
spent then you could be in danger of losing judgement.

I bring myself down by extending my experience of art by trying different methods i.e. spray painting, drawing and
pictorals in oils, acrylics and household paints and d sometimes adding mixed media.

Notes:

1
Artwork 1 Title: Friction
Artwork 1 Dimensions: 65x50cms
Artwork 1 Medium: Mixed household paints
Artwork 1 Commentary: The piece is on stretched canvas which was placed on the floor of my, then, studio and I
used a mixture of household paints to throw and slash at the canvas by propelling the paint downwards and across.

In this way I de-stressed while creating what I hoped would result in a powerful visual in colours that depicted my
mood.

Friction of paint on paint and paint on canvas plus the experience by expressing personal friction in this way.

Artwork 1 Image:

2
3
Artwork 2 Title: Heat Haze
Artwork 2 Dimensions: 100x100cms
Artwork 2 Medium: Acrylics and household paints
Artwork 2 Commentary: This is the result of another physical experience using pleasing colours that resulted in, what
I feel to be, a vision of summer. Despite the work that went into the painting I feel pleasure and calmness when
looking at it afterwards. I instinctively decided upon the tonal balance as well as the final paint strokes which were
produced without the use of a paint brush. I prefer a range of tools to get the final paint effect. I was happy with
the result.
Artwork 2 Image:

4
Artwork 3 Title: Ignition
Artwork 3 Dimensions: 48x63 cms
Artwork 3 Medium: Acrylics and household paints
Artwork 3 Commentary: I produced this effect by applying paint upon paint until I was happy with the final result. I
hope the viewer finds explosive energy within painting. The paint application wet on wet gave a pleasing result.

Painting on canvas allows vigorous application in a way that paper and finer base materials may not stand up to.
Artwork 3 Image:

5
Catalogue3 ID0420
Artist ID: 0420

Artist Name: Kate Mountford


Website: katemountford.com
IG: @katemountford

Artist Statement: I use photography to capture the world how I see it and digital painting to show how I feel it.
Photography is the art of painting with light, and I use many of the same concepts and techniques from traditional
painting to create my images; my work is a hybridization of past theory with modern techniques. My work is a digital
process that allows me to analyze my emotional response to landscapes multiple times; from first capture to final
print.

From the Canadian Rockies to the cliffs of the Caymans, I believe nature transcends gender, race, and religion and
binds humanity together. Our individuality decides how we engage with the environment, based on our own history
and ideals. My art is inspired by the emotional responses we have to these landscapes.

I am struck by the variability of different landscapes and spaces around the world. Growing up in the Canadian
West, I learned to respect the changing wilderness. Nature is never the same twice. In my work, I explore the
character of nature in these moments and our emotional connection to it.

Notes:

1
Artwork 1 Title: In the Cliffs
Artwork 1 Dimensions: 71.12 x 45.72
Artwork 1 Medium: Digital Photography & Painting Fine Art Print
Artwork 1 Commentary: This work was created recently on a trip to Gran Canaria in the Canary Island. Gran Canaria
is known for it's changing landscape from forest to cliffs to desert.

Artwork 1 Image:

2
Artwork 2 Title: Blue Mountain
Artwork 2 Dimensions: 76.2 x 33.02
Artwork 2 Medium: Digital Photography & Painting Fine Art Print
Artwork 2 Commentary: The Canadian Rockies are a mecca for nature enthusiast and outdoor adventurers. They are
also where I grew up and spent my time escaping to. Mountains are not just majestic, they also provide comfort.

Artwork 2 Image:

3
Artwork 3 Title: Forest Depth
Artwork 3 Dimensions: 33.02 x 76.2
Artwork 3 Medium: Digital Photography & Painting Fine Art Print
Artwork 3 Commentary: The base of this artwork was captured in an Old-Growth Forest on the West Coast of
Canada. Old-growth forests is a forest that has not been significantly disturbed by humans. The more you explore,
the more stories you find within this forest.

Artwork 3 Image:

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Catalogue3 ID0421
Artist ID: 0421

Artist Name: Joanne Dorothea-Smith


Website: https://joannedorotheasmith.format.com/
IG: https://www.instagram.com/joannedorothea/?hl=en

Artist Statement: The lens based works I have been creating for the past year have been concerned with the land,
the spaces I choose are eclectic and the mediums used are dependant upon the subject, for instance I have used
three processes for the last two projects and they include digital photography, microscopy and alternative darkroom
process. My practice is based upon two things, response to place and personal memory, these things can encompass
differing techniques depending on the desired outcome. Some are sculptural some traditional. For this statement I
wish to discuss my intent and reasoning for application as part of the beginning.

Response can be an immediacy of feeling or a carefully researched entity, I would argue that the process is one of
negotiated tensions, carefully thought out and decided upon entrance to/or after time spent in particular places.
There is also an unfixed personal internal space that accompanies us as each visit, thought or expression changes the
initial response until we feel resolved in a particular form — like a photograph, each time we view it is different at
least in our feeling toward the object. To me place is as unfixed and fleeting as we may be differently reposed on
each visit, whether this be an actual or memory after the fact. Many things can be taken into account when we
respond and whilst initial visceral response is not to be underplayed and can be the only affect to create work my
work is often a weave of many avenues converging.

Notes:
website = https://joannedorotheasmith.format.com/5698456-reality-thins#10

1
Artwork 1 Title: Mysteries
Artwork 1 Dimensions: 80cm x 150cm x 6cm
Artwork 1 Medium: Handcoated photographic 3d spheres.
Artwork 1 Commentary: Heading to the Well I realise that water is a mystery to be investigated, standing with my
mother, our
feet sucking down into the sulphurous ground, cows and sheep moving at the edges of my vision and
the cold, rushing around us in great gusts sticking my hair to my lashes, making me blind, again. We
reach the well, this is the third time now, and the water and mud has taken over, no patches of dry to
skip between, so it is a slog across this small part of the moor. The story keeps bringing me back, the
idea of healing and restoration is of interest, from the scare that takes me back years, and the
coincidence of the photographic profession in the same year. The idea, and reality, that one can go
blind from being stressed, blind from a feeling, not a tangible event, but an accumulation over many
years, incrementally stressing the body and mind until effects are literally seen. It was a close call and
the fears and tests to check worsening of the condition have finished now.
Photography was my healer, and is, this well is representative of a journey from there, past, to here,
now. The Well water is the photograph, the bog, pathless and forbidding, but an end point from which
to manoeuvre to future moments. Mum came along at my request. She has been on many journeys
with me, and against me.
The Well is encircled in a wall built by prisoners, I climb inside and lay low out of the wind, bend over
to collect the water then rise up to leave. Mum is standing just across from me in the field, in the bog
just looking into the middle distance, what does she make of our walks? I Photograph her then call out,
she laughs but seems thoughtful, she never talks of her own feelings or thoughts, so I am left to
wonder. There is a deep sadness in her, it has always been a feature but it is quite well hidden apart
from these cursory junctures, I am aware that she too went to Art College and that she quit it before
I was born, recently she told me that she too had also used photography and liked the darkroom, this
is new information. I am as blind to her.
I wish I understood your mystery, stood still in the dark in Germany.
Location - SX 578759
Artwork 1 Image:

2
3
Artwork 2 Title: Stand
Artwork 2 Dimensions: 150cm x 85cm
Artwork 2 Medium: Photographic Print
Artwork 2 Commentary:

The stands, in places are dark and sullenly impressive, gathering me into silent contemplation, a connection to root
and soil and a way to breathe and smell. Taking only what is needed, leaving hopeful offerings into the darkness for
tomorrow.

For tomorrow may be silent.

The UK was the third largest net importer (imports less exports) of forest products in 2014, behind China and Japan
— Forestry Statistics 2016

(These spaces represent the liminal, the interstices between my understanding of the real and my
human reaction to the experience of place. The delicacy of the fleeting moments of joy experienced make for a
disjointed existence, moving us from moment to moment where my words are not found but the certainty of image
defines the weeks, months and years as they pass.)

Artwork 2 Image:

4
5
Artwork 3 Title: Reality Thins
Artwork 3 Dimensions: Widescreen monitor or projection screen
Artwork 3 Medium: Film - Animation
Artwork 3 Commentary: This short animated piece falls under the overarching title The Reality Project, this took me
to places and ideas that cannot be seen, pushing against my reality as I understand it from my human perspective.
Asking questions about what might be actually be real, what is true and how does photography represent this?
Creating montages of fake Nebulae and space images alongside real images of space (captured by myself locally) and
the Hubble space telescope, The ‘Reality Thins’ film is also a self portrait made using stop frame animation
that seeks to further explore the magical insignificance of the individual in the universal space. The complex nature
of life and humanity is immensely unlikely and beautiful, this concordance is always a temporary and elusive
realisation that we are chasing as a horizon.
Artwork 3 Image:

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7
Catalogue3 ID0422
Artist ID: 0422

Artist Name: Constantin Cosmin


Website: www.constantin.vision
IG: http://instagram.com/constantin.lll

Artist Statement: My name is Constantin I’m a self-taught expressionist artist. I’ve started drowning on an
early age and I never stopped since . Over the years i’ve consistently tried different mediums and techniques in
the quest of conquering art . I get inspired from day to day experiences and the people around me in a mix with
religion and history trying to get rid of doctrines that surrounds us for thousands of years and show the purity and
the human beings that we really are.

Notes:

1
Artwork 1 Title: And on the sixth day god made man
Artwork 1 Dimensions: 150h/120w
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: In my view this artwork shows that if there ever was a creator/creators this is how it looks
leaving aside the genesis and the theory of evolution that are Still debatable by scholars for hundreds of years. This is
something that we can feel touch and creates lives , is the miracle of every day life we just have to accept our thru
self without looking for answers in the stars or old books .
Artwork 1 Image:

2
Artwork 2 Title: Doorway to Nirvana
Artwork 2 Dimensions: 150h/120w
Artwork 2 Medium: Oil and sand on canvas
Artwork 2 Commentary: In this artwork i’ve portraid 2 of my lesbian friends kissing. The moment was so powerful
powerful that it felt like some form of meditation, it looked timeless and i felt that love can be found in everything
that surrounds us .
Artwork 2 Image:

3
Artwork 3 Title: Waiting for Forgiveness
Artwork 3 Dimensions: 150h/120w
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: This image represents a scenario of my life. Three girls that I had an affair with and at
something point they all found out about each other. In this imagine I’ve tried to captivate the essence of their
reaction but also suggest that there are in their knees waiting for divine forgiveness in a very sexual and primitive
way . In essence the author (me) is the one in the knees .
Artwork 3 Image:

4
Catalogue3 ID0423
Artist ID: 0423

Artist Name: Anita Bryan


Website: www.anitaabryan.com
IG: www.instagram.com/anitaabryan

Artist Statement: I believe that what emerges from between our conscious and subconscious looking habits together
with the charge forged of these two is a door, a door of entry to answers for questions not yet raised. I have a
curious interest in the ‘notions of uncanny’ and my subject is often hidden here, amid landscapes of
atmosphere.

Inspired by qualities found in immediate environments, be they domestic, urban or pastoral my work and its
considerations regularly arrive harnessed, around thoughts of revolving duality’s. Ideas as starting points, looking
at death and decay, leaving and return, layers and reflection, light or shadow falling toward or away from place and
object.

Whilst not outwardly surrealist in its depictions, the work l suggest holds influences garnered from a deep interest in
Surrealism. Its history, the role of poetry, dream-scape and the inter-play of questioning actual and imagined. This is
at its core and within our ever increasingly nonu real world, what continues to influence my commitment to art
today.

I feel it is important to work with both analogue and digital technologies to continue to access like a time machine
the present and its history. Combining traditional and contemporary tools of framing, making, to express what the
eye, mind and the hand may want to speak.

The photograph and screen are metaphorical pages upon which I write ‘a personal curious ’ and where you,
the audience encounter and respond using you’re own ‘eyes of uncanny’.

Notes:

1
Artwork 1 Title: NEGATIVE LAND
Artwork 1 Dimensions: Moving image. mp4 mov (originally 8mm)
Artwork 1 Medium: Moving image.
Artwork 1 Commentary: Link to file: https://we.tl/t-lY4tDxH5vl

Negative Land is a 2min, black and white moving image piece. Presented without sound and within a formal abstract
narrative.

It follows ideas of Separation; above/below, Land; plot/field, Shadow; past/present place. I embraced working with
black and white and its ‘attitude’ and mystique, a signifier to exploring life’s simple, circular, construct
towards death.

Artwork 1 Image:

2
3
Artwork 2 Title: EYE OF DESIRE
Artwork 2 Dimensions: 4cm x 4cm x 6cm
Artwork 2 Medium: Sculpture. Card, book-cloth, matches, photograph and 8mm celluloid loop.
Artwork 2 Commentary: Film and photography combined into small sculpture form.

Eye of Desire presents itself as a matchbox of tiny voyeurism which can be carried in ones pocket, used to ignite a
flame. The female body part referencing surrealist notions of desire and its ocular temptation.
Artwork 2 Image:

4
Artwork 3 Title: DEARLY DEPARTED
Artwork 3 Dimensions: 30cm x 20cm
Artwork 3 Medium: BW photography, silver gelatin print
Artwork 3 Commentary: Dearly Departed represents a two-fold tale, initially compositional; that of a pyramid parent
hanger, offset with the grouping of hangers/coats in a 3.1 balance. Further interpretation demonstrates an aspect of
humanity that is about leaving. Its atmosphere of quietus, representing a space where people have gathered in
respect of a dearly departed.
The 3.1 balance here notes a leaving; one outside the group, but not yet having fully left.

Artwork 3 Image:

5
Catalogue3 ID0424
Artist ID: 0424

Artist Name: Victoria Ahrens


Website: www.victoriaahrens.com
IG: victoria.ahrens

Artist Statement: My approach to image making centres on the notion of the entropic mark in photography, and the
move away from the indexical to the suggestive or marginal. Working with translations from analogue film and video
to hybrid digital practices, I am interested in interrogating the materiality of the photographic fragment and the
haptic surface of the photographic object. In this case, in the project El Lugar Perfecto, these are photographic pieces
that express our encounter with sublime landscapes (the Altiplano of the Andes) as a means to test how making
work in situ affects the photographic outcome. These are spaces where myth, history and memory collide, and which
we often encounter through a screen. By reimagining these spaces of photography, a new narrative can emerge
which helps address the limits of the digital and the loss of information that entropic or pixellated images produce.
These absences are as important as the presence of the image itself, which can then be completed by those who
encounter it in the space of the gallery.

Notes:

1
Artwork 1 Title: Altiplano
Artwork 1 Dimensions: 140 cm (h) x 210 cm (w) x 15 cm (d)
Artwork 1 Medium: Photographic transfer prints, wood
Artwork 1 Commentary: Created from fragmented film stills this piece challenges the impossibility of photographing
the vast Altiplano of the Andes, South America's most enduring panorama, and one that belies its violent beginnings.
It is a place where myth, memory and history collide, where white snowy peaks and multicoloured rock formations
disappear into the ether. I create textured photographic objects that fragment the scene and recall a fragile and
incomplete view, as sublime encounters with the immeasurable. The ink abstracts and pixelates the surface, as a
disruptive agent to the colonial gaze, the tourist encounter and our constant need to 'take in the view' from a single
perspective. In this way, the frames look to contain its vastness, creating multiple narratives of this contested space.
Artwork 1 Image:

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3
Artwork 2 Title: Lo Que Se Ve (What is Seen)
Artwork 2 Dimensions: 250 (h) x 143 (w) x 5 cm (d)
Artwork 2 Medium: Photographic print, wood
Artwork 2 Commentary: Part of the Altiplano series, this photographic object challenges the notion of indexicality
and perception. It is a photographic transfer print of a film still of the Andes- the colours and the print distorted by
the saturation of the ink and the photographic screen. It situates itself at the margins of our vision, yet imitates the
way we see images on billboards, or roadsides as places of longing and desire. The fragility of its materiality means
that it stands in contrast to the glossy images of tourist catalogues, and becomes part of the history of the 'poor
image' as Hito Steyerl terms it, where photographs are shared, downloaded, pixellated and ultimately turned into
almost unrecognisable version of the original. Yet these are the images we are bombarded with on the internet and
accept as the new photographs of our time, seen through a screen.
Artwork 2 Image:

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5
Artwork 3 Title: El Lugar Perfecto (The Perfect Place)
Artwork 3 Dimensions: 110 cm (h) x 148 cm (w)
Artwork 3 Medium: Photographic Transfer Print Collage
Artwork 3 Commentary: A fragmented view of the Altiplano, a place where national myths and memories of trauma
coincide in the ethereal peaks. This collage is digital as it has been created through the printing press as
photographic transfers, placed together and rephotographed as one. It recalls the folds of cartography, as the
landscape is opened out and closed into fragmented pieces, and the impossibility of taking in the view all in one go.
Our need to map and contain what is visible creates the impossible image- the photograph of a photograph that
brings back haptic materiality to the uncanny digital surface.
Artwork 3 Image:

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Catalogue3 ID0426
Artist ID: 0426

Artist Name: Amanda Wigglesworth


Website: www.amandawigglesworth.co.uk
IG: Amanda Wigglesworth Art

Artist Statement: Amanda Wigglesworth is an award-winning British painter , her paintings are essentially forms and
surface energies which are highly textured and rich in colour. The vigorous application and removal form images of
an inner landscape.

Notes:

1
Artwork 1 Title: Scarpa Falls
Artwork 1 Dimensions: 120x100cm
Artwork 1 Medium: mixed media on canvas
Artwork 1 Commentary: Scarpa Falls is based on paint as process. It is the sheer physicality of adding oil paint and
household products and building up a surface that is constantly changing representing an inner landscape and a
remembered place.
Artwork 1 Image:

2
Artwork 2 Title: Orange Aurora
Artwork 2 Dimensions: 120x100cm
Artwork 2 Medium: mixed media on canvas
Artwork 2 Commentary: Orange Aurora is based on paint as process. By building up the layers of oil paint and
household products, it evolves and changes . The intensity of colour is mirrored by the intensity of feeling evoked by
memory.
Artwork 2 Image:

3
Artwork 3 Title: The Scuddle
Artwork 3 Dimensions: 100x100xcm
Artwork 3 Medium: mixed media on canvas
Artwork 3 Commentary: The Scuddle is based on paint as process and is a physical response to building up an inner
landscape. It does so by layering oil paint and other materials in strong colours and textures.
Artwork 3 Image:

4
Catalogue3 ID0428
Artist ID: 0428

Artist Name: Joel Nicholas


Website: joelmichaelnicholas.com
IG: joelmichaelnicholas

Artist Statement: My paintings have become an abstraction of lived experience and the substance of faith. They
present the purity of an event and encounter without ownership of either, leaving it open for all to have a point of
reference to engage with. I would liken it to a mountain-top-view type moment. It is in some way spiritual but it
isn’t in any way off putting to a culture or ethnic group. There is no immediate or apparent segregation but it is
all that it is and not ever changing itself for a particular audience.
​
I am engaging with contemporary culture as a Christian and so there is a tension between the spiritual voice of my
own faith and of the worlds many voices and noises that can be overwhelming. I’d like my work to be a breath of
fresh air for you to believe in more. That being said I’m aware a ‘spirit of seriousness’ can easily be
underpinned by a lack of care for the spiritual. In sensitivity to the modern creature of contemporary culture I wish
to not offer a serious voice of my own but a delicate and self-aware means to discovery. When one is willing to
engage in something higher than his or her own immediate life at this age of consumerism and even marketed
morality I think it’s important to leave a trail for some to follow back to a more sensual rhythm.

Notes:

1
Artwork 1 Title: I'm Broken and Holy
Artwork 1 Dimensions: 210x180x4
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: Leonard Cohen sings 'it's a cold and it's a broken hallelujah.'

Whether aware of it or not I believe it's an incredible testimony to how our human condition seeks holiness or at
least a passionate-honest-purity in life and yet our brokenness is inescapable. It is all over the news and in our daily
faults and hardships. Our transmission of praise or adoration comes through a filter of a cold and imperfect
humanity.

In Christian Faith a catastrophic thing occurs when one chooses to follow Jesus and give their life to Him. They are
deemed holy in Jesus. I am amazed that holiness and brokenness can coexist, and yet this is what a life with the Lord
Jesus is like.
Artwork 1 Image:

2
3
Artwork 2 Title: Brother
Artwork 2 Dimensions: 180x180x3
Artwork 2 Medium: Oil based emulsion and charcoal compound on linen
Artwork 2 Commentary: I heard a friend preaching. All he had said was that Jesus isn't ashamed to be called our
brother. Now how can a friend like that also be a Holy God, who dwells in unapproachable light? It is paradoxical.
And sets my heart a blaze with thought and wonder.

I sat down with a mentor and after a prolonged silence he expressed seeing the flesh and spirit striving together,
purity bringing chaos into order. I see His crown of thorns and I think about how I crown Him in an unsightly way and
it can't compare to His splendour in majesty. It cost Him dearly to bring any that are willing to accept into the family
of God.

I lay down crushed up charcoal mixed with linseed oil as a base for this line and leave to become tacky. I then strip
away with dry brush of charcoal to create this charred and scorched effect that I see the crown of thorns in. Like a
breath of fire as words are spoken.
Artwork 2 Image:

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5
Artwork 3 Title: Sayonara y Buonasera
Artwork 3 Dimensions: 180x180x3
Artwork 3 Medium: Oil based emulsion, emulsion and charcoal compound on linen
Artwork 3 Commentary: A night that can say a final goodbye.

It began life as a picture unfinished and held under a working title of 'I fear the Lord'. It has been renamed and
repurposed but what's underneath and at its core can't be forgotten.
Artwork 3 Image:

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Catalogue3 ID0429
Artist ID: 0429

Artist Name: Alexander James Pollard


Website: www.alexanderjamespollard.com
IG: @ajpollard

Artist Statement: Alexander James Pollard's research explores the mythic potential of painting and the power of
"fictioning" as a methodology, through a practice-based form of inquiry.
Pollard is an ex-pupil of the Brighton Steiner School and is deeply interested in intuitive voices within painting
practice. His research and pedagogic methods include holistic, intuitive painting techniques similar to those taught
by Dr Rudolf Steiner (1861-1925), which he continues to teach through “Clairvoyance of Painting Workshops―
(Folkestone 2018).
Within his studio practice Pollard creates fictional painting movements, which are "modernisms that have never
occurred" (Paleo Fauvism – Folkestone 2018). Here Pollard imagines an alternative past and speculative future for
painting, colliding seemingly disparate voices and themes, producing creative “ruptures― that embrace the
genuinely "odd", "weird" and "eccentric" within image making. Essentially, his mytho-memetic paintings eloquently
explore speculative futures, colliding them with ghostly residues of the past.

Notes:

1
Artwork 1 Title: Triceratops
Artwork 1 Dimensions: 89 x 114 x 1.8 cm
Artwork 1 Medium: Oil on Linen
Artwork 1 Commentary: This painting is of a Triceratops dinosaur and it was featured in a recent show I made called
Paleo Fauvism held in Folkestone. The painting is a fictional and rather playful splicing together of Fauvism with
Paleo Art. All my paintings are painted intuitively. I always attempt to let the painting, and the materials have a say
in the final outcome.
Artwork 1 Image:

2
Artwork 2 Title: Lion and Koala
Artwork 2 Dimensions: 80 x 70 x 3.5 cm
Artwork 2 Medium: Oil on Linen
Artwork 2 Commentary: When I start a painting, I look for an internal logic to emerge responding to marks. In this
work a series of abstract marks started to suggest animal forms. I try to leave the works walking a tight-rope
between abstraction and figuration.
Artwork 2 Image:

3
Artwork 3 Title: Dinner Party, Bird, Rhino
Artwork 3 Dimensions: 119 x 60 x 3 cm
Artwork 3 Medium: Oil on Linen
Artwork 3 Commentary: Using an "automatic painting" technique (borrowed from Austin Osman Spare or
Surrealism) I begin by doodling in paint. Slowly forms start to emerge by encouraging a form of Pareidolia. From here
I coax out a composition, often rotating the canvas until something interesting that I could not have foreseen might
emerge.
Artwork 3 Image:

4
Catalogue3 ID0430
Artist ID: 0430

Artist Name: Danny Rae Dyer


Website: https://www.nzart.cloud/danny-rae-dyer.html
IG: https://www.instagram.com/dannyraedesign/

Artist Statement: Danny is a self taught artist who grew up in Whangarei Heads, New Zealand, currently living in
London, UK. She creates her art pieces using polymer clay, which is an unusual medium, so from developing her own
technique she creates entirely unique and detailed pieces that are textured and have a subtle 3D effect. Danny can
spend several hours just mixing the clay to create the right shade of colour, which gives life to her pieces.

Danny finds inspiration in flora and fauna, with most of her pieces featuring New Zealand birds. Now she is living in
the UK she has begun to create work inspired locally. Her pieces are held in private collections around New Zealand,
Australia and the UK.

Notes:

1
Artwork 1 Title: Freddie the Fox
Artwork 1 Dimensions: 33x33x.5
Artwork 1 Medium: Polymer Clay on MDF
Artwork 1 Commentary: It's normal to see foxes roaming around London, but when I saw my first Fox I was
fascinated. These stunning creatures aren't often dignified, instead they rummage through trash and get up to
mischief, creating a negative name for themselves. Though their name is clearly wounded, coming from an outside
point of view I feel they are a significant part of UK's culture and sometimes need a little bit of positive limelight.

This piece is my first attempt at capturing an animal in clay, I had been wanting to test my technique on an animal
for a while and after over 50 hours of mixing and moulding polymer clay my fox has emerged.
Artwork 1 Image:

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3
Artwork 2 Title: Athene Noctura
Artwork 2 Dimensions: 33x33x.5
Artwork 2 Medium: Polymer Clay on MDF
Artwork 2 Commentary: The Little Owl is closely associated with the Greek goddess Athena representing wisdom
and knowledge.

Her delicate feathers were hard to capture as they cluster in different directions, but after around 32 hours of
moulding, he stands distinguished.
Artwork 2 Image:

4
Artwork 3 Title: Merry Robin
Artwork 3 Dimensions: 33x33x.5
Artwork 3 Medium: Polymer Clay on MDF
Artwork 3 Commentary: In ode to my first English Christmas I created this Robin amongst Holly. Walking through the
woods in Keswick I was followed by a coupled of curious Robins filtering from branch to branch in the hope of a
loose crumb or me to flush them insects. Obviously a Robin was to be my next project, and to add a bit of Christmas
spirit I moulded him on a branch of Holly.
Artwork 3 Image:

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Catalogue3 ID0431
Artist ID: 0431

Artist Name: Kira Romano


Website: kirafrances.com
IG: @kirafrances

Artist Statement: Kira is an American and Italian oil painter based in London. She graduated from Smith College in
2014 with a degree in Fine Art and Philosophy. Her work has evolved from installation, illustration, and collage to her
current practice: large scale still lives that focus on the use of textiles, patterns, and geometry, where objects are
hidden behind fabric or displayed on shelves. She works exclusively in oils, oscillating in choice of surface between
wood and canvas. Her work is deeply grounded in her spiritual practice, which founded on the belief that under each
psychological layer there are truths to be discovered, and, while sometimes painful, uncovering these truths can be
an ineffably healing practice.

Notes:

1
Artwork 1 Title: The Masked Woman
Artwork 1 Dimensions: 195cm x 118cm
Artwork 1 Medium: Oil on wood
Artwork 1 Commentary: This piece serves as a meditation on the female body and its place in our patriarchal society.

The feline mask and the projected outline of the female form, camouflaged by design and fabric, serves as a
metaphor for both protection and exhibitionism. The mask is the makeup women do or do not wear, the clothing
that sometimes reveals and sometimes covers. The mask represents the male gaze as well as the embellished
objectified face of woman. We mask ourselves and watch as men gaze at our mask, and we hide behind it while also
using it to be seen. But where is the woman, the person, beneath the masquerade?

Behind pose, ornamentation, and objectification, the female body moves from a performance for others to a force
for connection. This connection starts between body and mind. The body, removed from standards of beauty as set
by culture, is not just something to be judged or admired, but a vessel for thought, creation, and action. Reclaiming
the female body from societal expectations seems to involve accepting, if not embracing, the individual female body
“as is,― and then nurturing that body to help best facilitate and strengthen these three things. The female body
“as is,― however, is often not accepted within the structure of a patriarchal society, and is rejected by men and
women alike. Standards, putting aside for a moment the nuanced and regularly changing details that make up these
standards, are set, and at some point it actually becomes easier for a woman to move through the world if she
adheres to at least some of them. Thus, the mask, surrounded by curves of lines and patterns, takes on another
meaning: our influenced behaviour, communication, and method of movement through situations that pose as
either threatening or advantageous.
Artwork 1 Image:

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Artwork 2 Title: Fractals
Artwork 2 Dimensions: 195cm x 118cm
Artwork 2 Medium: Oil on wood
Artwork 2 Commentary: The mind is fractured. An interrupted thought, a break in focus, a neural pathway disturbed.
The mind is not its own. Outside influence factionalise, crawling in through mental cracks, creating an infestation of
opinions, which are too often adopted without thorough consideration. Until the mind is a series of imprints, steered
by countless cerebral hands.

The ego sits on a small boat over the rocking waves of the collective unconscious. The lazy ego navigates the waters
so the boat doesn't capsize, just to stay afloat, and even in the stormiest seas it will remain loyal to the familiar. The
strong willed ego, with great discomfort, chooses to navigate to new waters rather than stay with what it knows,
thus momentarily freeing itself from the masses.

There is the thinnest veil between the collective and the individual.

And yet sometimes, in silence, clarity finds a way through. A reminder that through the cracks there is some kind of
autonomy. That from these external pressures, these pieces pressed upon the mind, there is a choice in how to bring
them all together and form something new. This piece is about choice. Which is autonomy's greatest gift.
Artwork 2 Image:

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Artwork 3 Title: Spiral
Artwork 3 Dimensions: 195cm x 118cm
Artwork 3 Medium: Oil on wood
Artwork 3 Commentary: Reclaiming a part of the soul is like fully immersing yourself in hot water and feeling the
outer edges of your skin to the point where consciousness rests on the edge of every nerve. It is quiet and loud at
the same time. A kind of rushing movement, a flow of energy, that returns to you, and you know that, somewhere
along the line, you lost this energy, this part of your soul: either in a person or because of a person; or a location
took it; an event stole it from you; a trauma destroyed it a little. And when it returns, a puzzle piece fits into place,
the whole becomes a little more visible.

The assembling of parts to create the steady rhythm of movement, like a clock wound for time, is the concept
behind this piece. The disjointed parts that come together: separately they are mere pieces, but together they follow
each others’ lead until collectively they flow as one. We are made up of these parts. In sync, they look
inseparable. Just one person. But when there is a lacking, when there is something missing, an empty space in the
heart or stomach, the ache that comes from true and deep longing, then truly there is a piece missing. And the
search for and reclaiming of that piece results in a kind of ineffable healing.
Artwork 3 Image:

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Catalogue3 ID0433
Artist ID: 0433

Artist Name: Angie Balzan


Website: www.legendsdreams.com
IG: https://www.instagram.com/legendsanddreams/

Artist Statement: Is it a gift or a curse? To see the world with different eyes? It is a duty to communicate in any way
possible. It is a must. Open up spaces. Release nodes of thought. Encourage the emergence of what is fresh. That is
our mission on this earth. Get comfortable with feeling different and release your art.

Notes:

1
Artwork 1 Title: Underwater Glory Black
Artwork 1 Dimensions: 190cm x 110cm
Artwork 1 Medium: Mixed Media - Photography and Digital
Artwork 1 Commentary: Textures of nature come alive. Colours and shapes come together to lead us through new
doorways. The eye catches the sight. The brain places the shape. The heart warms up to new light.
Artwork 1 Image:

2
Artwork 2 Title: Ali Most Bark
Artwork 2 Dimensions: 42cm x 30cm
Artwork 2 Medium: Mixed Media - Photography and Digital
Artwork 2 Commentary: Shapes, textures and design condition our mind automatically. We seek to compare with
the experiences we have stored. Sometimes, reaching a conclusion is a challenge.
Artwork 2 Image:

3
Artwork 3 Title: Chaos
Artwork 3 Dimensions: 40cm x 34cm
Artwork 3 Medium: Mixed Media - Photography - Watercolours - Digital
Artwork 3 Commentary: When it all seems like one big mess...let the eyes settle and the mind wander....allow
yourself to pick out the lines, the circles, the patterns and the colours. For each of us its a different vision. For each
of us its the way forward.
Artwork 3 Image:

4
Catalogue3 ID0434
Artist ID: 0434

Artist Name: Izabela Chamczyk


Website: http://izabelachamczyk.com/en/
IG: https://www.instagram.com/izabela.chamczyk/

Artist Statement: My art activity is beyond the physical object and is reaching the human body directly through the
touch,
the taste and the other senses. The observation of the processuality is for me the most important part of
my art journey.
In my works I’m turning on the process of crystallization, rotting, growing, dying, destruction, drying,
breaking, racking, smelling. Objects, which I’m creating are breaking very often and the audience has the
possibility to participate in this process - through the touch, formation, deformation or just by observation
the changes.
Important for me is also a simply art act, the whole journey, not only the final stage of the process, time
of creation, not just the object.
I’m inspired by unknown areas, crossing borders, getting satisfaction from little experiences, creating
extreme situations and pushing emotions to the limits - subtle and at the same time disarming.
The base of all my action is human and time.

Notes:

1
Artwork 1 Title: PETITE MORT
Artwork 1 Dimensions: 100+14x80x5cm
Artwork 1 Medium: alkyd, nitro painting
Artwork 1 Commentary: Petite mort in France language mean little die, they call that orgasm. I had a dream about
orgasm which was like abstract painting. When wake up I painted that dream.

This painting was alive. Creation was on my indiwidual exhibition on Supermarket Sztuki Gallery in Warsaw in 2016.

This is video documentary:

http://izabelachamczyk.com/en/petite-mort/
Artwork 1 Image:

2
3
Artwork 2 Title: BRAIN CONCUSSION
Artwork 2 Dimensions: 122x183cm
Artwork 2 Medium: alkyd, nitro painting
Artwork 2 Commentary: BRAIN CONCUSSION is an painting that arose after my head injury when I had a concussion.
I stayed alone in my flat for 1.5 months, because doctors did not receive me in the hospital and I had terrible
headaches. When I closed my eyes I saw pictures. When I recovered I painted them - this is the painting.
Artwork 2 Image:

4
Artwork 3 Title: DEEP BLUE
Artwork 3 Dimensions: 100x100cm
Artwork 3 Medium: alkyd, nitro painting
Artwork 3 Commentary: DEEP BLUE is a painting about freedom, about space in our thoughts. The blue paint floods
the blade with red areas, activate the imagination, soothes ... It allows you to exceed your own restrictions.
I painted it when I did not feel it, thanks to him I regained strength and faith in further action
Artwork 3 Image:

5
Catalogue3 ID0435
Artist ID: 0435

Artist Name: Gustavo Fernandes


Website: www.gustavofernandes.com
IG: gustavofernandespaintings

Artist Statement: I am connected to art since childhood. Since I remember I draw and paint.
I attended several art schools in Portugal and Canada where I lived.
I always feel pleasure to represent nature and people, particularly women and always liked to do it through realism. I
like to register moments and create beyond them, give life to these moments and let my imagination
create…Before I even execute the art work.
Talking about my work is like making an insight.
There is a huge exposure in my work…an aesthetic in which I expose myself. But there is a spiritual component,
emotional, introspective. My work is lonely in a positive way.
The accurate technique, the theme, the detail… There’s a constant desire, a search, there is a lot of research
into my concepts and ideas, as well as thorough and technique that I acquired over the years.
I think my work invites to contemplation. I wish to encourage the observer that is before a work of mine ... I like him
to have an opinion or a feeling about the work. Each person has a different feel but it has an emotion. This is my way
of communicating.
The realism is in the brushstroke ... the color ... in the trace ... There's always a lot of me in every work of art..Even
the most classic works and seemingly more obvious.
Creation has a lot of influence of my emotions ... From my moods. The brushstroke, the stroke stiffness, the work to
be agitated or more peaceful.. This emotion passes to the observer. This is the great magic...

Notes:

1
Artwork 1 Title: Satisfaction
Artwork 1 Dimensions: 150x150cm
Artwork 1 Medium: oil +Acrylic glass and pigment on canvas
Artwork 1 Commentary: Some faces are more known than others, each person is a World, with it’s characteristics
and mysteries and in these 3 works i present,I wanted to highlight some of them, as lust, the search for satisfaction
and rebellion.
I used phosphorescent
pigment to highlight the word ( Satisfaction glows in the dark). I used the acrylic glass to highlinght the reflection of
the observer when he’s fixed in the artwork. Underneath the the acrylic glass there is a different technique Mick
Jagger is graphite.
I can't attached here but you can see them at night on Instagram.

Artwork 1 Image:

2
3
Artwork 2 Title: Rebel
Artwork 2 Dimensions: 150x150cm
Artwork 2 Medium: Oil + Acrylic glass on canvas
Artwork 2 Commentary: Some faces are more known than others, each person is a World, with it’s characteristics
and mysteries and in these 3 works i present,I wanted to highlight some of them, as lust, the search for satisfaction
and rebellion.I used phosphorescent
pigment to highlight the word ( Satisfaction glows in the dark). I used the acrylic glass to highlinght the reflection of
the observer when he’s fixed in the artwork.
This one, "Rebel" is pixalized.
Artwork 2 Image:

4
Artwork 3 Title: Lust
Artwork 3 Dimensions: 150x150cm
Artwork 3 Medium: Oil + Acrylic glass on canvas
Artwork 3 Commentary: Some faces are more known than others, each person is a World, with it’s characteristics
and mysteries and in these 3 works i present,I wanted to highlight some of them, as lust, the search for satisfaction
and rebellion.I used phosphorescent
pigment to highlight the word ( Satisfaction glows in the dark). I used the acrylic glass to highlinght the reflection of
the observer when he’s fixed in the artwork.
This one is blurred.
Artwork 3 Image:

5
Catalogue3 ID0436
Artist ID: 0436

Artist Name: Katya Ross


Website: katyaross.art
IG: @katya.ross.art

Artist Statement: I am a London-based artist and designer. Since 2014 I exhibited in a London contemporary art
gallery Imitate Modern, selling a number of works through the gallery and on Artsy. At the same time, I began
collaborating with the Box Boutique fashion shop in Chelsea. I created a range of items including hoodies, T-shirts
and i-Phone cases with my signature designs.

In 2015 I enrolled in a Master’s in Modern and Contemporary Art at Christie’s Education, London. During
these studies I took a new direction in my practice moving away from the urban contemporary style of earlier works.
Abstraction, geometrical shapes and colour began to take centre-stage in my works. I wanted to produce a series of
works to coincide with this increasing awareness of the problems of the mind and issues of depression. The clear
lines and concise structure in these designs have been are used in her works as symbols of overcoming the chaos of
dark places where one’s mind can be drawn.

The key feature of the series is versatility – they can be hanged in any preferred way. Some of the works consist of
a number of parts, which again can be placed in any preferred position in relation to each other or even be organised
hanged in separate spaces.

I am also currently involved in a new collaboration project with Moscow-based fashion brand Modern Classics by
Vestiare (@_vestiaire_). I have created a number of prints for the brand’s New Year’s and SS19 collections.

Notes:

1
Artwork 1 Title: Shaped Circles
Artwork 1 Dimensions: 60x60 cm
Artwork 1 Medium: oil, acrylic, canvas
Artwork 1 Commentary: The work is inspired by idea of using concise geometrical shapes, such as circles, as
examples of notions of structure and precision. Clarity and balance are features largely absent in today’s highly
information overloaded reality. An overexposed mind, striving to escape the pressure, may become a victim of
anxiety and depression. Creation of simple and repetitive shapes can be viewed as an antithesis to the chaos of the
overburdened mind.

Artwork 1 Image:

2
3
Artwork 2 Title: Infinity Circles
Artwork 2 Dimensions: 40x40 cm
Artwork 2 Medium: oil, acrylic, canvas
Artwork 2 Commentary: Works from Circles series are very textured and look like sculptures placed on the wall. I use
a unique technique to achieve this effect – as a result it takes weeks to create each piece. Please see close-up
images of the works on my site.

Artwork 2 Image:

4
Artwork 3 Title: Circles 1
Artwork 3 Dimensions: 50x50 cm
Artwork 3 Medium: oil, acrylic, canvas
Artwork 3 Commentary: Circles 1 is the first work from series Circles. In contrast to the other pieces this work is
made on a single canvas. For this painting I used a similar technique as for the other works from the series.
Paint is my favourite medium. For this work acrylic was used for the background, while geometric shapes were done
in oil. Oil, which takes longer to dry, gives a unique opportunity to continue working on the composition for days and
weeks.

Artwork 3 Image:

5
6
Catalogue3 ID0438
Artist ID: 0438

Artist Name: Cathy Stocker


Website: www.cathystocker.com
IG: https://www.instagram.com/cathy_stocker_art/

Artist Statement: My latest paintings have gone through a distillation process. Viewing the landscape through an
abstract lens using single brush strokes in black acrylic and a limited oil colour palette. I am interested in conveying a
broad expanse using only essential details. The black brush stroke becomes the backbone, or spine of the paintings
on which to hang the colours. Black is essential to all my work. Abstract landscapes, exploring a sense of place. Of
interconnections both fleeting and rooted.
I aim to create a shared space with each piece of work, one where the viewer can contemplate the title, a
springboard for thought or discussion. Very often my themes focus on eternal subjects, infinitely renewable.
I graduated from Leeds Polytechnic in 1988. Following a move to London in 1996, I took some time out of my art
career to concentrate on a career in design project management. I resumed exhibiting in 2007, and soon after I
joined Candid Arts in Angel, London, where I shared studios and group exhibitions. Since then, I have exhibited
regularly in both solo and group exhibitions in the UK and Finland.
One of the most influential lecturers at Leeds, to my mind, was painter and sculptor, George Hainsworth. He taught
me that you needed courage as an artist to break away from the mould. There always needs to be an element of fear
in making work. I have never stopped experimenting with different mediums and practices. These are the drivers in
my work.

Notes:

1
Artwork 1 Title: Nostalgia
Artwork 1 Dimensions: 79x58x4
Artwork 1 Medium: Oil and Acrylic on Hardboard
Artwork 1 Commentary: What is Nostalgia? A wistful desire to return in thought or in fact to a former time in one's
life? A yearning or longing for how things once were?Nostalgia is now recognised as a powerful tool in the battle
against anxiety and depression but it wasn't always so. Not until about 15 years ago when up until that point
Nostalgia had always been thought of as a debilitating process of yearning, of times lost. Now, however, Nostalgia is
shown to be both a driver of empathy and social connectedness, and a potent internal antidote for loneliness and
alienation.
Artwork 1 Image:

2
Artwork 2 Title: Synthesis
Artwork 2 Dimensions: 76x122x3
Artwork 2 Medium: Oil and Acrylic on Canvas
Artwork 2 Commentary: A landscape showing a hillside obscured by the materialisation of the element between the
viewer and the horizon.
Artwork 2 Image:

3
Artwork 3 Title: Synergy
Artwork 3 Dimensions: 80x50x2
Artwork 3 Medium: Oil and Acrylic on Canvas
Artwork 3 Commentary: My interpretation of the notion that the combined power of a group of things when
working together is greater than the total power of each achieved working separately.
Artwork 3 Image:

4
Catalogue3 ID0439
Artist ID: 0439

Artist Name: AureLie Lethu


Website: www.aurelielethu.com
IG: @aurelielethu

Artist Statement: I am a French visual artist.

I started painting from an early age but only dedicated myself to art since 2010, after 10 years of professional
experience as an architect.

From my native Brittany, imbued with the magic of the Gulf of Morbihan, other landscapes and foreign cultures have
been a great source of inspiration, through the numerous trips and cities where I lived successively: Montreal, Paris,
London, Barcelona, Sao Paulo and now Moscow.

My favourite theme has always been the landscape, with an expression that became more abstract over time, to be
fully centred on the emotion. A particular fascination for textures increased with my career as an architect. It got
reflected in a mixed media technique, gradually more three-dimensional.

My avidity of discovery, encounter and travel, creatively translates into constant experimentation, a desire to
reinvent myself unceasingly and explore unknown territories.

My work is characterized by a very sensorial approach. I like to create from the sensibility and the story of an
element, most of the times recycled, and mainly from the large universe of skins, from natural fibres, barks to real
earth for example.

The profound emotion, reflexion and meaning at the origin of my abstract landscapes aim to resonate in a deeper
level, beyond the aesthetic one.

Notes:

1
Artwork 1 Title: VIRTUAL REALITY
Artwork 1 Dimensions: 120x80x4
Artwork 1 Medium: Mixed media with red earth, recycled microchip boards and natural pigments.
Artwork 1 Commentary: Red earth has always fascinated me.
The project to use it as a base material came naturally once settled in Brazil and being surrounded by it.

I was already in the creative and experimental process of working with the local red earth i collected myself when
my new mac and external HD crushed at the same time for no reason.
Suddenly all my data got lost in the Void.

The fact that I was modeling with earth, one of the fourth primary elements really helped me to stay anchored,
despite the huge loss no technician could solve.

What is real?
What is our base reference?
What are our values?
What sense do we give to things or life?

The idea came to me to work on the duality of the two different realities:
The tangible world materialized by the earth, a physical and authentic reference, and the dialogue with a virtual
reality that escapes us, induced by the new technologies with the use of recycled electronic computer boards.

Artwork 1 Image:

2
3
Artwork 2 Title: Communication
Artwork 2 Dimensions: 55x50x6
Artwork 2 Medium: Mixed media with recycled microchips boards, recycled wooden boxes, miniatures and text
Artwork 2 Commentary: This mixed media artwork is part of a series of six pieces.

I started including microchips in my Earth Series from the previous piece presented: “Virtual Reality―.
I got very found of working with this material so after my two other big artworks “Duality― and “The infinity
of possibilities―, I was willing to explore with a new series using it as a main element.

“Communication― is the first creation of the series.


It aims to show the paradox of communication nowadays in our society.
All the miniatures in yellow are in a conversation with their mobile phone. They are together physically but isolated
in their own world via technology.

Are we going to loose the art of presence, the real and physical communication to the virtual one?

Artwork 2 Image:

4
5
Artwork 3 Title: WEIGHTLESS
Artwork 3 Dimensions: 100x100x4
Artwork 3 Medium: Mixed media with birch barks, natural fibers (papyrus, palm tree, banana tree, coral),
homemade paper, tarlatan gauze
Artwork 3 Commentary: This artwork is part of a series made from tree barks.

This series is anterior to the experimentation with earth, it was created in Barcelona, before i moved to Brazil.

I got really fascinated by the textures and the sensoriality of these birch barks. They seem to tell a story, the story of
their life, with many scars and information.
I wanted to express the feeling of fluidity from the rigidity of these elements. I worked with many layers of other
sensorial “skins―, homemade paper, different natural fibres, tarlatan gauze…
Now the plates seem to evolve in a submarine world and invite us to float weightless with them.

Artwork 3 Image:

6
7
Catalogue3 ID0440
Artist ID: 0440

Artist Name: Franco Di Cesare


Website: www.francodicesare.com
IG: https://www.instagram.com/cfdicesare/

Artist Statement: My work is an open dialogue, as platform for an everlasting conversation, within the
“constructivist― concepts of geometric assonances and integration of the spaces, forms and colours, within
studied compositions, where the logical geometrical procedures are not fixed.

Equally to create an overall conceptual connection through each set of works, projecting my research in the act of
the synthesis, through the use of abstract geometric compositions and a limited colour pale

Notes:

1
Artwork 1 Title: L.d.i. 004-2017
Artwork 1 Dimensions: 120x90x5
Artwork 1 Medium: oil, acrylic
Artwork 1 Commentary: L.d.i 004-217 is a composition where i wanted to highlight the timbre, with a minimalist
composition and using the plasticity of the colours to reach an overall dynamic of the form.
Artwork 1 Image:

2
Artwork 2 Title: L.d.i. 120-218
Artwork 2 Dimensions: 120x120x3
Artwork 2 Medium: oil, acrylic
Artwork 2 Commentary: With L.d.i.120-218 my focus was within the colours palette and the dynamic of the
composition , using different media to achieve a strong aggressive effect to highlight the fragmentation of the forms
Artwork 2 Image:

3
Artwork 3 Title: C.b. K27-217
Artwork 3 Dimensions: 60x40x5
Artwork 3 Medium: Mdf, wire, acrylic, gloss.
Artwork 3 Commentary: Been a positive experience to create C.b. K27-217 wall sculpture, engaging with the space
with a minimalist design ,what interested me was to give life to the spaces in between, let the forms and the
colours to breath, the shadows are also in important elements.
Artwork 3 Image:

4
Catalogue3 ID0442
Artist ID: 0442

Artist Name: Kate Alyse Clark


Website: https://www.katealyseclark.com/
IG: https://www.instagram.com/katealyse_clark/

Artist Statement: My paintings represent the influence behind our experiences with the natural world. Each piece
begins with the desire to escape and explore the complexity of an untouched surface. As the composition emerges,
moments of energy are found, periods of reflection are required, and elements of surprise are developed.

The fluidity of paint and water provide never-ending opportunities of exploration. “Mistakes― evolve into new
possibilities and give depth to the pieces. Raw canvas can be manipulated to achieve areas of control or allow for
fields of washes to bleed organically. Marks made with chalk pastel create slow and rapid pathways.

I live surrounded by the ocean and deep forests, and spend most days reminded of our connection to this planet
through the wonderment of fog, tides, and the wind. Painting is the only form of communication I have found that
mirrors these natural occurrences. I strive to reproduce these elements in hope others will experience their own
connection or moment of escape.

​

Notes:

1
Artwork 1 Title: LIFT
Artwork 1 Dimensions: 86.36cm x 91.44cm
Artwork 1 Medium: chalk pastel and acrylic on raw canvas
Artwork 1 Commentary: I look for marks to add to my work throughout my everyday experiences. A found seashell
from the Salish Sea inspired the graphic element in this piece.
Artwork 1 Image:

2
Artwork 2 Title: UNWRAP
Artwork 2 Dimensions: 91.44cm x 121.92cm
Artwork 2 Medium: chalk pastel and acrylic on raw canvas
Artwork 2 Commentary: This piece was a commission, and a detailed description of the buyer was provided. I used
the adjectives and boldness of the individual to motivate the palette, movement, and energy.
Artwork 2 Image:

3
Artwork 3 Title: EVERY ARTIST YOU MEET
Artwork 3 Dimensions: 69.85cm x 100.33cm
Artwork 3 Medium: acrylic on canvas
Artwork 3 Commentary: During my one month artist-in-residence program in Tartu, Estonia (TAiR) I was
overwhelmed by the presence of the Soviet Era throughout the city. The evidence of this dark history was prevalent
in the cityscape and during my conversations with the local artists. This piece represent the influence of past
experiences carried to the present moment.
Artwork 3 Image:

4
Catalogue3 ID0443
Artist ID: 0443

Artist Name: Bridget Adams


Website: www.wisepeopleart.com
IG: www.instagram.com/bridgetadamsart/

Artist Statement: Artist impatient to make a difference! One life, many chances’! Driven by social and political
justice, endeavoring to feed our humanity into reasoning.

My work is inspired by the pattern of human nature and uses contemporary topical social and political facts to
motivate a response of reflection and consideration of our impending actions.

Through my work I seek human connectives believing, it is possible to work as one collective, if we can find that
common all-important thread that bridges us together to prevent the atrocities that humanity initiates.

My practice involves an innovative fusion of digital and hand processes, including drawing, digital collage and
embellishment using Karisma pencils and ink pen. This combined approach gives opportunity for precise sharp
definition working alongside the human capacity for imperfections and naivety.

The contrast between the seriousness of these human atrocities, the beauty, innocence and reverence of the 14th
century Italian Religious art despite the sometimes-contradictory actions of human beings regardless of affiliation,
reads as a source of warmth, kindness and devotion to a cause of love and the search for and the critical thread that
exists between us all.

Notes:

1
Artwork 1 Title: 'Ghouta', Syria
Artwork 1 Dimensions: 123cm (w) x 188cm (h)
Artwork 1 Medium: Hand drawn, new media, worked back into by hand using Karisma pencils and micro pen
Artwork 1 Commentary: ‘Ghouta’ a countryside and suburban area in southwestern Syria that surrounds the
city of Damascus. Through its alarming and harrowing circumstances the never ending chorus of power, bullying,
war, human beings peeled of their right to preservation and their gift of life. Over and over again, pawns in another
mans game. Identity, culture, truths destroyed for ego and ethnic cleansing. Unfortunately this scene, although is
brimming with Syrian culture and history could be any war zone in time, past and present. Ghouta is used as a
paragon. Repetition is a focus in much of my work and is no different here….the same old pattern. However I offer
a solution regardless of any argument.
Artwork 1 Image:

2
3
Artwork 2 Title: 'A New Beginning!'
Artwork 2 Dimensions: 88cm (W) x 238cm (H)
Artwork 2 Medium: Hand drawn, new media, worked back into by hand using Karisma pencils and micro pen
Artwork 2 Commentary: As a girl their were two pictures in our house that had a massive impact in the development
of my work and the way I view life today.
The first was a low relief carving of 'The Last Supper', an image that captivated me with its dark row of disciples and
Jesus as the focal point, the sinister long table with its humble feast. Together suggesting that some
powerful/sacrificial change was about to take place.
The second image was a painting above my mum and dads bed by L. S Lowry. A man with a brief case laid on a brick
wall overlooking the industrial dirty city. His brief case led me to believe he was important! I believed (still believe!)
he'd given up on his old life as the gaps inside him were still too vast to believe that his way was the right way. So he
laid on the wall as a metaphor for change and new direction to achieve some fulfilment.
The concept of powerful people at a table with such a humble feast and the man on the long wall almost
symbolising that sacrificial change of life for 'the greater good' will always be a major influence on my thinking and
my art work.
'A New Beginning' brings together all of the above however a pregnant female replaces the supper and the
dissatisfied man thus communicating the baseline of common ground that accesses an indisputable and frequently
lost Truth.
Artwork 2 Image:

4
5
Artwork 3 Title: 'Harvest'
Artwork 3 Dimensions: 124cm (w) x 213cm (h)
Artwork 3 Medium: Hand drawn, new media, worked back into by hand using Karisma pencils and micro pen
Artwork 3 Commentary: Harvest was inspired by the never ending cycle and imbalance of wrong decisions made by
so few human beings, however with so much power and misguided, blind and ignorant authority… namely
politicians, whose methods result in causing fear and pain for the rest of Humanity, yet ironically the balance is
usually restored back in to society, thanks to the selfless hard work and sacrifice of so many other ordinary human
beings.
The figures dangling from threads are the people who need a wake up call and a taste of their own consequences of
their decisions made. They dangle without control and struggle to be heard, hence their mouths full of teeth trying
to express what they need. Teeth fall out of their mouths and are harvested by ordinary people trying to make the
best of what the ‘powers that be’ have left for them……intrinsically, a painful mess!
Never the less, the people bend over backwards, stand upside down and will try any possible physical bodily position
to restore care, respect and understanding and grow their crops to feed each other and restore morality.
Artwork 3 Image:

6
7
Catalogue3 ID0445
Artist ID: 0445

Artist Name: CeDric Raccio


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

Artist Statement: The artists of the 60s had claimed the merger of art and life. Today, speaking more specifically
about photography, we can see that the human of the twenty-first century, throughout his existence is the
consumer and the producer of thousands of images. This new habit, excessive, generates a kind of visual anxiety
pollution, and in the same time offers a multitude of vision, a discovery of unexplored territories and, ultimately, an
opening to the world. We can also see that the boundaries between artistic images and images industrial,
documentary, social or even family are increasingly fading away.

Of course, technology (including social networks) is ubiquitous in creation and diffusion. It allows a vertiginous
expansion of these billions of visuals. It has changed the way we learn and has a positive effect perhaps on human
progress but destroyed certainly the scale of qualitative values against an infinite production.

According to the humanist Lorenzo Tomasin, the technologies and computers have changed the dominant
mentalities and propelled us into this new paradigm, so: "The idea that immediate utility is the fundamental
criterion in the organization of our educational and cultural system. This symptom has penetrated several levels of
society in today’s most advanced countries." A statement that applies easily to the creation and dissemination of
images.

Notes:

1
Artwork 1 Title: Hyperobjects / T.A.G-V.I
Artwork 1 Dimensions: 100 X 70 X 2
Artwork 1 Medium: Photography
Artwork 1 Commentary: In the project "Hyperobjects" I use the hundreds of photographs stored in my mobile phone
(memories, references, family, etc.) and associate them with transformation effects (editing program). The basic
images are no longer recognizable and become a matter of pixels that can be compared to the palette of the painter
who will be used as a basic material to build "digital landscapes".

These new digital images are used, in a second time, to build "totem trophies" (sculptures) which once re-
photographed proposes a "theatricalization" and "mythologization" of our digital age. The result is abstract,
confusing, both aggressive by the multitude of information and at the same time rich by this search for aesthetic
composition and its range of explosive colors.

"Art is a lie that makes us understand the truth." Picasso


Artwork 1 Image:

2
3
Artwork 2 Title: Hyperobjects / E.Y.E-V.I
Artwork 2 Dimensions: 100 X 70 X 2
Artwork 2 Medium: Photography
Artwork 2 Commentary: In the project "Hyperobjects" I use the hundreds of photographs stored in my mobile phone
(memories, references, family, etc.) and associate them with transformation effects (editing program). The basic
images are no longer recognizable and become a matter of pixels that can be compared to the palette of the painter
who will be used as a basic material to build "digital landscapes".

These new digital images are used, in a second time, to build "totem trophies" (sculptures) which once re-
photographed proposes a "theatricalization" and "mythologization" of our digital age. The result is abstract,
confusing, both aggressive by the multitude of information and at the same time rich by this search for aesthetic
composition and its range of explosive colors.

"Art is a lie that makes us understand the truth." Picasso


Artwork 2 Image:

4
5
Artwork 3 Title: Hyperobjects / F.L.D.-V.III
Artwork 3 Dimensions: 100 X 70 X 2
Artwork 3 Medium: Photography
Artwork 3 Commentary: In the project "Hyperobjects" I use the hundreds of photographs stored in my mobile phone
(memories, references, family, etc.) and associate them with transformation effects (editing program). The basic
images are no longer recognizable and become a matter of pixels that can be compared to the palette of the painter
who will be used as a basic material to build "digital landscapes".

These new digital images are used, in a second time, to build "totem trophies" (sculptures) which once re-
photographed proposes a "theatricalization" and "mythologization" of our digital age. The result is abstract,
confusing, both aggressive by the multitude of information and at the same time rich by this search for aesthetic
composition and its range of explosive colors.

"Art is a lie that makes us understand the truth." Picasso


Artwork 3 Image:

6
7
Catalogue3 ID0447
Artist ID: 0447

Artist Name: Adam De Ville


Website: www.artdeville.co.uk
IG: adamleedeville

Artist Statement: I’m always looking to capture both light and shade, comedy and poignancy in my work which is
often observational. Central themes are usually socio political in nature, and from popular culture with a particular
focus on the displacement of the individual or social type and meditations on belonging. My work includes figurative,
landscape and abstract, using a variety of mediums to suit the theme.

I look for those moments where we find ourselves adrift, looking for an anchor. These moments can be bittersweet.

Although I work with variety of styles, there are familiar reoccurring notes, or textures. I like playing with duality
between mediums and with the viewer’s interpretation of the work.

My abstract work on the other hand involves an intuitive and unconscious process, enabling the viewer to find their
own story

Notes:

1
Artwork 1 Title: For the love of John
Artwork 1 Dimensions: 55x75x3
Artwork 1 Medium: Oil pastel, acrylic, charcoal on heavy paper
Artwork 1 Commentary: No predetermined narrative for this piece. I like watching the characters and action form.
Artwork 1 Image:

2
Artwork 2 Title: Mum's the word
Artwork 2 Dimensions: 55x75x3
Artwork 2 Medium: Oil pastel, acrylic, charcoal on heavy paper
Artwork 2 Commentary: When I completed the work I got the sense of a game and a rugby scrum
Artwork 2 Image:

3
Artwork 3 Title: No nose for a television adaptation
Artwork 3 Dimensions: 80x105x3
Artwork 3 Medium: Oil pastel, acrylic, charcoal on paper
Artwork 3 Commentary: I don't watch telly, just Netflix
Artwork 3 Image:

4
Catalogue3 ID0450
Artist ID: 0450

Artist Name: Lyubena Fox


Website: www.lyubenafox.com
IG: @lyubenafox

Artist Statement: My work opposes the fast-paced consumerism and stressed ways of the society nowadays. It pays
its respect to art history and it shows how much we can learn from our past in order to live and create to our fullest
now. My work suggests, in the way it’s painted, that you can also choose how paint/live your life accordingly to
what you truly crave, despite what the current fashion is. The knowledge of the materials used and the chemical
reactions towards their surroundings has been applied to create these works of art, which will last in time.

Notes:

1
Artwork 1 Title: The Nest
Artwork 1 Dimensions: 35x45
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: In this painting, nature is put in a theatrical setting order to highlight her beauty. The nest
full of eggs symbolizes the fragileness of new life, while the bird represents the figure of the protector who gives
warmth and hope for the future.
The soap bubbles contribute as a symbol of the ephemerality of life. The whole outlook and message is to enjoy
nature, but with a tender care, because, like the soap bubble, we can ruin it with one touch.
The final motif is the yellow snail symbolizing the circle of life. The humility and respect with witch we must treat
nature and life.
Artwork 1 Image:

2
3
Artwork 2 Title: Traveler's desk
Artwork 2 Dimensions: 50x70
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: Through the symbols in “Traveler’s Desk― the painting depicts man’s yearning
for knowledge.
The knowledge yet to be discovered (symbolized by the closed books) is obtained by travelling (indicated by the
globe). This desk tells the story of a dreamer curious to learn trough his travels (curiosity depicted by the squirrel
that they’ve brought from overseas, as this type of rodent’s habitats are not found in Europe). You can also
find that this person is interested in foreign cultures, hence he has received a letter with a haiku, a type of traditional
Japanese poetry. In this context, the scales stand for a reminder that knowledge is more valuable than material
riches.
Artwork 2 Image:

4
5
Artwork 3 Title: Into the Pomegranate
Artwork 3 Dimensions: (the painting without frame is 18x18)
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: The pomegranate itself is rich in symbolism and going into it can be interpreted in quite a
few ways, depending on the viewer. It impels the viewer to enter a surrealistic world which they, themselves
conceive. That serves as an invitation for them to create and enter a world where their needs are met and their
desires are fulfilled.
Artwork 3 Image:

6
Catalogue3 ID0452
Artist ID: 0452

Artist Name: Petra Jaenicke


Website: p-jaenicke-foto.webnode.com
IG: p.jaenicke.photo

Artist Statement: My images are digital merged photos transformed to see into the uncertain poetry of actuality.
They show my quest to solutions for the demands of life as well as my longing for beauty as an individual effort to
relate the alien exterior to my interior. They represent the way to construe my own reality, a reality that could be
real and yet irritatingly surreal. In times of increasingly virtual realities, I try to re-explore reality, in order to use the
medium photography to contribute to a contemporary interpretation. My images crosses the lines between fine art
and narrative storytelling. The photos are also studies of alluring stories of the human body, mind and spirit.
The results are the aesthetical echo of female poetry and strength in the context of art photography. While working I
experiment with reality, follow meanders and dreams and immerse myself completely in the process. My work feels
like a dance with and around the real and a moment of individual engaging in the conditions of the situation. In this
process, surreal coloration and double exposure are essential tools used to address the simultaneity of the world
and its individual interpretation. This creates a space in which the contemplator’s comfortable conventions must
be put to the test and renegotiated, so these images leave space for own perception and experience.

Notes:

1
Artwork 1 Title: Carefully pretended
Artwork 1 Dimensions: 105 x 70 cm
Artwork 1 Medium: Photography
Artwork 1 Commentary: The image is a digital merged photo, transformed to see into the uncertain poetry of
actuality. The viewer looks from outside into a moment, that represent a storie about a reality that could be real and
yet irritatingly surreal, like a dance with and around the actuality and a moment of individual engaging in the
conditions of the situation. It seem to float, vaporous, in a universe soaked with an atmosphere of fantasy and
strangeness.
Artwork 1 Image:

2
Artwork 2 Title: Even on leaves
Artwork 2 Dimensions: 105 x 70 cm
Artwork 2 Medium: Photography
Artwork 2 Commentary: The image is a digital merged photo, transformed to see into the uncertain poetry of
actuality. The viewer looks from outside into a moment, that represent a storie about a reality that could be real and
yet irritatingly surreal, like a dance with and around the actuality and a moment of individual engaging in the
conditions of the situation. It seem to float, vaporous, in a universe soaked with an atmosphere of fantasy and
strangeness.
Artwork 2 Image:

3
Artwork 3 Title: Mute in the lingering light
Artwork 3 Dimensions: 105 x 70 cm
Artwork 3 Medium: Photography
Artwork 3 Commentary: The image is a digital merged photo, transformed to see into the uncertain poetry of
actuality. The viewer looks from outside into a moment, that represent a storie about a reality that could be real and
yet irritatingly surreal, like a dance with and around the actuality and a moment of individual engaging in the
conditions of the situation. It seem to float, vaporous, in a universe soaked with an atmosphere of fantasy and
strangeness.
Artwork 3 Image:

4
Catalogue3 ID0453
Artist ID: 0453

Artist Name: Kristin Rawcliffe


Website: www.kristinrawcliffe.co.uk
IG: https://www.instagram.com/kristinrawcliffe/

Artist Statement: “If a picture paints a thousand words, Kristin paints a novel.―

I am predominantly a portrait and figurative artist working in oils and am compelled to tell peoples’ stories
though paint. I want my paintings to be more than photographic representations, I want the viewer to feel the
emotions and character of the people I paint.

Reality is important to me, not in terms of copying but of creating a sense of what’s there; of character, energy
and presence. I am inspired by a range of realist artists from the Newlyn School to Lucien Freud.

I build energy and depth into what I do. This involves spending time building up studies to find the best way of
putting across in paint what I want to say. That may be through vivid, lively colour; tone and light; use of texture;
bold, emphatic brush marks; thoughtful composition or a combination of those elements.
I am currently working on incorporating abstraction into my backgrounds and using the blurring of the edges
between reality and what surrounds us to hint at stories and suggest feelings.

I am always seeking new ways to capture movement and emotion through paint techniques, and paint regularly
from life, drawing inspiration from the everyday as well as people I come across.

Notes:

1
Artwork 1 Title: Dreamweaver
Artwork 1 Dimensions: 90cm x 90cm x 5cm
Artwork 1 Medium: Oil paint
Artwork 1 Commentary: Suspended in a dream like state between waking and sleeping, colours wave in and out like
threads, merging with and supporting the figure.
A palette of blues, greens and turquoise give a feeling of calm and tranquillity, as well as a bit of mystery. The viewer
is invited to read their own story into this painting.
Artwork 1 Image:

2
Artwork 2 Title: Bound
Artwork 2 Dimensions: 60cm x 90cm x 5cm
Artwork 2 Medium: Oil paint
Artwork 2 Commentary: Hunched and cowering, the figure is intertwined with colours that suggest forces pulling at
them whilst they retreat into themself.
The turquoise palette gives a slight feeling of uneasiness. The viewer is invited to read their own story into this
painting.
Artwork 2 Image:

3
Artwork 3 Title: The saxophone player
Artwork 3 Dimensions: 90cm x 90cm x 5cm
Artwork 3 Medium: Oil paint
Artwork 3 Commentary: The figure plays his saxophone, becoming lost in the music that surrounds him.
The figure echoes suggest movement, as well as the dual facets of the player's personality as he confidently
performs, but also escapes into his own world to experience the music for himself.

Artwork 3 Image:

4
Catalogue3 ID0454
Artist ID: 0454

Artist Name: Jake-Andrew Nason


Website: www.jakeandrewnason.com
IG: instagram.com/jakeandrewart/

Artist Statement: I'm a multi disciplinary artist and experimental musician with synaesthesia, and my practice is
centred around the way my mind perceives audio stimulus as colour, texture, shape and movement. My aim is to
explore sensory perception and the emotional and physical response to the relationship that exists between colour
and sound.

After being classically trained on a multitude of instruments from a young age, and coming from a musical
performance background, I realised there was something different about the way I experienced and thought about
music. It wasn't just an audio experience, the notes and tones were vivid colours, shapes and textures etched into
my conscious perception.

Working closely with music and sound, my work is created by translating my synaesthetic visualisation of sound
into a tangible form, and by layering the synaesthetic colours, textures, tones and movements onto canvas. From
these composition paintings, I manipulate the static final compositions digitally, creating cascading projected colour
video and sound sequences that are mapped digitally to fit their surroundings, becoming audio-synchronous visual
narratives, or a synthesised synaesthetic environment in which the viewer can explore or expand their own sensory
perception.

Notes:

1
Artwork 1 Title: Petrichor
Artwork 1 Dimensions: 100x100x4 cms
Artwork 1 Medium: Mixed media painting
Artwork 1 Commentary: “Petrichor― - one of my favourite words; meaning the smell of rain on the parched
ground after a long period of dry weather.

This piece is my response to that moment, as for me it creates an almost tangible feeling of melancholy and
reflection. Although the tones, textures and movement of the piece are dictated partly by Keaton Hensons song of
the same name, I wanted to physicalise and encapsulate the above feeling and allow the paint and application to
build a composition that responds to the feeling of renewal.
Artwork 1 Image:

2
3
Artwork 2 Title: Exposure: How To Write A Painting
Artwork 2 Dimensions: Variable - installation on display 800x400x50 cms
Artwork 2 Medium: Video Projection/Sound Installation
Artwork 2 Commentary: This audio-visual projection was shown as the final part of my Masters Degree at Norwich
University of The Arts.

I began this composition by building a composition painting that was intended to be a new way of writing music. This
was transcribed from a series of chord colour charts, a way I'd been documenting how my mind reads musical notes
and phrases as colour, and then layering thousands of individual digital photographs of this painting together
sequentially how it was intended to be "performed" on piano. I then performed the piece on piano, and created a
synchronous video projection in which the audience were able to "walk" into the painting itself, whilst listening to
the piano piece at the same time.

This is part of my practice I'm currently focusing on, and have exhibited new installation environments more
recently, as the idea of building audio-visually synchronous environments and creating "altered space" through the
digitisation and expansion of my painting practice has allowed me to delve into the immersive element of art.
Artwork 2 Image:

4
5
Artwork 3 Title: There Are Some Remedies Worse Than The Disease
Artwork 3 Dimensions: 150x100x4 cms
Artwork 3 Medium: Mixed Media Painting
Artwork 3 Commentary: This painting was produced to create a visualised crescendo on canvas. The name is taken
from the song that inspired it, by This Will Destroy You.

After experiencing this song live, I was overwhelmed by the crescendo in the last part of the track, and immediately
started painting as soon as I returned home. The textures and tones throughout the painting are constantly rising,
exploding out at the very top into an almost gaseous haze interspersed with fragmented synaesthetic visualisations
of overdrive and reverb. I wanted to create a painting that was almost confrontational in its size and presence, a
physical wall of sound.

Again, this translation of focal points in music and sound is something I'm concentrating on in my practice.
Artwork 3 Image:

6
7
Catalogue3 ID0455
Artist ID: 0455

Artist Name: Moylin Ho Knit Chong


Website: www.peachartstudios.wix.com/peachartstudios
IG: @peach_art101

Artist Statement: The Imago, Latin for an image of the divine followed within us throughout our lifetime. A dead
psychoanalytical term.
The impulse to make sculptures, paintings, and sketches portraying the repressed imago in my
dreams are what fuels my practice. The connection between the imago and its legacy are forces that
demand to be made physical. But how does one describe the ultimate ‘Image?’
Many explain that the Imago has taken form through a relationship, religion, a healthy family unit,
or simply a better version of oneself.
For me, the Journey to the ultimate image was the struggle of defining a relation in my family blood
growing up, as being of mixed heritage.
The answer was then quite simple. Engaging in the subject of Personas.
I am interested in storytelling, the archaic, the theatre, marionettes and folklore.
I like the concept of our ultimate Imago returning to ourselves subconsciously as a powerful
presence over each life time, creating that obsessive connection.
To create tension with fascination; to appear eerie and peculiar, ambiguous and suspicious at the
same time, is what I strive for my artwork to provide.

Notes:

1
Artwork 1 Title: Take a seat
Artwork 1 Dimensions: H- 100CM W-40CM D-20CM
Artwork 1 Medium: sculpture
Artwork 1 Commentary: Take a seat, compromised over a series of experimentations after researching the classical
modes of theatre. The different roles and personas these actors play requires a sense of verdict in dissolving oneself
into the role. For an experienced actor, the question is how much do they lose themselves each time they perform?
Take a seat is the undeniable aceptance to lose your self identity to take on another, with no resistance in the name
of theatre, performance, and fame.
Artwork 1 Image:

2
Artwork 2 Title: The Family
Artwork 2 Dimensions: H- 150cm W-100cm- D-20cm
Artwork 2 Medium: sculpture, mixed media
Artwork 2 Commentary: "The Family" comes from a place that is narrated by my own questions in my family history.
It is a family portrait that exists only in my mind. From a turbulent upbringing I never really experienced a 'normal'
childhood, this followed me for years into my adulthood and I realized that it was time for me to finally get that
sense of comfortability and domesticity I have always craved. Dolls, being the toys that most children would have
was one I sadly did not, but making these larger than life figures filled that void of a family unit I had been missing
out on.
Artwork 2 Image:

3
Artwork 3 Title: The little prince
Artwork 3 Dimensions: H- 56cm W- 20cm- D- 20cm
Artwork 3 Medium: sculpture, mixed media
Artwork 3 Commentary: Inspired by the novel, The little prince by Antoine de Saint-Exupéry. the little prince
consumes every fibre of our lack in resisting to adventure and the unknown. Being faceless in my sculpture, he has
retreated into the world of the uncanny, which has the interesting elements of storytelling between two realms. Us-
reality and the uncanny- dreams.
Artwork 3 Image:

4
Catalogue3 ID0456
Artist ID: 0456

Artist Name: Nassim Aslani


Website: www.nassim-aslani-art.com
IG: @nassim.aslani72

Artist Statement: BIOGRAPHY

I was born 1972 in Teheran/Iran.

There I studied from 1991 to 1996 painting at the art university. In 1999 I moved to Germany.

Since more than 25 years I dedicate herself to mostly oil paintings, and sometimes she works with watercolors.

I prefer to paint simple motives in intense and bright colors.

My paintings are sunny and positive. They radiate endless joy and life-energy.

1996-1999: several solo and group exhibitions in Iran.


2001-2018: several solo and group exhibitions in Germany like FORM-ART, Reinbeker Malerweekend (2 times),
exhibitions in town hall Hamburg, town hall Reinbeck (2 times), town hall Bad-Oldeslo, Kultur Laden, culture palace
(2 times), Aura Kure (3 times), art and culture days in Mümmelmannsberg (16 times), diverse Galleries etc…
Ex-member of the Kunstgemeinschaft Sachsenwald
Art Parma fair 2018 with the Gallery Marco Antonio Patrizio
„Price/Awards“

2004: Winner of the 3rd Audience Award under the motto „FANTASIEN“ at the Art and Culture Days
Mümmelmannsberg
2005: Winner of the 3rd Audience Award under the motto „DIE FARBE BLAU“ at the Art and Culture Days
Mümmelmannsberg
2007: Winner of the 3rd Audience Award under the motto „CREATIVITY THEORY“ at the Art and Culture Days
Mümmelmannsberg.
Nominated for the Kitz Award 2018
2018: Winner of the Ruby Award of Merit by Gallery ring under the motto Wheels

Notes:

1
Artwork 1 Title: The time, they are a changing
Artwork 1 Dimensions: 100 x 140 cm
Artwork 1 Medium: Oil and color spray on canvas
Artwork 1 Commentary: Some people do not put any value on historic buildings and ruin it. this is a critical picture to
show this story.
Artwork 1 Image:

2
Artwork 2 Title: What is in the air?
Artwork 2 Dimensions: 80 x 80 cm
Artwork 2 Medium: Oil and Collage on canvas
Artwork 2 Commentary: With this picture I wanted to show how the air through motorcycles dirty and what we
breathe every day
Artwork 2 Image:

3
Artwork 3 Title: make the better place
Artwork 3 Dimensions: 80 x 100 cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: the topic is back to the plastic waste in the sea.
The fishes are on table and the wate in the sea (the wrong place for both)
Artwork 3 Image:

4
Catalogue3 ID0457
Artist ID: 0457

Artist Name: Julie Light


Website: www.julielight.co.uk
IG: julielightglass

Artist Statement: I am fascinated by the implications of medical imaging, leading me to explore how people visualise
their bodies at a microscopic level, particularly with reference to cells and mutation, and how that influences a sense
of embodiment and identity. I work in glass, metal and a variety of other materials, primarily making sculptural
objects. I believe that engaging with physical objects facilitates radically different ideas and conversations to solely
viewing images, whether analogue or digital.

Visibility, invisibility, tactility and texture are central themes of my work. I explore tensions and contrasts that
fascinate me: how the organic and the mechanistic coexist, how visible and translucent surfaces hide or reveal what
is inside. Glass is a particularly good medium for this; forms can be viewed from inside as well as out with surfaces
that reflect light, transmit it or stop it dead.

Alongside my individual practice, my collaborative projects have included curating and making artwork for The
Museum of Extraordinary Objects with The Royal Society, a joint residency at CUBELONDON, working with scientists
at Imperial College and Kings College London, and joint projects with fellow artist Jill Mueller, including Open
Platform at the Wellcome Collection.

Notes:

1
Artwork 1 Title: Gross Domestic Product Series (Specs)
Artwork 1 Dimensions: 12 x 20 x 25 approx (variable)
Artwork 1 Medium: Cast Glass
Artwork 1 Commentary: The Gross Domestic Product series deal with the representation of cancer as a foreign body,
and the transformation of healthy tissue into disease. These pieces involve familiar objects that are part of
everyday life becoming overtaken by fruits or vegetables, organisms usually viewed as supporting health. Here they
have taken hold in a more sinister way, colonising the supporting objects until they are overcome.

The spectacles in this series act as a metaphor for our vision, both in terms of our sight and our ability to understand
the world around us.

Artwork 1 Image:

2
3
Artwork 2 Title: Gross Domestic Product Series (Specs)
Artwork 2 Dimensions: 12 x 25 x 20 approx (variable)
Artwork 2 Medium: Cast glass
Artwork 2 Commentary: The Gross Domestic Product series deal with the representation of cancer as a foreign body,
and the transformation of healthy tissue into disease. These pieces involve familiar objects that are part of
everyday life becoming overtaken by fruits or vegetables, organisms usually viewed as supporting health. Here they
have taken hold in a more sinister way, colonising the supporting objects until they are overcome.

The purses here stand in for our feelings and reliance on the material aspects of our life and wellbeing

Artwork 2 Image:

4
5
Artwork 3 Title: Blood Morphology Series
Artwork 3 Dimensions: 30 x 70 x 20 approx (variable)
Artwork 3 Medium: Cast glass, blown glass and mixed media
Artwork 3 Commentary: The Blood Morphology Series depicts three different mutations of blood cells alongside a
normal blood cell, and relates to the intimate connections between form and function in our bodies. There is an
incredibly close relationship between disease and cell form - the three mutations have a radical impact on the shape
of the cell, and these cell forms are associated with diseases such as sickle cell anaemia, pyruvate kinase deficiency,
myelofibrosis or bone marrow cancer. The cells, normally hidden from sight by their microscopic size and the fact
they are interior to our bodies, here sit within a labelled and gilded domes as objects offered for examination.
Artwork 3 Image:

6
Catalogue3 ID0459
Artist ID: 0459

Artist Name: Anne Moses


Website: www.annemosesart.com
IG: @annemosesartist

Artist Statement: I believe there is an innate response to the mimetic and the re-presentation of our own image, it is
something we are fascinated by and conditioned to respond to. Painting takes this into another realm with the artist
controlling each element of the re-presentation.

My work deals with the fragments of life seen at close range - the portrayal of the elusive touch or feeling; the detail
and minutiae of life; introspection.

Observing the world at close range and focussing inward has always been the main element of my work, my
inspiration and point of focus being the human figure and face.

Combining modern and traditional working methods is a defining element of my work, referencing both
contemporary and historical sources.

Notes:

1
Artwork 1 Title: Under Cover
Artwork 1 Dimensions: 61 x 101
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: The subject is a young french girl (Elsa) who struck me as a shy, introspective person but
someone who also had great strengths and resolve - it was this dichotomy or tension that I felt in her and I believe
this is universal.

We all have strengths and weaknesses and viewers may read this in different ways - on one level hiding but on
another defiant or self-preserving?
Artwork 1 Image:

2
3
Artwork 2 Title: Up Close
Artwork 2 Dimensions: 66 x 101
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: I wander around the world with a camera observing and capturing fleeting moments, I
simply liked the stillness of this man standing, the skin of his hand against the leather of his jacket- just a moment
transfixed in time, a fragment of life.
Artwork 2 Image:

4
Artwork 3 Title: Sleeping Mimi
Artwork 3 Dimensions: 30 x 40
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: This small painting was developed from a series of photographs of a Taiwanese performing
artist/poet (&friend) whose face was very peaceful, still and calm, it was this quality I endeavoured to capture on a
more intimate scale.
Artwork 3 Image:

5
Catalogue3 ID0460
Artist ID: 0460

Artist Name: Kjell Folkvord


Website: kjell-folkvord.net
IG: KjellFolkvordArt

Artist Statement: “The aim of art


is not to represent the
outward appearance of
things, but their inward
significance.―
Aristotle

Aristotle places art in a central position and allow all the “users― of art to an active participation. As a painter
I’m communicating with colours, lines and all that goes with this language.

The most important tool I is Myself


- my experience, emotions, memories and of course my whole cognitive resources.

I experiment quite a lot. It is for me more interesting to walk down a road that isn’t used so much. My main
medium is acrylic on canvas, but I also paint on paper.

My style is abstract, but my works are usually related to something, even if they are abstract. The titles can be an
important part of the art concept. I want every individual to establish their own relation to my paintings. I don’t
have, and I really don’t want to have, all the answers. My paintings are there and I am happy for anyone to
communicate with them. We have all different experiences and ideas. And those goes into the communication we
have with pieces of art.

Notes:

1
Artwork 1 Title: 5th Symphony
Artwork 1 Dimensions: 100 x 150 cm
Artwork 1 Medium: Acrylic on linen
Artwork 1 Commentary: This painting is one in a series of nine each inspired bu Beethoven's symphonies. The
painting was made while listening to the music and there are a lot of details in the picture that point to details in the
music. As the symphony this painting is a journey from the dark to the victorious vibrant.
Artwork 1 Image:

2
Artwork 2 Title: September
Artwork 2 Dimensions: 100x80 cm
Artwork 2 Medium: Acrylic on cotton duck
Artwork 2 Commentary: I painted a series of 12 paintings each inspired of my childhood memories from the different
months of the year. This is the September painting, a memory from an indian summer, but at the bottom one can
see the colours fading. So one shouldn't be fooled: autumn is coming
Artwork 2 Image:

3
Artwork 3 Title: The Space Behind
Artwork 3 Dimensions: 120 x 90 cm
Artwork 3 Medium: Acrylic on cotton duck
Artwork 3 Commentary: Another painting inspired by music. This is made very recently and is inspired by Wagner's
music. The "Liebestod" - Isolde's Death is the part of the opera that inspired this painting. Wagner's broad and
twisting music is reflected in the painting, and so ism the rather darkish theme.
Artwork 3 Image:

4
Catalogue3 ID0461
Artist ID: 0461

Artist Name: Aiste Jakonyte


Website: aistejakonyte.com
IG: aiste.jakonyte

Artist Statement: Interpretation and rendition of space, biographical elements and topical events is used as means of
exploring relationships between them, the viewer and the artist.

Notes:

1
Artwork 1 Title: Judgment of Paris
Artwork 1 Dimensions: 164x164x4.5
Artwork 1 Medium: Oil and acrylic on canvas
Artwork 1 Commentary: This 'Judgment of Paris' combines Lithuanian motifs and artist's own biographical events
into an 'extra hot' scene where you might be either the judge (Paris?) or the one being judged, or both, or none of
the above.
Artwork 1 Image:

2
Artwork 2 Title: Fortuna
Artwork 2 Dimensions: 150x180x4.5
Artwork 2 Medium: Oil and acrylic on canvas
Artwork 2 Commentary: Fortuna - a goddess of fortune and personification of luck - in this composition is typified by
a logo of a Lithuanian chocolate bar that bears the same name and image of the goddess. One may say that
what appears to be an initial sense of hope and fortune that the two figures in the painting are looking at is tinged
by consumerism and mass-production.Â

Right next to the figures is the artist's interpretation of a mediterranean rooftop occupied by some bats.Â

Slightly nonsensical but ever so whimsical and colourful, the intention of this painting is as unclear as the thought
process of using a Roman goddess of luck as a logo for a food product; will eating the chocolate bring fortune/will
looking at this painting bring good luck?
Artwork 2 Image:

3
4
Artwork 3 Title: My Burning Hot Summer
Artwork 3 Dimensions: 60x80x4.5
Artwork 3 Medium: Oil and acrylic on canvas
Artwork 3 Commentary: An interpretation of a pretty balmy summer. A reference to Philippe Garrel's film with the
same name and 'YES' striped sunflower seed packet ('with chili' flavour), with the latter bearing most influence and
stylisation to the composition (and possibly the whole of the summer).
Artwork 3 Image:

5
Catalogue3 ID0462
Artist ID: 0462

Artist Name: Lionel Cruet


Website: http://lionelcruet.com/flood_aftermath_and_other_hurriane_stories.html
IG: https://www.instagram.com/lionelcruetstudio/

Artist Statement: Floods Aftermath and Other Hurricane Stories is a series of drawings and paintings on blue tarps
showing stranded houses in the landscape after the effect of Hurricanes and heavy floods. The landscapes are
inspired on Caribbean scenarios, as the intention of the work is to comment on the material of the blue tarps itself
and the relationship that exist after the catastrophes, a temporary solution and an architectural alternative that
becomes part of the daily life and in the vernacular environment.
As an artist, grown up in the Caribbean and lived through hurricanes, tropical depressions, and flooding , the blue
tarp is the first item that federal authorities hand out as a gesture that pretends to solve all situations. In the
opposite it become a transactional material that proceeds to forgetfulness and abandonment.

Notes:

1
Artwork 1 Title: Floods Aftermath and Other Hurricane Stories
Artwork 1 Dimensions: 21.59 x 27.94 cm
Artwork 1 Medium: Drawing on paper
Artwork 1 Commentary: Drawings and sketches done previous to create the paintings.
Artwork 1 Image:

2
Artwork 2 Title: Floods Aftermath and Other Hurricane Stories
Artwork 2 Dimensions: 243.8 x 182.9 cm
Artwork 2 Medium: acrylic and house paint on polyethylene blue tarp
Artwork 2 Commentary: Painting
Artwork 2 Image:

3
Artwork 3 Title: Floods Aftermath and Other Hurricane Stories
Artwork 3 Dimensions: 243.8 x 182.9 cm
Artwork 3 Medium: acrylic and house paint on polyethylene blue tarp
Artwork 3 Commentary: Painting installed for exhibition.
Artwork 3 Image:

4
Catalogue3 ID0464
Artist ID: 0464

Artist Name: Jennifer Nieuwland


Website: jennifernieuwland.com
IG: jennieuwland

Artist Statement: My work explores memories and the interplay of past and present, childhood and adulthood and
the imagined and the real. I am particularly interested in the uncanny feeling memories can create when revisiting
them as an adult making time and place seem out of joint. I like to convey the sense of fragility and transience of
memories while also trying to capture their enduring quality.
My process is spontaneous and speculative, acting and reacting from and within the marks subliminally laid into the
paint and combining more informal, iconographic figures with more precise, rendered marks. The different moments
in the act of painting reflect the different components of the memory -what is vivid, forgotten, ill-defined or
ambiguous.

Notes:

1
Artwork 1 Title: Cowboys and Indians
Artwork 1 Dimensions: 70 x 60 x 2
Artwork 1 Medium: oil, gesso, pastel and chalk on canvas
Artwork 1 Commentary: This is an exploration of Colin's memory of childhood. Colin is an old man I met in a nursing
home. My work is an inquiry into memories and the interplay between past and present, adulthood and childhood
and the imagined and the real. I want to capture the fragility and ambiguity of the memory world and the uncanny
sensation that accessing it creates.
Artwork 1 Image:

2
Artwork 2 Title: The School dance
Artwork 2 Dimensions: 92 x 120 x 4
Artwork 2 Medium: Oil, gesso and pastel on canvas
Artwork 2 Commentary: This is an exploration of one of my own memories of childhood. My work is an inquiry into
memories and the interplay between past and present, adulthood and childhood and the imagined and the real. I
want to capture the fragility and ambiguity of the memory world and the uncanny sensation that accessing it
creates.
Artwork 2 Image:

3
Artwork 3 Title: The stone horse
Artwork 3 Dimensions: 100 x 80 x 4
Artwork 3 Medium: Oil, gesso and pastel on canvas
Artwork 3 Commentary: This is an exploration of Betty's memory of childhood. Betty is an old woman I met in a
nursing home. My work is an inquiry into memories and the interplay between past and present, adulthood and
childhood and the imagined and the real. I want to capture the fragility and ambiguity of the memory world and the
uncanny sensation that accessing it creates.
Artwork 3 Image:

4
Catalogue3 ID0465
Artist ID: 0465

Artist Name: Amelia Lancaster


Website: amelialancaster.com
IG: lancaster.amelia

Artist Statement: I am Artist in Residence on the South Kilburn Estate and I have been documenting the
Regeneration of the area for the Council.
I have used images of the interiors as reference to give nuance to the lives once lived within these spaces and give
reverence to lived experience within this property.
I am inspired by the ability to document through artistic means, the regeneration of my own local community.

I was given access to the empty blocks just days before demolition.
Along side this work I am working with a video and sound artist to give workshops on the estate for the residents to
express their feelings about Regeneration through poetry and dance. We are filming and photographing these so as
to make site specific artwork installations to project on to the remaining boarded up tower blocks.
This work will form part of the Brent Borough of Culture 2020.

Notes:

1
Artwork 1 Title: Departed
Artwork 1 Dimensions: 103 x 220 x 0.1 (Triptych in 3 parts - 5cm in between)
Artwork 1 Medium: Giclee print on cartridge paper from photograph
Artwork 1 Commentary: The tenants had left a long time ago. The empty rooms reflect the stillness and silence felt
in this uninhabited 16 storey block days before demolition.
The wall paper in the central picture hints at the room’s former glory. Despite the condensation, mottled damp,
flies and mouse droppings the sunlight through the net curtains creates a kind of beauty and a feeling of spiritual
departure as traces of lives once lived are about to be demolished for ever.
Artwork 1 Image:

2
Artwork 2 Title: Transition
Artwork 2 Dimensions: 70 x 48.5 x 0.1
Artwork 2 Medium: Giclee print on cartridge paper from photograph
Artwork 2 Commentary: The vibrant colours of the stairs capture the spirit of a once populated block days before
demolition.
Artwork 2 Image:

3
Artwork 3 Title: Regeneration
Artwork 3 Dimensions: 70 x 48.5 x 0.1
Artwork 3 Medium: Giclee print on cartridge paper from photograph
Artwork 3 Commentary: Layers of the block are stripped away revealing traces of past lives.
The starkness, scale and perspective creates an impression of a decaying cellular structure reflecting the end of an
era.
Artwork 3 Image:

4
Catalogue3 ID0466
Artist ID: 0466

Artist Name: Katherine Filice


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

Artist Statement: I am driven, compelled, to investigate and understand the human condition, relationships, to cast a
light on what we keep hidden, to draw a line that awakens those around me, to challenge their perception of reality,
to transform their thinking, to push the viewer beyond reason and through a door of provocation—of profound
questioning.

Through my pen, through my hand, through these beautifully smooth ink lines, I have a voice and more importantly,
I give others a door to their voice.

I use a surreal, point-of-departure approach, and a very unique technique that incorporates a technical pen, along
with gilded leaf, brush and other materials and tools. My meditative drawings take anywhere from fifty to well over
a hundred hours to complete. Someone once told me it's like I am "peeling back the skin, but still it is oddly
beautiful." I am truly honored to hold this gift in my hand, alight with the fire from the Universe.

Notes:

1
Artwork 1 Title: Defiance
Artwork 1 Dimensions: 58.42x47.625x1
Artwork 1 Medium: Ink on paper
Artwork 1 Commentary: From "The Place In Between― which speaks to the transformation and metamorphosis of
women—as they move through their lives, and as they rise up and defy the social systems that have forced them
into silence. From giving birth to the chaos of menopause, from the years of being sexualized and minimized, from
the social retaliation of being strong and educated, women are told they are not good enough, strong enough, pretty
enough, weak enough, silent enough—not enough.

Now in this time, more than any time before, we are transformed, we are heard, we have an empowered voice. And
yet, the damage is done. So many can't find their way up, past, out, of the hurt that was heaped upon them in the
quiet rooms of dark homes. But now we rise. Sisters. Reaching our hands down to those that can't lift up,. Together
we become a force of love and compassion and hope. The dark corners are cleared, and love shines a light upon us.

This work explores this journey from the inside out.


Artwork 1 Image:

2
3
Artwork 2 Title: Counterpoint
Artwork 2 Dimensions: 48.26x63.50x1
Artwork 2 Medium: Ink on paper
Artwork 2 Commentary: Hands tell a story about relationships. How we hold hands, pull away, raise them in
defiance, refuse to let go...touch each other.

Hands say everything we need to understand about the human condition. "Counterpoint," from “The Ties That
Bind― is a visual journey through the ways we are bound together, through love, hate and
circumstance—through our hands
Artwork 2 Image:

4
Artwork 3 Title: Before
Artwork 3 Dimensions: 77.47x63.5x1
Artwork 3 Medium: Ink on paper
Artwork 3 Commentary: From "The Place In Between― which speaks to the transformation and metamorphosis of
women—as they move through their lives, and as they rise up and defy the social systems that have forced them
into silence. From giving birth to the chaos of menopause, from the years of being sexualized and minimized, from
the social retaliation of being strong and educated, women are told they are not good enough, strong enough, pretty
enough, weak enough, silent enough—not enough.

Now in this time, more than any time before, we are transformed, we are heard, we have an empowered voice. And
yet, the damage is done. So many can't find their way up, past, out, of the hurt that was heaped upon them in the
quiet rooms of dark homes. But now we rise. Sisters. Reaching our hands down to those that can't lift up,. Together
we become a force of love and compassion and hope. The dark corners are cleared, and love shines a light upon us.

This work explores this journey from the inside out.


Artwork 3 Image:

5
6
Catalogue3 ID0467
Artist ID: 0467

Artist Name: Federica Poletti


Website: www.federicapoletti.com
IG: https://www.instagram.com/fede_poletti/

Artist Statement: I was born in Modena in November 1980.


Degree in visual arts at the Academy of Fine Arts in Bologna in 2005. I took part in numerous group and solo
exhibitions in private galleries and public events.

The "anti-portraits" of Federica Poletti are a series of oil paintings on canvas that show faces hidden by masks
created sometimes with objects of common use in the act of hiding, behind color, form, material as anxious visions
that deform the image and look.Paranoia , symbolism and transmutation are the elements that characterize the art
of Federica Poletti. The main subjects of his works are modern archetypal and solitary figures that arise from the
contamination between the unconscious intimate and the ineluctable reality that are mixed in the daily life of each
of us. Her passage from the analysis of facial features to covering the face itself seems to follow humanity in its
process towards "a necessary escape".

Notes:

1
Artwork 1 Title: "Untitled"
Artwork 1 Dimensions: 120 x 100 cm
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: This is one of a series of "collective" self-portraits: the face, hidden by anatomical part of
dead animals, is that of all women and none in particular. Anti portraits, as i define my paintings, in which one can
intuitively understand all the distressing inadequacy of the human being that hides behind manipulated
stratifications of pain, anxiety and fragility. in this painting i wanted to figure the woman fragile as a broken bone.

oil on canvas
2018
Artwork 1 Image:

2
3
Artwork 2 Title: " Chi desidera ma non agisce , alleva pestilenza "
Artwork 2 Dimensions: 120 x 100 cm
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: "He who desires but act not, breeds pestilence."
William Blake

This sentence is intended to incite the action of those who desire and has a carnal desire and the warning that if it
does not act will raise pestilence, I found it very similar to those who find tactics and strategies instead of taking the
initiatives. The net stocking on the head, which conceals the face is a symbol of the desire of the subject but lacks
action to hide behind a ridiculous veil that deforms the face and betrays beauty.

oil on canvas
2019
Artwork 2 Image:

4
5
Artwork 3 Title: Overwhelmed
Artwork 3 Dimensions: 120 x 100 cm
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: This female figure is under a carpet , tring to hide herself to the people and tring to avoid a
new day.
the female figures on my paintings are always hiding form something , maybe they just cannot stand the everyday
routine.

oil on canvas
2019
Artwork 3 Image:

6
7
Catalogue3 ID0470
Artist ID: 0470

Artist Name: Felicity Swan


Website: felicityswan.com
IG: felicityswananartist

Artist Statement: My current approach is intuitive, and has developed out of an extended period of experimentation
(away from pre-planned figurative narratives). Images emerge through colour and line, movement and space. In
playing and exploring, I have found my way to mine a fresh way for me to work, enabling me to retain the initial
spontaneity of my ideas.

These paintings represent my latest work. I look for the figurative within the abstract and for the figures to create
their own story. I am interested in a kind of primordial narrative, where all the characters are given equal attention.
I am looking for a new perspective, to enable people to view without preconceptions. Being freed from
‘realism’, my characters evolve and morph on the canvas - they may only have one eye or be part-human,
part-animal. In this process shadows of other figures remain, and I stop at a point where the work feels complete.

My work continues to evolve: I am looking for ways to articulate primeval forms, which will stimulate the viewer,
who I hope will also find the humour in my painting.

Notes:

1
Artwork 1 Title: Setting off the Tinkling Cymbal
Artwork 1 Dimensions: 122 x 151 x 3.5 cm
Artwork 1 Medium: Acrylic & Oil on Canvas
Artwork 1 Commentary: For this work, I wanted a soft, warm palette with Venetian golds, blues, crimsons. As the
painting process took place, it became clear which figures were important and which could be released, so only their
shadows remain.
Artwork 1 Image:

2
Artwork 2 Title: Carnival in Paradise
Artwork 2 Dimensions: 92 x 112 x 3.5 cm
Artwork 2 Medium: Acrylic & Oil on Canvas
Artwork 2 Commentary: The raspberry crimson evolved and would not be painted out – I find I often paint things I
do not quite understand. I am aware there is a dichotomy between the beauty and the lunacy, which I am unable to
resolve.
Artwork 2 Image:

3
Artwork 3 Title: Raspberry Moon Dance
Artwork 3 Dimensions: 92 x 76 x 3.5cm
Artwork 3 Medium: Acrylic & Oil on Canvas
Artwork 3 Commentary: This painting was conceived simultaneously with Carnival in Paradise, and is the other half
of the story. Both paintings work separately and together, as a diptych.

Artwork 3 Image:

4
Catalogue3 ID0473
Artist ID: 0473

Artist Name: M Pearce-Harvey


Website: www.pearceharvey.com
IG: @mpearceharvey

Artist Statement:
My work explores the boundary between illustration and photography.

Influenced by the work of Irving Penn and the black & white work of Chuck Close, I use a photographic process to
resolve extreme detail in objects which are subsequently rendered and printed to create a photorealistic illustrated
large-format printed image.

Often likened to using a microscope, the finished works can be printed to 3m in height allowing the observer to
scrutinise a detail that is often over-looked in the real objects themselves.

These images form part of a series ‘Meteorites’ undertaken across 2018/2019.

Notes:

1
Artwork 1 Title: Meteorite 1
Artwork 1 Dimensions: 85x61cm
Artwork 1 Medium: Giclée print onto Watercolour Fine Art paper
Artwork 1 Commentary: from a series called 'Meteorites'
Artwork 1 Image:

2
Artwork 2 Title: Meteorite 2
Artwork 2 Dimensions: 85x61cm
Artwork 2 Medium: Giclée print onto Watercolour Fine Art paper
Artwork 2 Commentary: from a series called 'Meteorites'
Artwork 2 Image:

3
Artwork 3 Title: Meteorite 3
Artwork 3 Dimensions: 85x61cm
Artwork 3 Medium: Giclée print onto Watercolour Fine Art paper
Artwork 3 Commentary: from a series called 'Meteorites'
Artwork 3 Image:

4
Catalogue3 ID0474
Artist ID: 0474

Artist Name: Tessa Jane


Website: www.tessajane.co.uk
IG: tessajanedesigns

Artist Statement: Tessa Jane’s passion for dance and stage design led her to a Fashion and Textile degree at the
University of Central England followed by post-graduate degrees one at Homerton College, Cambridge. A decade of
teaching honed her mixed media skills leading her to conceptual art. Her work has many layers, visually and
conceptually, using printed, collaged, drawn, and stitched media. She transposes her drawings onto silk-screen and
builds the messages and stories by layering. This is often in response to poetry and the written word - sometimes her
own. The places portrayed are precious to her, to be sustained and protected. It is fundamental to her practice to
recycle and repurpose, sourcing discarded objects and giving them renewed value.

‘Waste not want not’, depicts places visited, a bucket list of desire, colours to embody the power of positivity
and determination. It has only been seen when Tessa was selected for the XI Florence Biennale 2017. Materials
hoarded and repurposed, are the embodiment of the preciousness of earth. Labels collected symbolize loss, waste
and question our ethicality. See what you wish to see inspired by The Emperor’s New Clothes (Children’s
story)

Tessa was awarded the Emerging Artist Bursary 2014 from the Thelma Hulbert Gallery. Her work speaks volumes of
her practice and principals, described as the next Piper and winning the Oxford International Art Fair 2016, Tessa
Jane’s work will have a strong narrative and pattern to unpick piece by piece until you discover the raw materials
of the human condition.

Notes:

1
Artwork 1 Title: Waste not want not... Address of great importance
Artwork 1 Dimensions: 160cmx150cmx100cm
Artwork 1 Medium: Installation-mixed media
Artwork 1 Commentary: The works depict places visited, a bucket list of desire, colours to embody the power of
positivity and determination. How we as a race, have made our marks on the world. We should tread lightly on this
planet, who we meet and where we go. What we see is not necessarily the truth. We should not assume. Materials
hoarded and repurposed, are the embodiment of the preciousness of earth. Labels collected symbolise loss, waste
and question our ethicality, hidden beneath an outer layer. See what you wish to see inspired by The Emperor’s
New Clothes (Children’s story)
Artwork 1 Image:

2
Artwork 2 Title: Care for can you...
Artwork 2 Dimensions: Height 134cm x width 26cm and depth 10cm
Artwork 2 Medium: assemblage-mixed media
Artwork 2 Commentary: A child has little or no experience suggests Gerard Manley Hopkins in his poem Spring. They
cry at the loss of Autumn leaves, yet they ‘will come to such sights colder’- gain experience and age. The
assemblage contains all that we carry… our depth or intensity of experience. Ours hopes and dreams.

Past present and future all unite here.

Artwork 2 Image:

3
Artwork 3 Title: Venetian Waters
Artwork 3 Dimensions: 50x66
Artwork 3 Medium: Mixed media
Artwork 3 Commentary: Through a critical illness I became acutely aware of how we take life for granted and make
assumptions from what we see. The work depicts a place visited, somewhere I feared would never be a possibility.
On my bucket list of desire, along with many others. The colours embody the power of positivity, determination and
sheer joy of achieving against adversity.
Artwork 3 Image:

4
Catalogue3 ID0475
Artist ID: 0475

Artist Name: Kristy Widdicombe


Website: www.woodleastudio.com
IG: www.instagram.com/woodleastudio

Artist Statement: I am a practicing artist, printmaker & bricoleur with a preference for mixed-media and relief
printing. I am fascinated by the graphic quality and craft of lino printing, and of the materials and marks left behind
that can create a different way of looking at the process and the work itself.

My work is concerned with pattern and mark making, such as my series of monoprints ‘Razzle Dazzle’ (lino
print, 2018), inspired by the dazzle painting schemes used on military ships during World War I. The industrial
aesthetic / theme of much of my work is reflected in the repetition of pattern, pipes, machinery and geometric
shapes.

I am currently exploring how my work can be re-used and re-contextualised. ‘Used’ (mixed media, 2018), was
created by covering a clay form with paint and taking an impression on a section of latex rubber glove. The abstract
‘Industrial’ (mixed media collage, 2018) was created using a build-up of layers of paint poured over sections of
a pre-existing lino print, ‘Steam Room’ (2018).

I was shortlisted for the 2018 Pebeo Mixed Media Prize for my lino print collage, ‘Hostile Environment –
Protection’, exhibited in the Menier Gallery in London. I am passionate about social justice and inclusion and
have worked in various roles that aim to develop learning within Higher Education. I have a passion for, and take
inspiration from, the moving image, studying Film at BA and MA level, as well as teaching at university.

Notes:

1
Artwork 1 Title: Industrial
Artwork 1 Dimensions: 40x20x2
Artwork 1 Medium: Acrylic on canvass
Artwork 1 Commentary: ‘Industrial’, mixed media on canvass (2018) is abstract expressionist in style. It was
created through an iterative process: layers of textured acrylic paint and ink were built up on the canvass – reds
and blues, flowed by pouring medium and black ink. Starting out as a collage of sections from an earlier lino print
‘Steam Room’, the sections were removed once they started to move about on the surface of the canvas,
submerged in the inky medium. Removing the shapes of paper revealed the red layer underneath and creates a
sense of depth. I wanted to capture movement and brushed away areas of the inky medium and the brush stokes
remain visible as do the fibres of the paper that remained on the canvass.
Artwork 1 Image:

2
3
Artwork 2 Title: Used
Artwork 2 Dimensions: 40x20x2
Artwork 2 Medium: Paint on latex
Artwork 2 Commentary: ‘Used’, mixed media (2018), was created by covering a clay form with paint and
taking an impression on a section of latex rubber glove found in the studio. This work is a product of bricolage – I
took what was on hand in the studio to create something new. Pouring a mix of pearly mixed-media paint on a clay
form, I laid the latex rubber over the creation and peeled off once tacky. The markings and material and title of this
work connotes sex and sexuality, although I chose the title ‘Used’ to suggest how female bodies are often
(ab)used and fetishized into a series of parts.
Artwork 2 Image:

4
Artwork 3 Title: Razzle Dazzle
Artwork 3 Dimensions: 21x15x0.2
Artwork 3 Medium: Lino print on paper
Artwork 3 Commentary: This print is from my series of monoprints, ‘Razzle Dazzle’ (2018), inspired by the
dazzle painting schemes used on military ships during World War I. Although dazzle designs were often black and
white, a wider colour palette was often used to fragment, disrupt and camouflage the outline of ships. My print was
created using a lino block reduction technique whereby layers of oil printing ink, extended to give varying levels of
opacity so that background colours and shapes can be seen, are printed on paper. The final layer of black lines
creates a rhythm in the repetition of the pattern and what could be moving parts and pipes of a ship engine room.
For this series I researched into the history of dazzle camouflage and drew upon the visual aesthetic of maritime
artists who recorded the designs in their work. Of particular interest, given my choice of the relief printing process,
were the woodcuts of Edward Wadsworth. Wadsworth was an active member of the Vorticists, an art movement
established in 1914 that reflected the industrial age. As with much of my work, the industrial aesthetic / theme is
reflected in the repetition of pattern, pipes, machinery and geometric shapes.
Artwork 3 Image:

5
6
Catalogue3 ID0476
Artist ID: 0476

Artist Name: Ji One Choi


Website: https://www.jione.studio
IG: https://www.instagram.com/ji_one_art/

Artist Statement: These days, I am thinking about ‘gap’ and dualtity. What is the gap? The word “gap―
includes multiple meanings. It can be the distance between two objects, or the differences between two objects.
However, surprisingly, only humans stipulate “the gap―. Without the concept of a gap, all objects are
connected together. The concept of the gap is always movable. It makes me wonder, “What is connection and
disconnection between two objects, and what is the difference?―Also, My works have been related with concept
of duality and how to make a connection two different objects. For this reason, I want to explore concept of
‘gap’ and ‘dualities’. In my works, I usually deal with the dualities and gaps of human relationships,
mind.

Furthermore, I usually have drawn darkness and shadows. The shadows in my work, serve two functions. First, it
illustrates a fragmented image of a particular character. During the process of remembering a certain person, a
particular image of that person is highlighted in our mind while the rest fades into the darkness. Second, the
shadows are advocates of certain characters. Specifically, shadows can stay connected while two people are
physically separate. In this regard, shadows serve to bring two people together in my work, just as relationships can
endure when people are physically apart.

Notes:

1
Artwork 1 Title: Relationship and Distance
Artwork 1 Dimensions: 140X190
Artwork 1 Medium: Graphite powder, Gesso, oil on linen
Artwork 1 Commentary: In life, we experience various kinds of relationships. I decided to draw myself, my lover and
the distance between us. To do this, I made a gap between two pieces of my work and depicted figures that cannot
be united across the gap. I made a space between two pieces of fabric. The two people in this painting want to be
united but endure both physical distance (between the UK and Korea) and psychological distance, so I left a slight
space between the two pieces, to represent real space between myself and another and, at the same time,
psychological space.
Artwork 1 Image:

2
Artwork 2 Title: Tear Drops
Artwork 2 Dimensions: 95X75
Artwork 2 Medium: Graphite powder with oil on canvas
Artwork 2 Commentary: Hatred is one of our strongest feelings; it can last much longer than feelings of happiness
and can encompass many related feelings. Hatred can arise out of jealousy, betrayal, disappointment, and other
emotions. I find it strange that my feelings of hatred always accompany love and longing; being angry with someone
means that I still have feelings for that person. Hatred felt against a person contains in itself feelings of anticipation
and longing. And these hatred feelings motivate me to draw someone who I hate.

For this reason, I depicted teardrops. I think tears are signs of thinking and reminiscing about someone very deeply.
With our eyes full of tears, the objects in front of us blur and vanish. But the image that I made also seems like
gunshot wounds. ‘Gun shot’ and ‘Tear Drops’ are totally different words and I thought those two
different words can represent two different emotional reactions(love and hate). I made a connection between two
different words with the image of human head. Furthermore, I think, human beings have violence, empathy, and
mercy at the same time.

Artwork 2 Image:

3
4
Artwork 3 Title: Meaningless Conversation
Artwork 3 Dimensions: 140X95
Artwork 3 Medium: Korean traditional window frame with pencil drawings
Artwork 3 Commentary: I made this piece out of a traditional Korean window frame and my own drawings. Its title is
“Meaningless Conversation―, to reflect the fact that the figures are held by the window frame, so that they
cannot be connected together. I arranged the two pieces together so that they are disconnected, but at the same
time connected with some distance between them.
Artwork 3 Image:

5
Catalogue3 ID0477
Artist ID: 0477

Artist Name: Alessandra Brown


Website: alessandrabrown.com
IG: https://www.instagram.com/alessandra_brown_/

Artist Statement: The exploration of fading memories and the effects of time and truth are key elements in my
artistic process. I am drawn to images that contain a sense of loss and disintegration, and to the way the identity of
an object is erased leading it to become a signifier devoid of context or an absent physical presence.
Notions of lost meaning and recomposition of an elusive identity are central to the narratives that I use. In the way I
explore history and in my choice of media, the outcome is nostalgic yet unsentimental. These projects are an
illustration of the enquiring thread that runs through my work.

Notes:

1
Artwork 1 Title: De-generation #14
Artwork 1 Dimensions: 70x70cm
Artwork 1 Medium: Photographic montage on glass and paper
Artwork 1 Commentary: Over the past two years, I’ve been exploring the area where I grew up in from various
angles - it is a famous seaside resort and major tourist destination in Italy on the Adriatic coast.
This touristic phenomenon has severely modified the landscape and deeply conditioned people’s way of living.
By creating a dialogue between a selection of pictures shot in the same area at different times, the identity of my
family members becomes intertwined with apparently strange objects produced by tourism: plants wrapped in
plastic sheets, lifeless fountains, skeletons of beach umbrellas, broken signs, inaccessible walkways and buoys
floating on the sand.
These images are a metaphor representing the process of this phenomenon and how we can’t escape both the
physical and psychological effects of what we engage with.
The result is a minimalist narrative imbued with a sense of eternal await, represented by a series of photographic
“montages―: this term, which is different from “collage―, suggests the existence of the extra dimension
of time, which can be bent, shrunk and condensed.
Artwork 1 Image:

2
3
Artwork 2 Title: De-generation #20
Artwork 2 Dimensions: 70x70cm
Artwork 2 Medium: Photographic montage on glass and paper
Artwork 2 Commentary: Over the past two years, I’ve been exploring the area where I grew up in from various
angles - it is a famous seaside resort and major tourist destination in Italy on the Adriatic coast.
This touristic phenomenon has severely modified the landscape and deeply conditioned people’s way of living.
By creating a dialogue between a selection of pictures shot in the same area at different times, the identity of my
family members becomes intertwined with apparently strange objects produced by tourism: plants wrapped in
plastic sheets, lifeless fountains, skeletons of beach umbrellas, broken signs, inaccessible walkways and buoys
floating on the sand.
These images are a metaphor representing the process of this phenomenon and how we can’t escape both the
physical and psychological effects of what we engage with.
The result is a minimalist narrative imbued with a sense of eternal await, represented by a series of photographic
“montages―: this term, which is different from “collage―, suggests the existence of the extra dimension
of time, which can be bent, shrunk and condensed.
Artwork 2 Image:

4
5
Artwork 3 Title: De-generation #21
Artwork 3 Dimensions: 70x70cm
Artwork 3 Medium: Photographic montage on glass and paper
Artwork 3 Commentary: Over the past two years, I’ve been exploring the area where I grew up in from various
angles - it is a famous seaside resort and major tourist destination in Italy on the Adriatic coast.
This touristic phenomenon has severely modified the landscape and deeply conditioned people’s way of living.
By creating a dialogue between a selection of pictures shot in the same area at different times, the identity of my
family members becomes intertwined with apparently strange objects produced by tourism: plants wrapped in
plastic sheets, lifeless fountains, skeletons of beach umbrellas, broken signs, inaccessible walkways and buoys
floating on the sand.
These images are a metaphor representing the process of this phenomenon and how we can’t escape both the
physical and psychological effects of what we engage with.
The result is a minimalist narrative imbued with a sense of eternal await, represented by a series of photographic
“montages―: this term, which is different from “collage―, suggests the existence of the extra dimension
of time, which can be bent, shrunk and condensed.
Artwork 3 Image:

6
7
Catalogue3 ID0479
Artist ID: 0479

Artist Name: Pedro Alves


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

Artist Statement: I am mostly inspired by the quality of ambiguity present in ancient artefacts, archaic figures, their
worn condition, their incomplete narrative, the incomplete picture, a world of imagination. “

Notes:

1
Artwork 1 Title: The Barge
Artwork 1 Dimensions: 14 cm x 10 cm x 19 cm
Artwork 1 Medium: Bronze on stone
Artwork 1 Commentary: This piece was inspired on the ancient history that lives in myths of story telling.
Its an intuitive piece that resembles a Barge.

This piece was made originally from paper, string and masking tape, then inclosed in a ceramic shell.

Molten Bronze was then poured into the inclosed ceramic shell burning through the paper and string replacing it
with metal.

Transforming the paper sculpture into a metal sculpture.


Artwork 1 Image:

2
3
Artwork 2 Title: Peripheral vision, Felt sense and inner worlds
Artwork 2 Dimensions: 15 cm x 7 cm x 7 cm
Artwork 2 Medium: Bronze on stone
Artwork 2 Commentary: This piece evolved from a sketch drawing.
The challenge of transfering a 2D flat image into a 3D sculpture, dictates where the piece it wants to go and how it
wants to look like.

A figure that lives in between and betwixt.

The making process is exactly the same, originally made from paper layers and string, inclosed in 7 layers china clay.

Molten Bronze poured into the inclosed ceramic shell burning through the paper and string replacing it with metal.

Artwork 2 Image:

4
5
Artwork 3 Title: Facet of a futuristic creature
Artwork 3 Dimensions: 17 cm x 9 cm x 9 cm
Artwork 3 Medium: Bronze
Artwork 3 Commentary: I love the quality of ambiguity that occurs in the middle stage of creating an art piece,
somehow for a few moments one is allowed a short glimpse into the not yet seen..

Liminal futuristic Facets of all Kinds.

Once the idea existe the material dictates the shape form and texture.
The colour gives it character and the final touches its presence.

The making process as usual, sculpture made from paper layers and string, inclosed in several layers of cornish china
clay.

Molten Bronze at 1100 degrees centigrade poured into the inclosed ceramic shell burning through the paper and
string replacing it with metal.

Artwork 3 Image:

6
7
Catalogue3 ID0480
Artist ID: 0480

Artist Name: Lucie Legrand-Leloluce


Website: www.leloluce.fr
IG: https://www.instagram.com/leloluce/

Artist Statement: Lucie LEGRAND alias LELOLUCE was born in Savoie (France) in 1988. She devotes herself to her
painting since 2009. At the end of a year studying arts at age 17 she rashly embarked on more personal artistic self-
expression, which stages the characters and shapes of her fantasy world.
She breathes painting. And through her work full of power and dynamism, she takes us into her colorful world.
Each work of art of this young artist tells a story and sets out to conquer the world, to expend her highly colorful
message.
LELOLUCE enjoys blending ages, characters and shapes to better offer us the perspective of her universe on our
today’s world. In her paintings only poetry, colors and tenderness count.
The thoroughly drafted acrylic paintings of this artist contain neither collages nor printings.
Her precise touch reveals the brightness of the colors and outlines the facial features.
With only 30 years old LELOLUCE expresses utopia in her paintings.
Considering the socio-economic pressure felt in our today’s environment and facing the international and local
events, LELOLUCE wants to transmit joy and humor through her works, so that everyone can feel happiness and
erase the last feeling of anxiety and stress existing in our everyday life.
The modernity and the illumination symbolized in her paintings enhance the touch of humor and the supernatural
atmosphere of these works.
LELOLUCE aim is to catch the eye of the visitor and to hypnotize him with her minimalist, naive and psychedelic
shapes.

Notes:

1
Artwork 1 Title: POP COLORS
Artwork 1 Dimensions: 92 x 73 cm
Artwork 1 Medium: painting
Artwork 1 Commentary: I used to have a lighter which I loved with a rabbit on it, so I wanted to pay sort of a tribute
to that rabbit and give him life with vivid colors and some funny gesture.
For this work I used acrylic paint which has the highest amount of pigment and makes my art so colorful and lively. I
meant this painting to be amusing, I want people looking at it to have a big smile, and also and sense of peace.
Artwork 1 Image:

2
Artwork 2 Title: Passionna
Artwork 2 Dimensions: 100 x 100 cm
Artwork 2 Medium: acrylic paint
Artwork 2 Commentary: Passionna is part of my collection of women's faces, which I simply adore as it symbolises
beauty, courage, wisdom, glamour and power, or everything I wish I was. Through the look on their face my message
reads and the feelings come out.
I like people to feel the power of the message and the balance of the colors.
This artwork stands for passion.
Artwork 2 Image:

3
Artwork 3 Title: Clem
Artwork 3 Dimensions: 100 x 100 cm
Artwork 3 Medium: Acrylic paint
Artwork 3 Commentary: Clem is part of my collection of women's faces, which I simply adore as it symbolises beauty,
courage, wisdom, glamour and power, or everything I wish I was. Through the look on their face my message reads
and the feelings come out.
I like people to feel the power of the message and the balance of the colors.
This artwork stands for determination and power.
Artwork 3 Image:

4
Catalogue3 ID0482
Artist ID: 0482

Artist Name: Maria Linares Freire


Website: Www.Marialinaresfreire.net
IG: @Marialinaresfreire

Artist Statement: Dear all. I am a fine artist and muralist from Spain but based in London since 1998. It's my passion
for nature and its hidden geometry that inspires my work. Love, Quantum entanglement , Unity and Duality have
been the base of my latest collection.
With my art i would like to show a different view of the universe and enchant the viewer with sweet tales of love,
nature and science.
Thanks for considering my application
Kind Regards
Maria Linares Freire

Notes:

1
Artwork 1 Title: The Origins of Nature
Artwork 1 Dimensions: 61x76.2 cm
Artwork 1 Medium: Acrylic on cotton canvas
Artwork 1 Commentary: When two worlds unite a cosmic reaction brings nature to blossom in beautiful ways.
Artwork 1 Image:

2
Artwork 2 Title: She & The Matrix
Artwork 2 Dimensions: 60×40cm
Artwork 2 Medium: Acrylic on cotton canvas
Artwork 2 Commentary: The one who stands behind the technology and network
Artwork 2 Image:

3
Artwork 3 Title: Stargate
Artwork 3 Dimensions: 61x51 cm
Artwork 3 Medium: Acrylic on cotton canvas
Artwork 3 Commentary: From universal disorder to the beautiful simplicity of the union of two atoms
Artwork 3 Image:

4
Catalogue3 ID0483
Artist ID: 0483

Artist Name: Anne-Claire Fleer


Website: www.anneclairefleer.com
IG: https://www.instagram.com/artbyanneclairefleer/

Artist Statement: Anne-Claire Fleer is a bold and energetic London based Dutch abstract expressionist.

She went from a Corporate career in Finance and IT to being an internationally selling and exhibiting artist and body
painter within just two years.

The unique concept of her artworks involve painting female bodies in the exact same style as her large abstract
paintings on canvas. She photographs the painted bodies, close up style, in front of those paintings. The photos are
framed in a way that it is hard to identify where the body ends and the artwork starts. The focus is on the body, not
the face, so that the women are not being recognised. It’s exciting and empowering for them to know it’s
their body in the photographs, but no one else knows! The latter is the reason the artist works mainly with 'real'
women with a 'normal' body rather than 'professional' models with 'perfect' bodies. She believes in spreading Body
Positivity.

"What started as an experimental surface for me, has now become something bigger, a way of turning female bodies
into living works of art to help all generation women remember how beautiful they are. Seeing women grow in
confidence by turning vulnerability into strength during a session is the most wonderful thing to witness."

What clients say about Anne-Claire:

“I felt like the luckiest girl in the world to have experienced a body paint session with Anne-Claire Fleer. There
were three key things about our body paint session that stood out for me; the entertainment of it, her artistic
process and the feeling of confidence it gave to me. Anne-Claire is such a warm host and artist, it was an absolute
delight to sit and chat with her whilst she painted away. Her creative process was fascinating too, I had never seen
body painting before let alone been the model for it! But the best part came at the end, when we said goodbye and I
left her studio I was smiling ear to ear thinking ‘I just got painted topless, I can do anything!’. You will never
forget a body paint experience with Anne-Claire Fleer. She is such a talent.―

Kayleigh M.

I had such a great time with Anne-Claire you have no idea. Despite the fact I am not a shy person and came there
already relaxed, I really appreciated our genuine warming up time before the actual session, because Anne-Claire
tries to know you better in order to make the best of your time together. She is a true professional. It was not only a
fun experience, but also quite educational as well. It is a beauty to see an artist’s energy and work while being a
model, you are in constant process of creativity. I highly recommend this session to people who want to step up
from their comfort zone, to challenge your limits, and also for enthusiasts like me. Hope to see Anne-Claire again in
future! —

Ksenia O.

This was an extremely fun experience! Anne-Claire is so friendly and made me feel relaxed from the first moment we
met. She is also such a talented painter and truly made me look (and feel) like a work of art! When I saw the pictures
I was absolutely amazed!! If you’re looking for an empowering experience who will let your inner goddess out to
play, this is for you! I highly recommend it!

Cristina C.

1
Notes:

2
Artwork 1 Title: Marshall II
Artwork 1 Dimensions: 40x60x6
Artwork 1 Medium: Stage 1: acrylics on canvas Stage 2: acrylics on the human body Stage 3: photography Stage 4:
HD Print on Acrylics
Artwork 1 Commentary: #metoo

The contrast between a soft colour palette with a very strong female position clearly indicated "HO, STOP, DON'T GO
FURTHER."

With this artwork I hope to engage both men and women into thinking about the easy connections that are often
being made between "adorable and sweet from the outside" must mean the same as "vulnerable and submissive
from the inside."

By showing a strong female pose in combination with the soft colours the artist hopes to challenge our neural
network to make new connections between "adorable from the outside" and "strong from the inside."

Artwork 1 Image:

3
4
Artwork 2 Title: Marshall IX
Artwork 2 Dimensions: 40x60x6
Artwork 2 Medium: Stage 1: acrylics on canvas Stage 2: acrylics on the human body Stage 3: photography Stage 4:
HD Print on Acrylics
Artwork 2 Commentary: #metoo

We walk around in a sort of invisible bubble - it's egg-shaped, because we allow people to come closer from in front
than behind - an entire language is expressed via the amount of distance we choose to keep between each other.

There are people who tend to violate our personal space by coming to close without our approval. This particular art
work wants to engage its viewers into thinking about their personal space and how often they allow others in that
space without actually feeling comfortable. The contrast between the strength of the hand in orange with the
vulnerability of the breast being protected in soft colours is to stimulate those thoughts.
Artwork 2 Image:

5
6
Artwork 3 Title: Marshall XI
Artwork 3 Dimensions: 40x60x6
Artwork 3 Medium: Stage 1: acrylics on canvas Stage 2: acrylics on the human body Stage 3: photography Stage 4:
HD Print on Acrylics
Artwork 3 Commentary: #metoo

Despair or happiness? Hands before the eyes, an often puzzling, yet very strong pose in the world of human
emotions. The artwork is meant to make you think what's being covered. Like wearing an obvious mask, this artwork
is supposed to trigger emotions and wonder about the facial expression behind the hands. The soft colour palette
will high likely impact the viewers judgment.
Artwork 3 Image:

7
8
Catalogue3 ID0485
Artist ID: 0485

Artist Name: Adrian Lupu


Website: https://society6.com/badriot
IG: https://www.instagram.com/adrian_l_lupu/

Artist Statement: This short group of works is built around simple notions like symbol, theme and the ancient
concept of portrait. All the pieces are produced while I was enroled in an academic drawing course, with focus on
experimentation but also discipline. It became an introspective series based on my interest in the discipline of
aesthetics.

Notes:

1
Artwork 1 Title: Wide Open
Artwork 1 Dimensions: 21 X 29 cm
Artwork 1 Medium: graphite on paper; drawing
Artwork 1 Commentary: A more succint semantic, with a focus on concision. An attempt to treat atmosphere,
inspired by the gestalt theory (human eye building its own figures).
Artwork 1 Image:

2
Artwork 2 Title: Easy, Tiger
Artwork 2 Dimensions: 21 X 29 cm
Artwork 2 Medium: graphite, chalk, pastel on paper (drawing)
Artwork 2 Commentary: A mix of academic lines - with accent on harmony - with more gestural, spontaneous
drawing. An attempt to concentrate less on character, more on the enigmatic theme that developes. (ephemeral;
available on folder only)
Artwork 2 Image:

3
Artwork 3 Title: Policy Of Youth
Artwork 3 Dimensions: 21 X 29 cm
Artwork 3 Medium: coloured graphite on cardboard
Artwork 3 Commentary: A direct attempt to build character with simple means. Expression is prioritized, cromatic
discipline turns into parody. Eyes gain climactic power, becoming the center of the piece.
Artwork 3 Image:

4
Catalogue3 ID0486
Artist ID: 0486

Artist Name: Christina France Crews


Website: christina-france.com
IG: christinajanefrance

Artist Statement: Christina France

‘Visual artist working with print, drawing, shadow and time, Christina’s work is concerned with space,
rhythm and chance. Transparent layers of muted colour give depth to the work which offer the viewer a moment of
calm and reflection in our fast moving, digital world.’

Although intrinsically abstract, her work reflects on time and place, translating sensations and memories into forms
and gestures. She builds layers of marks and works through a process of removal, and rebuilding creating residues of
line tone and space.

The series of works on paper ‘Floating’ is informed by a previous series of work extracted from ongoing
research into her father’s wartime pilot’s log book, exploring notions of repetition, sequence and chance
within the narrative of D Day and the Liberation. Previously, underlying imagery arose from arial photographs of
airfields unnoticeable at ground level. Moving forward from this she discovered the extent to which her fathers short
training was complex. In her words
‘ the part that interested me most when looking at his Log Book, imagining him as an eighteen year old alone in
the skies, was the physical nature of the atmosphere, meteorology and the significant part conditions beyond the
control of the sophisticated machinery played in the outcomes of many of the events recorded in the sparse,
sometimes poetic lines written in his controlled, considered handwriting.’

Notes:

1
Artwork 1 Title: Floating
Artwork 1 Dimensions: 70ms x 100cms
Artwork 1 Medium: Oil on Paper
Artwork 1 Commentary: One of a series of works made is Sweden in October 2018.
Artwork 1 Image:

2
Artwork 2 Title: Floating 2
Artwork 2 Dimensions: 700cms x 100cms
Artwork 2 Medium: Oil on Paper
Artwork 2 Commentary: One of a series of works made in Sweden, October 2018
Artwork 2 Image:

3
Artwork 3 Title: Nuages
Artwork 3 Dimensions: 80 cms x 110cms
Artwork 3 Medium: Oil on Paper
Artwork 3 Commentary: One of a series of works made in Sweden, October 2018
Artwork 3 Image:

4
Catalogue3 ID0487
Artist ID: 0487

Artist Name: Grace Green


Website: http://www.gracegreenartist.co.uk/
IG: https://www.instagram.com/graceellengreen/

Artist Statement: Grace Green, British, studied painting at Falmouth School of Art 2013-2016. Grace has exhibited in
London, (Brick Lane Gallery, May 2018) Bristol (The Other Art Fair 2017 and 2018) and Somerset (Somerset Arts
Week 2016 and 2018). Has also worked with artist led projects such as Carolyn Lefley’s ‘Water, Meadow,
Wood’ Residency with MIND and Alexa de Ferranti’s ‘Harvest Film Festival’ in Somerset. Upcoming
painting workshop in Calais Community Centre with refugees.

These paintings focus on the fruitfulness and fecundity of life in all its forms but principally the absorption in organic
growth. Considering the idea of a glasshouse acting as an incubator to the plants, protecting them from harsher
climates, creating safe place to enable plants to nourish and grow, much like the mother’s womb. The
vulnerability of plants and the natural world is ever increasing and these paintings are trying to convey that sense of
beauty yet remind us of the anxieties that accompany them.

Sometimes the abstracted plant forms represent in my mind the microscopic cell structures in nature. Occasionally
less organic forms such as chicken- wire have been introduced as a reminder of constraints that are placed by man
over nature. But throughout the primary desire is for focusing on growth, nurture and transformation. More recently
a figure is present, introducing the relationship between human and nature. The question "How can humans co-
exist with nature?" is something strong within these pieces. Colour is paramount both referentially and in its pure,
abstract state.

Notes:

1
Artwork 1 Title: The Largest Rainforest in Captivity 2
Artwork 1 Dimensions: (127x86x3.5)
Artwork 1 Medium: Acrylic on wood
Artwork 1 Commentary: This piece was painted after a visit to The Eden Project in Cornwall.

It is a response to the beauty of the array of tropical plants on show.


The plants are held in captivity, the gardeners tend to them and therefore they are dependant on humans to survive.
A reminder of the fragility of these plants that would not survive beyond the walls of the Biomes.

Framed
Artwork 1 Image:

2
3
Artwork 2 Title: Juggling in Nature.
Artwork 2 Dimensions: (60.5x50 x 3.5)
Artwork 2 Medium: Acrylic and Indian ink on paper
Artwork 2 Commentary:
This painting expresses a feeling of being in nature,
with a sense of narrative the figure painted is juggling. She manages to keep space around her head whilst being
surrounded by plants and foliage.
The homes painted are huts where the residents rely on their habitat to survive unlike myself.

There are surreal aspects and a vivid use of colour.

Glazed and Framed.

Artwork 2 Image:

4
5
Artwork 3 Title: "It's a large very large garden".
Artwork 3 Dimensions: (63x48x35)
Artwork 3 Medium: Acrylic on wood
Artwork 3 Commentary: A blue figure leaps into the landscape. Surreal elements create playfulness and colour
introduces something different beyond familiarity.

Framed.
Artwork 3 Image:

6
Catalogue3 ID0488
Artist ID: 0488

Artist Name: Laura Davies


Website: www.lauradaviesart.co.uk
IG: https://instagram.com/LauraDaviesArt/

Artist Statement: Artists’ Statement - Art with Intention

“Only with quiet and stillness can we sense what is real―

When I create a piece of art it is with meditative intending techniques. Intending to preserve and increase wild areas.
To support corridors of wild across the globe, only for the wild. This is where our true wealth lies, “In wildness is
the preservation of the world― -Thoreau.

Walking in our mini nature reserve I see things that in my haste I’ve often overlooked in the past. Their shapes
and colours captivate and I am compelled to record their fleeting beauty. This Spain I came to live in, with it’s
bold and brightness, has revealed a subtlety I could only see when I became quiet inside.

Traditional womens work, crochet, lace making, embroidery, sewing. Feminine energies, often overlooked in the
masculine drive of the world, leave a delicate legacy to be cherished. This energy I pass on in my works.

The things we throw away – tea bags, packaging, foils - broken, used, heading for landfill, have another life.
Together with natural elements collected on my walks they become memories held in time.

I look for the stories, the imperfect, the unfinished edge, the stain, these speak of life and it’s transience and
imperfections, a Wabi-sabi aesthetic.

I bring these elements and concepts together to create a piece of art with intention that has a life beyond it’s
surface. Infused into it’s very fabric are positive intentions and feminine energies.

Notes:

1
Artwork 1 Title: By the Light of the Moon
Artwork 1 Dimensions: 50x40x10
Artwork 1 Medium: Mixed Media
Artwork 1 Commentary: A walk through the garden at midnight, the deep velvety blue of the sky contrasting with
the ghostly glow of the moon. It's light falls on dried seed heads turning them into antique lace.

Just like nighttime, this is a quiet piece that will draw you in slowly and calm your senses.

Pen and ink and watercolours on tea bag paper. White french knots - seeds glowing in the moonlight - an exquisite
piece of antique lace their metaphor. Scraps of intense blue velvet fabric against white wax paper reflect the moonlit
sky. Delicate embroidered slow stitching remind us to stop for a minute and take a closer look. A sliver of dried
chumbo skeleton a symbol of time passing.
Artwork 1 Image:

2
3
Artwork 2 Title: Dusk Falling
Artwork 2 Dimensions: 42x29x10
Artwork 2 Medium: Mixed Media
Artwork 2 Commentary: Long shadows and golden light add to the fresh green of Spring as dusk starts to fall.

Pen and ink and watercolours on tea bag paper. A mass of up-cycled threads reflect the abundance of Spring, a slice
of vintage fabric adds a timeless quality that is nature. Gold foil and threads glint as dark shadows collect around the
seed heads, mirrored in the dark brown fabric frame. A dried thyme root reminds us of the transience of life - enjoy
it while you can.
Artwork 2 Image:

4
Artwork 3 Title: A Million Stitches, A Million Wishes
Artwork 3 Dimensions: 70x180x30
Artwork 3 Medium: Mixed Media
Artwork 3 Commentary: A series of embroidered prayer flags with intention

Wishes or prayers? Are they the same thing? Taking the essence of the Tibetan Buddhist prayer flags - 5 flags
representing the 5 elements with each element having an associated colour.

For each of these I stitched - using French Knots onto tea bags - the silhouette of a representative animal on the
endangered list. There are so many species on the brink of extinction due to hunting, habitat loss and trade in body
parts for medicines that we’ve reached a critical point in the history of human encroachment on wild nature.

When using meditative intending, thoughts need to be turned into positive intentions in the now. While I stitched
each of these iconic species I also intended a world with huge areas of wild, just for the wild. A world where habitats
and animals are honored and protected by all. A world with thriving, balanced and diverse eco systems.

I haven’t counted how many Wishes (aka French knots) make up each silhouette - a lot! Each flag took approx. 20
hours to make, that’s 20 hours of slow, quiet stitching, 20 hours of positive intending, 100 hours in total over
many months.
Artwork 3 Image:

5
6
Catalogue3 ID0489
Artist ID: 0489

Artist Name: Alistair Blake


Website: alistairblake.co.uk
IG: alistair.a.blake

Artist Statement: I am concerned with the intersection of the ephemeral and the physical by drawing on transient
imagery from the internet.

By sourcing material from the internet and re-contextualizing inherently two-dimensional images and ideas into
physical objects, the acceleration of the online world is bypassed. When viewed within the gallery context, rapid
moving content is slowed. By transferring specific ideas and images into a physical space and allowing them to
interact, broader themes begin to emerge. A feminist agenda is revealed through the examination of online cultural
symbols and attitudes towards them by their re-contextualisation into a slower environment. As a result, the way in
which the online environment has shaped our perception can be examined.

Control is paramount. The work is custom designed and fabricated creating a contrast between the failings of the
human hand and an aspiration for perfect precision. Pedantic handling of the images and their presentation further
validate their appropriation. The new fundamental physicality invested in the objects serves to counter the very
nature of their origin, by this process of transformation materiality becomes intrinsic to their being.

Notes:

1
Artwork 1 Title: Betty as queen.
Artwork 1 Dimensions: 90 x 30 x 30cm
Artwork 1 Medium: Steel, Bronze, Bismuth nitrate, Titanium dioxide, Potassium sulphate.
Artwork 1 Commentary: Betty Boop, especially within the United Kingdom, has become, while universal, mostly
irrelevant, her cultural significance is in decline.

Through the very nature of her origin as only a sexual allegory Betty Boop has always been susceptible to the
projections of the viewer, if only through the weakness of her written character.

To most individuals encounters with Betty Boop are largely restricted to fleeting chance encounters within the
internets stream of consciousness, driven by the nostalgia or a chance find of a single individual.

Absent from any overarching writer Betty Boop is allowed to become more fragmented than ever before, able to be
bent to the purposes of the viewer, innocent or otherwise.

From the collective history and files shared on the internet, Betty Boop and the Lewis Chessmen are drawn forth, the
result of some teleporter accident. They are processed through the digital back into a physical form from trancience,
traces of their 3D printed origin remains imprinted on their surface, even when they are transferred back further,
now not only a physical form but the more archaic material of bronze.

Artwork 1 Image:

2
3
Artwork 2 Title: The adventures of Betty.
Artwork 2 Dimensions: 10 x 30 x 40cm
Artwork 2 Medium: 36 page tabloid prints
Artwork 2 Commentary: Modern media is often criticised for poor handling of female characters, be that criticism of
the strong female character for being a wolf in sheep's clothing or the failure to expand an ordinary female character
beyond their stereotypical sphere.

‘There’s Something About A Soldier’ (1934) is an early exemplar of a media product wherein the woman is
the antithesis to excitement, adventure and the progress of the story. What role Betty Boops has in the action is
quickly eliminated when competent men become available, regardless her assistance in the war effort was
invaluable to victory. This is a story from a simpler time, when casually racist gags and chemical warfare were
acceptable.

News of this great victory has been adapted to the written form to reach a wider audience, now the feats of bravery
in the great mosquito war can be heard anywhere not merely from your local silver screen. Find this fully featured 36
page adventure at any reputable newsagents.

Artwork 2 Image:

4
5
Artwork 3 Title: Betty fleeing.
Artwork 3 Dimensions: 32 x 100 x 180cm, 200 - 300cm throw.
Artwork 3 Medium: MDF, Bronze, Brass, Steel, PLA, Paint, Lenses, Acetate, High Power LED, Fan
Artwork 3 Commentary: ‘The Old Man Of The Mountain’ (1933) upset many catholics due to its sexually
suggestive nature, though its pretty solid implications of sexual assault didn’t seem to specifically cause any
upset. One can suppose it’s not a surprise, after all the cartoon clearly suggests that Betty Boop is at fault for her
predicament.

However, Betty doesn’t go up the mountain of her own volition, she has no agency or control over her actions,
she is a means to the writers ends. As the vessel of the character proceeds on its journey every opportunity is taken
to mock or punish her.

What strikes the imagination of the viewer is not the trivialisation of Betty Boop but how good of a dancer the old
man of the mountain is, how funny his animation is when chasing after Betty Boop. If you see past this comedic
undercutting, the character of Betty Boop doesn’t exist until she is fleeing for her life, it’s the only action
Betty Boop has any agency over.

Through trial and error and a rudimentary understanding of optics this image of Betty Boop is degraded, very much
to the standard of the youtube video from which it was found. It’s a momentary, stationary replication of the
image as it was first seen on the silver screen.

Artwork 3 Image:

6
7
Catalogue3 ID0490
Artist ID: 0490

Artist Name: Claire Benson


Website: www.clairebeeprints.com
IG: Clairebee30 OR Clairebee_printworks

Artist Statement: I am a printmaker rand Acrylic Artist working mainly in chalk and acrylic paint.
Oil based ink

I paint animal souls and projections of the inner animals of Humans.


Flight and fight stimulates and influences some Jazzy constructs in paint. I love being the norm and sitting with
camellias.

I am a chameleon! Botanical Animal Travelled and quirky


I see animals in the people I meet the sea I swim and dreams I have. I have shown in London, Bristol but mainly
Penzance my home town collectors.

Notes:

1
Artwork 1 Title: Fox-flight
Artwork 1 Dimensions: 62cmx82cmx5cm
Artwork 1 Medium: Acrylic and Chalk on canvas
Artwork 1 Commentary: Anxiety inward. Fox of the soul this Fox is an animal taking control. All the humans in the
world contain animals and souls produced by animals.

At work in the community I absorb energies and empath with the animal kingdom. but the darkest fear of a human
relates to the rare Fox danger animal inside.

This is a commission for a children's character but it came out quite quirky so I stuck with it.
Artwork 1 Image:

2
3
Artwork 2 Title: Seal of the seas
Artwork 2 Dimensions: 54cmx62cmx5cm
Artwork 2 Medium: Acrylic and chalk on canvas
Artwork 2 Commentary: A marine embodiment of the world and transference of my mother.

A painting of grief and rebirth. I sea a seal everyday in Cornwall walking and in winter animals and humans have very
similar habits.

its majesty is like paint flowing and free.


Artwork 2 Image:

4
Artwork 3 Title: Parotitse Protest
Artwork 3 Dimensions: 18cmx23cmx5cm
Artwork 3 Medium: Acrylic and chalk on canvas
Artwork 3 Commentary: A South American clay lick resident.

Pink polly flared out and vibrant a comment on migration Brexit and freedom. I painted this as a stiff upper lip
spitting image eye.

Remarking on an insincere political party.


Artwork 3 Image:

5
Catalogue3 ID0491
Artist ID: 0491

Artist Name: Alexandra Harley


Website: http://www.alexandraharley.co.uk
IG: harleysculpture

Artist Statement: My sculptures seek to capture a fleeting moment and engage with the suspension of movement by
making a physical interpretation of a brief and transitory fragment in time. I had worked predominantly with wood
until I was awarded the Brian Mercer residency, generously enabling me to work in an Italian foundry. The strength
of bronze enables me to explore the fragility of a particular moment by opening up the space and creating an
additional rhythm through the sculpture. Principally based on the human figure and what is happening beneath the
skin. I investigate and interpret different moments with varied scales, such as passages of large, whole body
movements to, very recently, the unseen connections and changes in the brain. This has been extended to include
the choreography of the movement and how the area under investigation – muscles, body parts brain for
example, - is affected by the changes that are taking place.

Notes:

1
Artwork 1 Title: Bitan
Artwork 1 Dimensions: 26x19x28
Artwork 1 Medium: bronze
Artwork 1 Commentary: Bitan is one of the bronzes sculpture I made during my three month Brian Mercer
fellowship. The strength of the bronze creates the possibility of opening up the sculpture with more airways through
the work and smaller, more delicate cross sections. thus opening up and allowing access to the interior of my
sculpture. Metal offers the ability to make more tantalizingly nebulous and, as a contradiction, seemingly less
physical sculpture which nonetheless has an active and dynamic energy. The resulting space between the elements
and the airways that are created through the sculpture have become significant and play a huge physically active
role in the sculpture.
Artwork 1 Image:

2
3
Artwork 2 Title: Boltio
Artwork 2 Dimensions: 13x16x9
Artwork 2 Medium: painted ceramic, bolts
Artwork 2 Commentary: The ceramic sculpture has warped, folded, squeezed and buckled fired clay held in tension
by bolts. Each move captured in clay is restrained, made still by bolting the move to its neighbour and the metal is
taut against the organic and more fluid clay. The bolts compress the space between the clay elements and pull the
pieces together. Each unique piece of clay is brought alongside its neighbours, jostling for position and both cradled
against each other, held in place by the bolt but still wanting to break free from the constraints. The compressed
space becomes an active and significant component with a taut physical presence and a significantly physical role in
the sculpture.
Artwork 2 Image:

4
5
Artwork 3 Title: Vinculum
Artwork 3 Dimensions: 15x13x11
Artwork 3 Medium: painted ceramic, thread, on wood
Artwork 3 Commentary: This is a sculpture produced during my AA2A year. It is a constructed sculpture with
complex airways through the sculpture making multiple connections. The space has been compressed and is
animated throughout the sculpture. Each ceramic element is pulled in to position with the ties which create both a
bond as well as each indicating a direction of movement. The ties or string compress the space between the clay
elements as it encases the clay and pulls the pieces together. Each unique piece of clay is brought alongside its
neighbours, jostling for position and both cradled against each other, held in place by the binding but still wanting to
break free from the constraints. The compressed space becomes an active and significant component with a taut
physical presence and a significantly physical role in the sculpture.
Artwork 3 Image:

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7
Catalogue3 ID0492
Artist ID: 0492

Artist Name: Carol Delaney


Website: www.caroldelaney.co.uk
IG: Carol Delaney transgenderartist

Artist Statement: My work reflects the situation of being trans in today’s society; the choices and complications
of transition.
Fear, repression and isolation temper the joy of achievement and acceptance. We all belong in society, but it is the
finding where and how from child to adulthood.
All the paintings submitted come from 3 dimensional models that I make in the studio.
If they resonate then they become a canvas.

Notes:

1
Artwork 1 Title: Transitionary 1
Artwork 1 Dimensions: 50x50
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Parental responsibility and the fear of indecision are common factors at the early stages.
Artwork 1 Image:

2
Artwork 2 Title: Transitionary 2
Artwork 2 Dimensions: 90x90
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: Restraints and barriers are imposed by both society and the individual.

Artwork 2 Image:

3
Artwork 3 Title: Transitionary 3
Artwork 3 Dimensions: 50x50
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: There is a sense of isolation and loneliness whilst moving forward. The lines are
representative of containment, real or imagined

Artwork 3 Image:

4
Catalogue3 ID0493
Artist ID: 0493

Artist Name: Sophie Coady


Website: www.ashdowns.com
IG: https://www.instagram.com/sashstarco/

Artist Statement: Born in London but raised in Australia, Canada, and the UK, my art is as unexpected as my accent.
Now based back in London for the long term I am seeking to fulfil my passion for painting on a wider platform.

As an emerging fine artist, I have explored many different styles of painting but always tend to come back to an
abstract style full of patterns and distinct blocks of colour. I tend to favour a monochrome palette but will
sometimes accent this with blues or greens.

I am inspired a great deal by repetitive shapes that are seen in everyday life. These could be from nature such as the
underside of a mushroom or fur patterns on an animal. From an urban setting there are repetitive shapes such as
streets on a map or windows on a building. I'm fascinated by patterns and my eye tends to seek them out in any
environment I’m in.

When viewing my abstract work, I have found that people tend to spend quite a long time looking at a particular
piece before commenting. I love it when they tell me what they see or interpret as often it is something I hadn’t
even thought of.

My main aim is to create art that gets people talking, so I’m looking forward to the conversations ahead.

Notes:

1
Artwork 1 Title: Reaching Star
Artwork 1 Dimensions: 60x60x4
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: This piece draws your eyes to the centre of he star as the colours change towards the
outside. Despite the simplicity of the shape, it takes many hours to complete this piece as I shaped each mark of the
brush individually. If you look at the piece for long enough it seems as though it subtly moves in front of your eyes.
Artwork 1 Image:

2
Artwork 2 Title: Reaching Out
Artwork 2 Dimensions: 70x90x2
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: This painting comprises hundreds of tiny shimmery shapes, carefully applied to create this
amoeba-like image. It can have different guises depending on how close or far you stand from it. Some say it
resembles a peacock feather or an oyster shell, but it is for the viewer to decide.
Artwork 2 Image:

3
Artwork 3 Title: Reaching Around
Artwork 3 Dimensions: 40x30x4
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: A study in shape and monochrome, this piece seems to grow from the centre as the colours
change. Each tiny drop-shape is painted individually and the overall painting formed as I went. It looks simple and
striking from afar but when you get up close you can see all the detail. The shape seems to move on its own
depending on where you stand in front of it.
Artwork 3 Image:

4
Catalogue3 ID0494
Artist ID: 0494

Artist Name: Holly Holder


Website: www.hollyholder.com
IG: hollyholderart

Artist Statement: My Abstract impressionistic style derives from my lack of vision and I rely on instinctive strokes to
convey the powerful imagery.
Interpreting landscape and emotion through bold intuitive painting. Â I have always felt a strong personal
connection with nature, especially water and although this has been an enduring source of inspiration for my work,
the urge to focus on 'process' and use paint to express my 'internal' world, has become intrinsic to my practice. Â My
work combines imagination and memory, and is a personal response to experiences, landscapes, artefacts and
history; it explores contrasts in texture and light, and evokes rather than depicts places and things that intrigue me.
A ‘sense’ of landscape may be apparent through this process, however this is left open to the imagination of
the view

Notes:

1
Artwork 1 Title: Snow Blown
Artwork 1 Dimensions: H13cm W17cm D0cm
Artwork 1 Medium: Charcoal, Beeswax and pigment on paper
Artwork 1 Commentary: inspiration taken from the wintery Yorkshire Moors
Artwork 1 Image:

2
Artwork 2 Title: Utopia
Artwork 2 Dimensions: H14cm W15cm D0cm
Artwork 2 Medium: Watercolour, charcoal and acrylic ink on paper
Artwork 2 Commentary: Taken from memories of the Maldives and the Indian Ocean.

The image has the signature in the bottom righthand


corner. I was unable to move the image round due
to struggling with things like this as registered Blind.
Artwork 2 Image:

3
Artwork 3 Title: Portabello Memories
Artwork 3 Dimensions: H18cm W18cm D0cm
Artwork 3 Medium: Charcoal, acrylic paint and acrylic ink
Artwork 3 Commentary: I tend to work on a smaller basis due to my vision restriction, however I do have some larger
pieces up to A2 size. The inspiration for Portobello memories comes from our time living in Edinburgh when my
children were young, we would take them down to Portobello every Sunday.
Artwork 3 Image:

4
Catalogue3 ID0495
Artist ID: 0495

Artist Name: Thomas Macgregor


Website: www.tdmacgregor.com
IG: @tdmacgregor

Artist Statement: Thomas MacGregor looks for strategic images that tell a story with a brief and concise argument.
He is less interested in representing the real personality or the cliché of ‘picturesque’

Thickly laid brushstrokes upon watery shadows provide academic style in figurative or pictorial tradition, however,
His contemporary vision combined with the attitude and posturing of figures alongside symbols and talisman bring
us to a realism that does not reflect reality but analyses it.

The result shows us the mythical aspect of the everyday life, an ironic glance and analytical observation. A
characterized and Abstract realism.

Notes:

1
Artwork 1 Title: El objetivo de nuestra patrulla
Artwork 1 Dimensions: 140 x 200 x 5
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: for three months of last year I had access to Bolivian army bases for the purpose of research
for painting. I had been interested in some camouflaged buildings that were protruding from the city centre and
stuck out like a saw thumb. I was primarily concerned in the abstract form of the camouflage but I was intrigued by
my time spent in the various army barracks. They are in peace now so the time seemed specifically spent in painting
camouflage onto buildings and turning out on parade for inspection as shown in this piece.
Artwork 1 Image:

2
Artwork 2 Title: Soldado
Artwork 2 Dimensions: 80 x 60 x 5
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: Another from the same series, It is a play on this form of figurative painting and also on
masculinity. I have used a very chalky matt primer on this canvas which absorbs the sheen of the oil and provides a
heavy texture to be seen from the side angle. I have been developing these paintings further in my current post
graduate programme with turps banana. I have been building contoured shapes of soldiers and bombs to form a
painted assemblage and bring the painting out to the viewer.
Artwork 2 Image:

3
Artwork 3 Title: monumento
Artwork 3 Dimensions: 120 x 120
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: continuing with same theme this piece take the name and composition from the Philip
Guston work monument I was thinking of old cartoons of people fighting where the turn into a mass of arms, legs
and clouds of dust which made me think of Guston's configurations of legs and feet and the futility of the hood's
actions in those later works. these paintings are ultimately about the futility... not of war, despite the setting, but the
futility of the mundane. the painting of camouflage on a high-rise building in the centre of an un-camouflaged city.
Artwork 3 Image:

4
Catalogue3 ID0496
Artist ID: 0496

Artist Name: Hugh Kerr


Website: www.hughkerr.com
IG: www.instagram.com/hughkerr0

Artist Statement: My work is a cerebral, politically aware form of surrealism. My desire to paint stems from a need to
capture the fleeting imagery created by my subconscious. I use this imagery as metaphor to express thoughts on a
range of issues affecting our society, be they political, social, economic or environmental. The imagery and the
metaphor often emerge simultaneously. I developed the work iteratively through thumbnails, illustrations, rough
paintings and more developed works. I have sought to continually improve my core technical skills of oil painting
and, more recently, drawing with pen and ink, allowing more effective and absorbing communication of my ideas.

Notes:

1
Artwork 1 Title: Corporate Bodies: Gate 10
Artwork 1 Dimensions: 77x57cm
Artwork 1 Medium: ink and acrylic on paper
Artwork 1 Commentary: This work is part of a series called 'Corporate Bodies' that looks at the quieter, emptier,
lonelier moments in corporate working culture.
Artwork 1 Image:

2
Artwork 2 Title: Rapacity
Artwork 2 Dimensions: 56x38cm
Artwork 2 Medium: ink on paper
Artwork 2 Commentary: Rapacity is a stark illustration of the physical functions of human settlements. As well having
an ideal for the best of human settlement, promoting general wellbeing, harmony, equality, vibrancy and the sharing
of knowledge and culture, I feel it is important to examine them at their worst. Rapacity presents a view of a city as
an almost cancerous entity, the embodiment of the insatiability of human consumption which sucks in the resources
and degrades the surrounding land.
Artwork 2 Image:

3
Artwork 3 Title: The Big Man
Artwork 3 Dimensions: 56x76cm
Artwork 3 Medium: ink and acrylic on paper
Artwork 3 Commentary: Original pen and ink illustration on paper. This is an unashamedly surrealist piece which
muses on the nature of power. It covers themes such as the machinery of power, the structure of organisations
and the cost to and isolation of the individual.
Artwork 3 Image:

4
Catalogue3 ID0497
Artist ID: 0497

Artist Name: Jo Mckinney


Website: www.jomckinney.com
IG: http://www.instagram.com/jomckinneyartist

Artist Statement: I’m a British contemporary animal artist who specialises in graphite and coloured pencil
artwork. My subjects range from our domestic furry companions to wild, untamed and beautiful beasts. I've always
been one of those people who relates better to animals than I do human beings, I'd honestly much rather be
surrounded by animals than people; I feel some sort of connection with them, an understanding if you like, and it's
this that I try to express in my work.

Notes:

1
Artwork 1 Title: Aether
Artwork 1 Dimensions: 29.4 x 42 x 0.1 cm
Artwork 1 Medium: Coloured pencil
Artwork 1 Commentary: Inspired by the power and grace of Andalusian horses I wanted this piece to portray the
fluidity of movement whilst using the light and shadow to give the impression of something special, almost mythical.

The piece was created using the finest Caran D'ache and Faber Castell lightfast pencils on archival paper.
Artwork 1 Image:

2
Artwork 2 Title: Hercules
Artwork 2 Dimensions: 29.4 x 42 x 0.1 cm
Artwork 2 Medium: Graphite and pastel
Artwork 2 Commentary: Inspired by the noble characteristics of the Lusitano and the breeds ancient history my aim
was to create a piece that showed the horses steady presence.

The piece was created using graphite pencil and pastels on archival paper.
Artwork 2 Image:

3
Artwork 3 Title: Barnaby
Artwork 3 Dimensions: 21 x 42 x 0.1 cm
Artwork 3 Medium: Graphite
Artwork 3 Commentary: I love highland cattle, their rugged appearance, large size and mighty horns make me think
of prehistoric beasts. In this piece I tried to create that feeling of an ancient beast whilst alluding to the docile
temperament.

This piece was created using graphite pencil and graphite sticks on archival paper.
Artwork 3 Image:

4
Catalogue3 ID0498
Artist ID: 0498

Artist Name: Danielle Gardiner


Website: hatedtuesdays.co.uk
IG: https://www.instagram.com/hatedtuesdays/

Artist Statement: We all, at some point, experience some form of loss: a cherished possession, a pet, a family
member. All of these losses have an impact on us as people. Some of them small and others impact us in ways we
could not have thought possible until after the fact, that they stay with us. It is the latter impact that my work seeks
to examine and address. I express this through a diverse variety of disciplines; fingerprinting, video, photography and
sculpture.

My work is largely autobiographical; it is about my life and experiences, my family connections and my struggle to
process the death of loved ones. Within it, I attempt to document the lives of those around me, motivated by the
fear of losing them. I try to capture the generational knowledge, as well as the essence of the person. The aim for
these pieces is to evoke the feelings that were present at the time, to "take myself back" to being with them.

Fingerprinting takes a strong purpose in my work, in particular due to the sense of touch. One of the first things a
baby feels is another human's touch, and the last thing before death may be the same. Together, they represent the
absolute extremes of emotion; from pure, unbridled joy to overwhelming sadness and grief. These two extremes of
emotion can be represented by these touches, as if you have been holding hands with them their entire life, and
now it is time to let go.

Notes:

1
Artwork 1 Title: Reflection
Artwork 1 Dimensions: 70.5 x 50
Artwork 1 Medium: Ink on Paper
Artwork 1 Commentary: 'Reflection' was made by closing my eyes and re-entering the memory completely,
imagining again the moments after my granddad passed, when everyone's hands are touching his skin. They are
grasping that last bit of life, holding his hands, stroking his face and hair. When reopening my eyes, there is an empty
hollow where he was lay. I created a moment that was fleeting in real life, but lasts forever as a clear memory, onto
paper. This echo of a human figure, leaving the imprint of those only who live, is my personal torture.
Artwork 1 Image:

2
Artwork 2 Title: Aftermath
Artwork 2 Dimensions: 118.8 x 42
Artwork 2 Medium: Ink and watercolour on paper
Artwork 2 Commentary: 'Aftermath' explores the time following the end of life. The colouring of the skin relates to
the loss of blood flow, causing it to become a pale, yellow tone without any of the natural red colour of the skin. The
blues represent the rapid drop in body temperature, with the only source of heat left being the bodies connection to
a conductive object. This piece is a manifestation of my fear of my own death.
Artwork 2 Image:

3
Artwork 3 Title: Mein Vater
Artwork 3 Dimensions: 70.5 x 50
Artwork 3 Medium: Ink on paper
Artwork 3 Commentary: "Mein Vater" is a portrait of my father, inspired by a photograph of him taken during an
annual family holiday. I have tried to capture the raw essence of him and his distinctive facial expressions.
Artwork 3 Image:

4
Catalogue3 ID0499
Artist ID: 0499

Artist Name: Stella Boothman


Website: www.stellaboothman.com
IG: @stellaboothmanartist

Artist Statement: It starts with the desire to do something. I love the idea of taking a material from somewhere else
and turning it into something I don’t know, something to think about, that’s often how my work begins. I
thrive on the alchemy of process, playing with materials, often in unconventional ways, until something happens.

Process is fundamental to how I work, exploring the potential of materials and discovering new ways to manipulate
them is both joyful and painful, but something I driven to do. The material that feels wrong is often the most
interesting to use, it tells you something you didn’t know, the maker and material then embark on a journey
together.

I make sculptures, performances and mixed media installations. My work originates from aleatoric processes that
explore the potential of materials and production techniques, in order to develop forms that do not follow logical
criteria but emphasise the conscious process of composition that is behind, what appear to be, seemingly random
works.

Despite the aleatoric nature of my practice, outcomes often reveal works that invite the viewer to consider analogies
of the human condition : our identity, fragility and vulnerability.

Notes:

1
Artwork 1 Title: A Physical Relationship
Artwork 1 Dimensions: 45 x 45 x 52
Artwork 1 Medium: Plaster and Enamel
Artwork 1 Commentary: Four Part Plaster Sculpture, white enamel.

Through the act of making I am forcing and suppressing the fluid plaster, its viscosity enables the material to have a
life of its own when it is contained in a latex skin, it is slippery, volatile and hard to contain. My own body forces the
material, my hands, stomach and head all utilised to suppress the liquid, holding it resolutely, applying enough
pressure so that it conforms and does not explode, until it eventually solidifies into a new shape.

There is a sense of surrender to this process, allowing oneself to be moulded and formed by an external force, to
give up what we think we know and want, opens us up to the possibility of change, becoming something else,
something different, the potential to emerge as something new.

Artwork 1 Image:

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3
Artwork 2 Title: A Space For You
Artwork 2 Dimensions: 20 x 20 x 25
Artwork 2 Medium: Hydrastone Plaster and Enamel
Artwork 2 Commentary: Two part hydrastone plaster sculpture, white enamel finish.

As I begin to let go of the need to protect and contain the most precious things in my life, I reflect on the future, I do
not fear the change, I am ready for it. My role is different now, my love remains steadfast and solid, there will always
be a space for them within me.

Artwork 2 Image:

4
Artwork 3 Title: Resting Place
Artwork 3 Dimensions: 40 x 45 x 48
Artwork 3 Medium: Plaster and Enamel
Artwork 3 Commentary: Three part plaster sculpture, white enamel.

The pieces are cast in a latex skin, the shapes forming and moulding upon the next, each settling and resting to
create rounded, smooth, organic shapes that propose a fluidity of movement that belies the solid nature of the
material.

Artwork 3 Image:

5
Catalogue3 ID0501
Artist ID: 0501

Artist Name: Lil Cahill


Website: www.lilcahill.com
IG: @lilcahill104

Artist Statement: My work brings into question our everyday things. Products of waste and consumption, they are
the things which we thrive off and that have the power to stimulate or stagnate more than just the body. I am drawn
to things in particular that are so universally known and recognizable that they go by unnoticed. Food and foodstuff
of convenience, compulsion, comfort and craving. My sculptures convey a domestic hangover space of detritus
which expands into other sub narratives of the imagination.

In all that they are and are not I explore a things material, production, outline and edges, it’s history,
reminiscence, association and alliteration. Creating repetition and rhythm that stimulates the patterns of everyday
life, I am interested in what is suppressed between the seams of things theoretically, visually and philosophically.

Evoking memories and conscience anxieties the work sits halfway between a bodyscape and a landscape. Where
things are too awkward, too small or too large, damaged or broken. Dirty, sweet or toxic. Notations of body, identity,
necessity and glamour are disrupted by suggestions of glutton, excess and embellishment. Creating syntactical
moments where images are asked to perform as substance and form to perform as content. Rhetorical moments are
conversed at alarmingly high speeds and have the possibility to sway without warning or end abruptly. The work
performs as a state of theatrical ruin that pronounces a collapsed glorification of late Capitalist excess.

Notes:

1
Artwork 1 Title: Bread
Artwork 1 Dimensions: 100 x 65 x 50 cm
Artwork 1 Medium: Polystyrene
Artwork 1 Commentary: Bread is a solid foam. An agglomeration of gas bubbles separated from each other by thin
liquid films. It is an allotropic catalyst needed for energy that contradicts its own essence when to highly consumed
and it becomes an inhibitor. As a
carbohydrate it is a known comprehensive image like pasta, rice, pastry and cake, it is universally understood. It is
architectural, monumental. However, as a thing carbohydrate is somewhat absurd. It’s erotic and bizarre. It’s
made from dough and it puffs. It has a provisional space of matter where liquid can become swollen with potential.

'Bread' simplistic approach of thinking about how things can become vibrant or stagnated in the same way that it
can be used to create energy when eaten in moderation but lethargy when overindulged.
Artwork 1 Image:

2
3
Artwork 2 Title: Gherkin
Artwork 2 Dimensions: 6 x 30 x 24 cm
Artwork 2 Medium: Glass
Artwork 2 Commentary: 'Gherkin' was made as response to my perception of a collapsed glorification of late
Capitalist excess. Here image is asked to perform as substance and form to perform as content that is both dirty,
sweet, toxic and empty. Notations of body, identity, necessity and glamour are disrupted by suggestions of glutton,
excess and embellishment.
Artwork 2 Image:

4
Artwork 3 Title: Ornamental Cheese
Artwork 3 Dimensions: 160 x 40 x 40 cm
Artwork 3 Medium: Jesmonite and concrete reinforcement
Artwork 3 Commentary: This sculpture is part of my ongoing questioning surrounding food and foodstuffs of
connivence, compulsion, comfort and craving. Products of waste and consumption, they are the things which we
thrive off and that have the power to stimulate or stagnate more than just the body.

'Ornamental Cheese' is a hybrid of our excess and embellishment as the ornamental or decorative, typically
associated with notions of status or wealth, is disrupted with the excessive nature of macaroni cheese. Here the
work performs as a state of theatrical ruin that pronounces a collapsed glorification of late Capitalist excess.
Artwork 3 Image:

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6
Catalogue3 ID0502
Artist ID: 0502

Artist Name: Liz Bestic


Website: Www.lizbestic.co.uk
IG: Besticliz

Artist Statement: I am a London based artist working mainly in acrylic and watercolours. My work is visceral and
happens as an emotional response to what goes on around me. It could be a landscape, an urban conurbation or a
political situation.

Notes:

1
Artwork 1 Title: Assad’s Children
Artwork 1 Dimensions: 20cm x 20cm
Artwork 1 Medium: Mixed media
Artwork 1 Commentary: This was a reaction to the gassing of hundreds of children at the start of the Syrian conflict
Artwork 1 Image:

2
Artwork 2 Title: Happy Valley
Artwork 2 Dimensions: 30cm x 25cm
Artwork 2 Medium: Watercolour
Artwork 2 Commentary: Painted outside in a beautiful setting of the Yorkshire Dales-one of my favourite places in
the world!
Artwork 2 Image:

3
Artwork 3 Title: The Oceans weep
Artwork 3 Dimensions: 25cm x 35cm
Artwork 3 Medium: Mixed media
Artwork 3 Commentary: I was moved by the photograph of the seahorse which had swallowed a cotton bud and
wanted to make spa statement about the perilous state of the oceans. I started off with a poem and ended up
illustrated the poem with this paper lamination held between two pieces of glass.
Artwork 3 Image:

4
Catalogue3 ID0503
Artist ID: 0503

Artist Name: B Saunders


Website: www.bensdraws.com
IG: @bens_draws

Artist Statement: Perusing a pleinair air painting practice, investigating natural and man-made patterns invoked by
light. This strain of my artistic journey has its foundation in a souring relationship with mobile phone/device
photography, digital imagery filtering and image effect/glitch application. When selecting a scene to paint I will
focus in on these areas of frustration, usually looking through the screen first. It is only when I notice this conflict
that I settle to paint/draw. Many things can trigger this but primarily it will be distant scenes or conflicts in light and
shadow. Choosing to approximate what I see I have been working towards rendering a truth.

Technique usually starts with an abstraction of a scene which is then worked. The painting aspect of my practice
emerged from oil pastel drawings made on location. I now apply similar techniques whilst painting. Colour mixing
on a simple palette to represent the colour and tones of a scene.

I have selected this direction as a response to our current ‘through away’ image culture/society. By painting
on the spot, I collect the image as personal memory, a far greater personal experience than taking a photo. I want to
share this feeling with others. I hunger for people to think about tone, colour and form when looking at my images.

Notes:

1
Artwork 1 Title: Aberystwyth
Artwork 1 Dimensions: (30 x 60 cm)
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: I focused in on a small frame taken from the expansive view atop Constitution hill. Many
ideas have been approached in this piece, all of which were underpinned by an intense few minutes of rapid mark
making. This helped me define the paths taken by the observer. This is my university town, steeped in memory,
which has massively impacted my representation and its various points of focus.
Artwork 1 Image:

2
Artwork 2 Title: View into Graz
Artwork 2 Dimensions: (30 x 40 cm)
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: Standing on a bridge looking into Graz I noticed this frame, which perfectly captures a lot of
what I liked about this city but in the context of its very Austrian setting. There is harmony between nature and
architecture here, which pleases. I want people to see this ideal. Ironically, whilst painting this there was
construction going on under me to narrow the river. People walking past would stop and watch the work in progress
and passing locals would exclaim their disappointment. Some of this works impact can be seen on the right-hand
side of the water, which is in contrast to the left side which is untouched. I was lucky that the position of the sun
that day enhanced the darkness form the construction side with the light of the non construction side.

Artwork 2 Image:

3
4
Artwork 3 Title: Tenby Stacks
Artwork 3 Dimensions: (40 x 30 cm)
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: In this scene we see the view of Tenby from the hill as an almost impossible patchwork
stack. Painted at 10am through a light fog the colour of the buildings
still pushes through relentlessly. Painted on location Tenby - Wales (2018)

Artwork 3 Image:

5
Catalogue3 ID0505
Artist ID: 0505

Artist Name: Sebastian Thomas


Website: https://www.sebastianthomas.org/
IG: https://www.instagram.com/sebastian_thomas_art/

Artist Statement: My current practice focuses on my interest in how our perception is constructed through language.
Language allows us a way to define what we are seeing, whether that is an image or an object. While it facilitates us
in describing and identifying the world around us, I’m particularly interested in how it can also potentially
obscure our view, creating a blind spot at the centre of our collective vision that conceals a truth. This thinking has
led me to a strategy of making that often involves breaking with convention and subverting our assumptions in order
to expose the problem at the heart of this dichotomy. Materially this is achieved through the appropriation and
deconstruction of images from the sprawl of surplus imagery that surrounds us, the elevation of flimsy and cheap
materials and the repurposing of discarded manufactured objects. Within my work this often leads to a blurring of
the line between 2D and 3D as I reorientate the pictorial plane, drawing out and contorting the substrate into the
third dimension. Prints become material with which to construct sculptures questioning languages ability to define
what we are seeing. Those pictorial planes that remain untouched are subjected to a form of structural
disintegration as the compositional elements repel each other like oil in water, dispersing to the edge of the paper.
In doing so it serves to highlight the blind spot, drawing our attention to a lack of subject but more importantly the
hollow nature of language.

Notes:

1
Artwork 1 Title: PROW CESST FROOT (BANAN)
Artwork 1 Dimensions: Dimensions variable
Artwork 1 Medium: Digital print, varnish
Artwork 1 Commentary: 2019
Artwork 1 Image:

2
Artwork 2 Title: The Hart of the Wud #1
Artwork 2 Dimensions: 70cm x 100cm
Artwork 2 Medium: Lithographic print, paper collage, coloured pencils
Artwork 2 Commentary: 2019
Artwork 2 Image:

3
Artwork 3 Title: The Ardship of Cambry
Artwork 3 Dimensions: 100cm x 70cm
Artwork 3 Medium: Lithographic print, paper collage, coloured pencils
Artwork 3 Commentary: 2019
Artwork 3 Image:

4
Catalogue3 ID0509
Artist ID: 0509

Artist Name: Michael Rudman


Website: michaelrudman.co.uk
IG: @snapsrudman

Artist Statement: In recent years people have become increasingly concerned about the problem of misinformation
and how to interpret and understand things presented to them. Fake news, mistrust, misinformation and false
testimony are seemingly everywhere and yet our desire for answers and understanding appears undiminished. My
current project ‘Man Down’ is born from this environment. Photography, as a medium is still largely seen as
representing reality and thus carries with it a heightened level of trust for the viewer. In this series of photographs I
use composites to portray ‘reality’ and so raise questions about that trust.

Notes:

1
Artwork 1 Title: Man Down #3
Artwork 1 Dimensions: 50 x 75 x 2.5
Artwork 1 Medium: Photography
Artwork 1 Commentary: My current project “A Man Down― uses composite colour photography to evoke the
viewers’ innate desire to understand the world presented to them. I use photography because of the heightened
level of trust the medium accommodates and use composites to raise questions about that trust.
Artwork 1 Image:

2
Artwork 2 Title: Man Down #4
Artwork 2 Dimensions: 50 x 75 x 2.5
Artwork 2 Medium: Photography
Artwork 2 Commentary: My current project “A Man Down― uses composite colour photography to evoke the
viewers’ innate desire to understand the world presented to them. I use photography because of the heightened
level of trust the medium accommodates and use composites to raise questions about that trust.
Artwork 2 Image:

3
Artwork 3 Title: Man Down #6
Artwork 3 Dimensions: 50 x 75 x 2.5
Artwork 3 Medium: Photography
Artwork 3 Commentary: My current project “A Man Down― uses composite colour photography to evoke the
viewers’ innate desire to understand the world presented to them. I use photography because of the heightened
level of trust the medium accommodates and use composites to raise questions about that trust.
Artwork 3 Image:

4
Catalogue3 ID0510
Artist ID: 0510

Artist Name: Laurence Jansen


Website: www.laurencejansen.com
IG: https://www.instagram.com/laurence_jansen/

Artist Statement: Laurence Jansen’s work is intrinsic to the manipulation of image, in order to render imagined
reconstructions or interpretations, that capture a sensation about the movement of humanity or humanitarianism.
Whether this reflection depicts a narrative of political dynamism or a colourful play with abstraction and dispersion,
cultural diffusion is depicted in Jansen’s work using figurative references with an embodiment of the gestural and
complex visual language that painting has to offer. With the potential to capture existential allegories or meta-
physical flux, the internal and external forces that Jansen characterises, perform a visual display of how
‘environment’ affects our mental states, and the abstract physicalities of the figurative form.

Notes:

1
Artwork 1 Title: Empathy and Protest
Artwork 1 Dimensions: 130x162x3.5cm
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: This work reiterates an image found on the internet that accompanied a Mirror news story
based on a group of Moroccan artists and activists who reacted to the news of Aylan Kurdi, the young kurdish boy
who was tragically washed up on the shores of Turkey. This beach protest in Rabat used the iconographic color
scheme that the boy was wearing in order to spread global awareness and compassion for the failing global system
to accept and care for displaced people.
This work highlights the power of symbolism at a critical point in the movement of humanity, as predictions related
to global warming estimate that the migration of displaced people will inevitably rise, and this is something that
world must be prepared to deal with.

Artwork 1 Image:

2
3
Artwork 2 Title: The Sneeze
Artwork 2 Dimensions: 116.5x90.5x3.4cm
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: While on a four month residency at Seika University in kyoto Japan I participated in life
painting sessions three days a week, for a period of a month.
The main bulk of this expressionistic painting was completed in a three hour sitting. The impulsive mark making and
impasto technique encapsulates the brief moment of a sneeze hardly noticeable, as it was politely contained by the
model.

Artwork 2 Image:

4
5
Artwork 3 Title: Deterministic Chaos
Artwork 3 Dimensions: 150x120x3.5cm
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: I found myself intregued by the scientific evidence and neurological studies that imply free
will does not exist as we believe it to. I become fascinated with the idea of free will only existing as a concept in our
minds to provide us with autonomy and a sense of self. The theory asks, what exactly is it that we are trying to be
free from, as everything is intrinsically connected to fundamental elements that are outside of our control in a
deterministic universe. Our conscious brain becomes aware of decisions milliseconds after our subconscious has
already decided.

Artwork 3 Image:

6
7
Catalogue3 ID0512
Artist ID: 0512

Artist Name: Millie Gleeson


Website: www.milliegleeson.com
IG: milliejgleeson

Artist Statement: My large scale figurative paintings are dominated by a strong female character and perfused with a
kaleidoscope of colours. They evolve from staged photoshoots, where I integrate body art, performance, location
and my hand crafted costumes.

By assuming multiple roles I fabricate other worldly environments, creating a narrative through the body in various
guises. A playful act emerges between the model and myself as photographer. Exploring certain characteristics, I
then pursue the moment when everything just “clicks― in to place.

Translating the composed imagery through paint is integral to exposing my raw and intimate response. Through this
medium I can align my emotions and let unconscious feelings lead the paint. Working outside in nature, I spin the
canvas and throw paint whilst moving to music.

I am fascinated by a reality you almost feel akin with. My interests stem from anything that feeds the imagination by
conjuring another world; in particular, books, art, film, theatre, dance, symbols, astrology and most importantly the
body.

Painting women allows me to unlock a part of myself; which I feel resides in them, becoming both a transformative
and reflective process. Exploring my own visual language through the female figure and its expression.

Notes:

1
Artwork 1 Title: Hatoa
Artwork 1 Dimensions: 142.24cm x 101.6cm x 2.54cm
Artwork 1 Medium: Acrylic, spray paint, shellac and permanent marker on canvas
Artwork 1 Commentary: Hatoa is a self-portrait, which I completed in mid- 2018,a reflection after a 3year period of
living in Berlin. Beginning as a photograph I wear a costume I created with used materials and painted my face black
as I wanted to remain masked. It is the first painting in a new series called "All we'll know" an ongoing series further
developed at the artist residency Arquetopia in Mexico at the end of 2018. The series is an investigation of how
much we can truly know another, the space between self and other. The shadow self, what you can learn of yourself
through others. The painting is named "Hatoa" from a ninja tune Bonoba mix featuring Andrea Triana, the sound,
words and mood where important whilst creating this piece.
Artwork 1 Image:

2
3
Artwork 2 Title: Day Light Again
Artwork 2 Dimensions: 105.41cm x 139.7cm x 2.54cm
Artwork 2 Medium: Acrylic, spray paint, shellac and permanent marker on canvas
Artwork 2 Commentary: Day Light Again, is from the "Time Will Tell" series I produced in Berlin. I took a series of
photos in abandoned buildings of my friends whom I body painted and dressed in costumes I'd created.
The blue and yellow stripes represent time and different elements. It's a painting of 2 friends holding each other
amongst ruins, the light bathing their bodies as it rises. Caught between the cycle of time, the process of rising and
falling. The name "Day light Again" comes from the Crosby, Stills & Nash song, this song resonated with how I felt
making this painting.
Artwork 2 Image:

4
Artwork 3 Title: Working Woman Blues
Artwork 3 Dimensions: 139.7cm x 105.41cm x 2.54cm
Artwork 3 Medium: Acrylic, spray paint, shellac and permanent marker on canvas
Artwork 3 Commentary: Working Woman Blues also came from the "Time Will Tell" series. Featuring queens rising
from the ashes, defiant amidst the chaos and destruction of life. The photo was taken inside an abandoned building
in Berlin. A friend wears a costume I created from charity shop finds. I named this piece "Working Woman Blues"
from a Valerie June song, an artist I was listening to a lot at the time of creating this painting, the lyrics were a great
inspiration.
Artwork 3 Image:

5
Catalogue3 ID0516
Artist ID: 0516

Artist Name: Amy Jefferies


Website: https://www.etsy.com/uk/shop/AmyJefferiesArt
IG: AmyJefferiesArt

Artist Statement:
Amy Jefferies graduated from Falmouth University in 2016 with a BA Hons in Fine Art. Her work has explored mental
health, autism and perceptions of the world around us. This series, 'Immersive memories' shows how the abstract
nature of a feeling connected to a memory can be difficult to verbalise and visualise to others or distinguish the real
from the imagined. How materials can be used to recreate moments of tranquility, allowing the emotion to take on
its own form.

Notes:

1
Artwork 1 Title: Galaxy
Artwork 1 Dimensions: 40.5cmx51cmx1.5cm
Artwork 1 Medium: Acrylic painting
Artwork 1 Commentary: Capturing feelings of tranquility and bringing them to life. Where memories can become
tangible and so immersive that you feel as though you can touch them, become one with them
Artwork 1 Image:

2
Artwork 2 Title: Cosmic
Artwork 2 Dimensions: 30cmx42cmx1.5cm
Artwork 2 Medium: Acrylic painting
Artwork 2 Commentary:
Cosmic is a piece that I have always been drawn to. The sensory experience the emotional relevance and how
describing your personal universe to anyone else or even yourself can be so complex
Artwork 2 Image:

3
Artwork 3 Title: Aqueous
Artwork 3 Dimensions: 40.5cmx51cmx1.5cm
Artwork 3 Medium: Acrylic painting
Artwork 3 Commentary: Aqueous represents the melancholy of memories fading, moving, changing. The uncertainty
of what is true and what your imagination has created.

Artwork 3 Image:

4
Catalogue3 ID0517
Artist ID: 0517

Artist Name: Mark Halliley


Website: markhallileyart
IG: @markhallileyart

Artist Statement: I have been making work pretty intensively for the past 5 years in preference to making
documentary films. I value the 3-D haptic and personal aspects of mark-making. I like the expressive flexibility of
erasure and continuous restatement. I enjoy utilizing the unplanned, including mistakes. I run from slickness. Most
of my output seems to be about survival in some form, whether psychological or political, and that can involve some
humour or satire. On rare occasions it's just about "being there". I used to work mainly in an abstract way, often
combining found objects with paint and other substances eg bandages and wires. In the last three years or so, to my
surprise, my work has become increasingly figurative. I am looking to paint in a contemporary way without the
shackles of strict representation. My work often has a conscious message but I hope that that it is inseparable from
the way in which it is made. Anyway, unconscious or unintended messages may be more interesting. The images
evolve in the process as I go and the conscious message gets clearer for me, at least. I have not had an art
education. Have just done some courses here and there.

Notes:

1
Artwork 1 Title: SHORT HISTORY OF FASCISM
Artwork 1 Dimensions: 91 X 121 X 4 CM
Artwork 1 Medium: OIL ON CANVAS
Artwork 1 Commentary:
One of a series of 4ft x 3ft paintings based on the weird legend of the Pied Piper of Hamelin. This story has lots to say
about the destructive power of charisma & demagoguery. For me that makes it modern, contemporary. So does the
more recent history of Hamelin, which in World War Two was the site of a big Gestapo prison where many were
murdered. After the war, the Allies moved in and hanged around 200 Nazi war criminals there. Many of them had
been indoctrinated by Nazi propaganda as children. The prison is now a prosperous hotel. The imagery in the
painting derives from the legend, and from the trials/ hangings. The format loosely derives from comic strips/
cartoons. It can be read as a chronological sequence, with giant humanoid rats still present now, waiting for
the next piper saviour.
Artwork 1 Image:

2
3
Artwork 2 Title: HOW'S ABOUT THAT THEN
Artwork 2 Dimensions: 39 X 39 X 3.8
Artwork 2 Medium: OIL ON CANVAS
Artwork 2 Commentary: This is part of a diptych called HIDING IN PLAIN SIGHT, featuring images of Jimmy Savile and
Rolf Harris. These rows of Savile heads reference the multiple screenprint celeb portraits of Warhol. But as Sir Jimmy
Savile OBE KCSG was such a pillar of British society, I use the traditional portraiture medium of oil to try and
deconstruct his many faces, seven of which are PR photos. (His mate Harris CBE is of course an oil painter who's
done the Queen in oil). The text HOW'S ABOUT THAT THEN? is what Savile used to say to his young prey when he'd
fixed something for them.
Artwork 2 Image:

4
Artwork 3 Title: FROM THE HEART OF DARKNESS
Artwork 3 Dimensions: 121.5 X 91 X 3.8 CM
Artwork 3 Medium: ACRYLIC ON OIL ON CANVAS
Artwork 3 Commentary: This is one of a series of heads deriving from photos I took a few years back of Cambodian
stone sculptures, carved around 900 years ago- many of them cracked with age. There was a whole "gallery" of
them in a place called the Terrace of the Leper King. I was looking for ways to express some kind of registering of the
horrors of Pol Pot's mass murders. This head was just around the size of a fist so I have blown it up to try and get at
its significance. It could be read as a celebration of survival against all the odds.... or as a sinister visitation/ warning
of the future to come. Its incompleteness references the bashed-in heads of Pol Pot's victims. The title references
Conrad and the Congo as well Coppola and Vietnam. I want it to feel universal.
Artwork 3 Image:

5
6
Catalogue3 ID0518
Artist ID: 0518

Artist Name: Farnoush Amini


Website: farnoushaminiart.com
IG: @aminifarnoush

Artist Statement: The battle and tension between our beliefs and secret doubts has formed the main concept of my
practice. By interweaving my personal history of culture, religion and politics I portray fragility and threat in order to
create a feeling of fear and a sense of foreboding in the viewer.
The desire to look beyond boundaries and influenced by feminism and religion has lead me to use mediums such as
Fabric, Human Hair, Feather and Ice. I try to explore the relevant language between organic and non-organic matter
in my installation or performance art and the way they could change our perception.
Artists such as Mona Hatoum and Doris Salcedo have inspired me by the way they use domestic materials charged
with significance and full of meaning to address political issues in an indirect way. They create a unique language of
material in order to communicate with the viewer.
By questioning our believes I want to show how ingrained these political and cultural beliefs are, even to a sceptic
and how we may become blind followers of certain ideologies and behaviours.

Notes:

1
Artwork 1 Title: Stoned
Artwork 1 Dimensions: Performance Art Video
Artwork 1 Medium: Human Hair and Clay
Artwork 1 Commentary: This work is about women being stoned to death in some Muslim countries. This is a
punishment for women who commit adultery, they get buried up to their shoulder inside the ground and get stoned
until they die. This is considered a ceremony where children gather the stones.

Human Hair and Clay

https://drive.google.com/file/d/113DjkH03jiVuYpVOtVNLO5e7OZ05QvkX/view?usp=sharing

Artwork 1 Image:

2
3
Artwork 2 Title: Black Crows
Artwork 2 Dimensions: 250 cm x 250cm ceiling space
Artwork 2 Medium: Metal, Fabric and Human Hair
Artwork 2 Commentary: This Installation work is about Iranian women who are forced to cover up, specially their
hair, weather or not they believe in Islam. The result is tension and conflict created in your mind.

The knotted fabric is to symbolise the act of tying knots to the holy shrines as you say a prayer. The black satin fabric
is a common material used for Hijab.
A recorded Crows' sound will be playing at the back ground, since women who are forced to cover up call women
who does that willingly,
" Black Crows".

Fabric, Metal, Human Hair

https://drive.google.com/file/d/1bxdnizXy3lqGrlJpXo1QFsaTCi7TrysJ/view?usp=sharing
Artwork 2 Image:

4
5
Artwork 3 Title: Revealed
Artwork 3 Dimensions: 100 x 60cm x 50cm
Artwork 3 Medium: Fresh Ice and Human Hair
Artwork 3 Commentary: This work is a result of the artist coming across a horrific picture of a killed Kurdish woman
whose body was dumped in a slaughter house over blocks of ice.
The melting ice is to depict how her life has been taken away, and her body has been left like another slaughtered
animal left to rot.

The Ice Block would be on display to melt.

Ice and Human Hair


Artwork 3 Image:

6
7
Catalogue3 ID0520
Artist ID: 0520

Artist Name: John Blythe


Website: www.johnblythe.co.uk
IG: @johnblythe65

Artist Statement: Situated in and beyond the realm of light based image making, my focus is as much on the material
processes of photography as its subjects. My practice supports my curiosity and playful desire to push at the
boundaries of time, place, material and action.

I am interested in exploring photography as ‘Inframedium’, playing with the notion of the photographic
object, its material ‘nature’ and the visual possibilities that exist within it. Similar to the context in which
painting responded to the presence of photography, analogue photography, in the context of digital image
technology, now has the same opportunity to ask of itself, what possibilities exist beyond the traditional conventions
of ‘image’ making? Stripping away not only the ‘apparatus’ of the camera but also the fundamental
building block of photography, light, and thus stepping out of the arena of the ‘technical image’, I am
exploring a different set of gestures with which to reveal the phenomenological potential of photographic materials.

My current body of work explores, through research based praxis, the conceptual possibilities of the making
processes, bringing the gestures associated with the darkroom into focus as subject. Acknowledging
photography’s tradition as a tool of documentation these works are not as they might first appear, abstract but
present visual documents of the materials molecular scale response to the gesture applied. Like many processes in
the darkroom sliding the exposed print into the developer acquires a fetishised, sensual anticipation, the ritual
precursor to what for many represents the true moment of magic.

Notes:

1
Artwork 1 Title: FFCAP G (PP1/1/5-PF10/1/9)181204 -1
Artwork 1 Dimensions: 50 x 41 x 8
Artwork 1 Medium: Colour Coupler Photographic Paper
Artwork 1 Commentary: These images make up part of a larger ongoing research based praxis but are the the first
works to for coherently represent this emerging theoretical proposition.

While it is possible to visually interpret these images as in some way representing the idea of landscape, this is
incidental and simply a function of the gestural process applied. However, I am struck by the metaphor this presents
as a landscape of an unknown future of analogue photography.

It is relevant to establish that these image are not photographic in nature in that the light sensitivity of the colour
paper is removed as part of the process. This raises the issues of how to identify them, what language to use to
define them and where to place them.
Artwork 1 Image:

2
3
Artwork 2 Title: KERIII-N (PP1/1/5-PF10/1/9)181204 -1
Artwork 2 Dimensions: 50 x 41 x 8
Artwork 2 Medium: Colour Coupler Photographic Paper
Artwork 2 Commentary: These images make up part of a larger ongoing research based praxis but are the the first
works to for coherently represent this emerging theoretical proposition.

While it is possible to visually interpret these images as in some way representing the idea of landscape, this is
incidental and simply a function of the gestural process applied. However, I am struck by the metaphor this presents
as a landscape of an unknown future of analogue photography.

It is relevant to establish that these image are not photographic in nature in that the light sensitivity of the colour
paper is removed as part of the process. This raises the issues of how to identify them, what language to use to
define them and where to place them.
Artwork 2 Image:

4
5
Artwork 3 Title: APECU310 L (PP1/1/5-PF10/1/9)181204 -1
Artwork 3 Dimensions: 50 x 41 x 8
Artwork 3 Medium: Colour Coupler Photographic Paper
Artwork 3 Commentary: These images make up part of a larger ongoing research based praxis but are the the first
works to for coherently represent this emerging theoretical proposition.

While it is possible to visually interpret these images as in some way representing the idea of landscape, this is
incidental and simply a function of the gestural process applied. However, I am struck by the metaphor this presents
as a landscape of an unknown future of analogue photography.

It is relevant to establish that these image are not photographic in nature in that the light sensitivity of the colour
paper is removed as part of the process. This raises the issues of how to identify them, what language to use to
define them and where to place them.
Artwork 3 Image:

6
7
Catalogue3 ID0521
Artist ID: 0521

Artist Name: Beata Kozlowska


Website: www.beatakozlowska.com
IG: beatakozlowskaart

Artist Statement: My latest works live between the realms of painting and drawing and are deeply defined by the
spontaneous force of gestural expressionism. Combining this improvisational drive with a more reflective mental
process, the final work is weaved like a ‘fabric’ of colours and lines.

I start my process with very spontaneous energy using quick sketches of paint and lines. It’s often a purely
irrational drive, with unconscious memory associations. Choice of palette is suggested by my inner emotional state.
An intuitive and spontaneous force that escapes from any possible representational imagery mostly drives these
painterly strokes and organic lines.

Further, the canvas is often turned around, and the progressive layers start to overlap, being often removed and re-
painted. Conscious, reflective mental processes intervene at times, trying to find order from the chaos, defining
limits with lines, revealing entities and forms mostly through drawing.
These processes repeat then over and alternate with unpredictable sequence. Ranging from unconscious
improvisation to conscious reflection and definition, it is a constant process of re-approval and renewal, denial,
cutting, re-surfacing, re-structuring until it reaches a state of balance.

Apart from my painting practice I also explore other disciplines to extend into other time-based and three-
dimensional spaces, experimenting with performance and installation.

Notes:

1
Artwork 1 Title: Internality of Desire
Artwork 1 Dimensions: 91.5 x 61 cm
Artwork 1 Medium: acrylic and pen and mixed media on canvas
Artwork 1 Commentary: The work was created after the move for the first time to New Zealand from London in
2016.

The work has a strong element of drawing integrated into a fabric of painterly surface.
The work was exposed to different processed, repainted several times, smudged, scratched, taped and re-drawn
with a black and silver pen.
Artwork 1 Image:

2
Artwork 2 Title: Orange indication of Love
Artwork 2 Dimensions: 100 x 80 cm
Artwork 2 Medium: acrylic and pen on canvas
Artwork 2 Commentary: This work was created in a very important personal time while in my art studio in London in
2017 after the return from New Zealand.

The work was based on the improvisational sketch on canvas and further painted with several layers of paint over
several weeks time. Finally adding some drawn elements to the composition completed the work.
Artwork 2 Image:

3
Artwork 3 Title: Open it ...here
Artwork 3 Dimensions: 60.9 x 45.7 cm
Artwork 3 Medium: acrylic on canvas
Artwork 3 Commentary: This work was created in New Zealand after the second arrival to the country from London.

The work was repainted over time with several layers of drawing and paint, allowing the process to be led by
intuition and memories.

Artwork 3 Image:

4
Catalogue3 ID0525
Artist ID: 0525

Artist Name: Andrew Brooks


Website: https://www.andrewbrooksartist.com
IG: @AndrewPBrooks

Artist Statement: I’m interested in the history and stories of locations. Getting lost amongst and within the
buildings, cityscapes and landscapes, I archive the forgotten spaces to tell the tales of these sites.

As a reaction to a life spent living in and photographing the city I’m driven to explore and document the city, but
also in parallel the natural environment. The process is intuitive; about being and experiencing and then showing
how this felt through images and film. The sublime is a key concept within my process and output, as I aim to
understand its context within alternative locations. Taking inspiration from paintings within the Romantic era, I use
small details and studies of the landscape to create larger scale works that become my interpretation of that
particular location.

Through the process of building images, I aim to capture the forms and rhythms of nature and the city. Often as
imagined or re-imagined scenes, I aim to create a heightened sense of place that feeds into audience's interaction
with the work.

In my practice I use photography, film and digital technology as a prism for seeing and experiencing the world,
particularly the natural and urban landscape. I then process and build on what I’ve recorded, presenting this to
an audience through immersive experiences.

Notes:

1
Artwork 1 Title: Beacon Light
Artwork 1 Dimensions: 1000 x 1500mm
Artwork 1 Medium: Digital photography and digital composite collage
Artwork 1 Commentary: An invented landscape with a lighthouse on a floating island, showing the position of giant
rock formations in a large cavern. Built out of hundreds of photographs from the English, Welsh and Norwegian
landscape as well as macro details of smaller objects like shells and stones.

Influenced by the 19th century painter John Martin. I wanted to render space, scale and light as he does in his
otherworldly and apocalyptic paintings. My aim was to create a picture that has the feel of his work whilst being
photo-realistic and having an original concept of what can happen in these spaces.
Artwork 1 Image:

2
3
Artwork 2 Title: Snowdonia
Artwork 2 Dimensions: 450 x 830mm
Artwork 2 Medium: Digital photography
Artwork 2 Commentary: From a series of photographs taken over many visits to Snowdonia. Studying the light,
ecology, geology and changing weather of the Snowdon Range and nearby rock formations.
Artwork 2 Image:

4
Artwork 3 Title: Derwent Edge
Artwork 3 Dimensions: 710 x 1180
Artwork 3 Medium: Digital photography
Artwork 3 Commentary: From a continuing project documenting the sculptural forms of rock formations beneath
and above ground in the English Peak District.
Artwork 3 Image:

5
Catalogue3 ID0527
Artist ID: 0527

Artist Name: Emma Louise Hollaway


Website: www.elhvisual.com
IG: @elhvisual

Artist Statement: I am an artist and art historian who believes in the continued relevance of drawing as a tool for
depiction and interrogation. Using drawing, extensive note-taking and art-world criticism I interrogate grand
narratives that are simultaneously discredited and perpetuated.

My recent research has focused on the hidden lineage of draughtswomen within art history. I believe that there is an
unexplored historic connection between women and drawing, which was seen as a necessary accomplishment but
not an opportunity to excel. Frustrated by the absence of exemplars by ‘master’ draughtswomen to learn
from, I use my own practice to expose this lacuna while attempting to fill a narrative gap in art history.

My research explores the connection between the copy and the embodied act of copying drawings. Theories of the
embodied mind conclude that mind and body should not be considered as separate and that bodily experience can
be considered a cognitive process. A drawing therefore can record both a physical and mental process.

Copying can therefore be a powerful tool to make art and art history accessible. I use it as a vehicle to demonstrate
my own critical response to art history that is shown as objective and resolved.

Notes:

1
Artwork 1 Title: Muses or Sibyls
Artwork 1 Dimensions: 56x72x5
Artwork 1 Medium: Pencil on blotting paper
Artwork 1 Commentary: 'Muses or Sibyls' illustrates my ambition to uncover a lineage of hidden draughtswomen
within the history of art.

I have always copied from drawings as a method of exploring the techniques of other artists. Â But historic drawing
exemplars are overwhelmingly by artist men.  I soon became obsessed with what past women have drawn and
what I could potentially learn from them. Â Numerous trips to collections and institutions were fruitless however, so
I was forced to draw from reproductions and photocopies. Â

Throughout my research I discovered that whilst drawing was historically tolerated as an amateur accomplishment
in a woman, it was not considered as an opportunity to excel.  A chapter titled 'Muses and Sibyls' in Kim Sloan'sÂ
‘A Noble Art: Amateur Artists and Drawing Masters c. 1600-1800'  explores depictions of women that
deviated from an image of a passive muse for an artist man, instead depicting a 'sibyl', a prophet and scribe for the
gods.

This drawing, a copy of a copy, demonstrates the frustration of learning about art history from reproductions and
how easily history can be reduced or lost.
Artwork 1 Image:

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Artwork 2 Title: A Nice Occupation (Raverat)
Artwork 2 Dimensions: 35x35x5
Artwork 2 Medium: Pencil on cartridge
Artwork 2 Commentary: As I research, I collect and record the discoveries I make about the lineage of artist women
before me. I particularly note those that make a connection between the historic relationship between women and
drawing.

Whilst reading 'Period Piece: A Cambridge Childhood' by Gwen Raverat, I came across this quote and accompanying
illustration: ' 'Sketching is such a nice occupation for a young lady,' as they used to say in those days'.

I am a contemporary draughtswomen who believes passionately in the potential of drawing to depict and
interrogate unlike any other medium. This quote is emblematic of both the marginalisation of drawing as a practice
and the marginalisation of women, especially as artists.

By removing all extraneous text from the page, the 'margins' define the centre as opposed to the other way around.
Laboriously rendering the texture of the page in graphite, I demonstrate that drawing is not simply 'a nice
occupation’.
Artwork 2 Image:

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Artwork 3 Title: Minutes
Artwork 3 Dimensions: 68x51x5
Artwork 3 Medium: Pencil on blotting paper
Artwork 3 Commentary: Note-taking is a crucial part of my artistic practice and research. Before attending art
college, I previously worked at an auction house where many of my tasks were administrative. After resigning this
post I found myself six months later at art college, embroiled in numerous discussions regarding the course and once
again, taking minutes at meetings.

In 'Minutes', nine pages of minutes taken at the meeting telling students that the MA Drawing course at Wimbledon
College of Arts was to be suspended, are copied out and overlaid to form an abstracted drawing.

The act of writing minutes has gender implications. This kind of 'automatic writing' was seen as part of a woman's
role in the workplace as women's insufficient education was an advantage to employers, as 'women [had] the
admirable ability to sink to the level of mere writing machines' (Kittler, 1990, p. 352).

The role I was undertaking in course meetings was in direct opposition to the feminist art historical points I was
trying to prove within my drawing practice. No record of a meeting is verbatim however, and these minutes became
my summary and my original content. By generating practice from my administrative role, I am asserting my
presence.
Artwork 3 Image:

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Catalogue3 ID0528
Artist ID: 0528

Artist Name: Lucia Lajdova


Website: Www.lucialajdova.com
IG: Lucia Lajdova

Artist Statement: Dear Art Lovers,

I'm an independent artist from London. I've been painting since my childhood. Most of my paintings are from my
dreams and real life experience. I love surrealistart.
My fantasy has no boundaries and I'd like to share my artwork, stories, ideas with the rest of the world.,..

Notes:

1
Artwork 1 Title: "Broken Pieces of You"
Artwork 1 Dimensions: (100x80)cm
Artwork 1 Medium: Oil colours, acrylic colours and glitters on canvas
Artwork 1 Commentary: Fantasy, dreamland painting. Vision of power, love searching for our broken pieces in time.
Artwork 1 Image:

2
Artwork 2 Title: "The Little Marmaid"
Artwork 2 Dimensions: (36x47)cm
Artwork 2 Medium: Oil colours on canvas
Artwork 2 Commentary: Inspired by Hans Christian Andersen and the original story. Story about love, magic, pain,
sacrifice and earning immortal soul.
Artwork 2 Image:

3
Artwork 3 Title: "Fountain of youth"
Artwork 3 Dimensions: (62x47)cm
Artwork 3 Medium: Oil colours on canvas
Artwork 3 Commentary: Fantasy painting about desire, pride, youth.
Artwork 3 Image:

4
Catalogue3 ID0529
Artist ID: 0529

Artist Name: Paraskevi Papagianni


Website: http://www.paraskevipapagianni.com/
IG: https://www.instagram.com/paraskevi.papagianni/

Artist Statement: I was born in Athens, Greece. I have lived in Greece, the United States, the United Kingdom and
Spain.

I have studied Psychology, Art Psychotherapy and Contemporary Art Practice and have exhibited in Greece, Spain
and the U.K.

My current residence is in Barcelona, Spain.

I am a multimedia artist: I work mainly with collage, photomanipulation and assemblage.

My primary motivation to make art comes from story in its many forms (mythological, literary, cinematic and
personal) but also a need to fuse and reconstruct objects, images and language.

I am drawn to small details and encounters; the consoling and the uncanny, in both narrative and visual/structural
form.

My aim is to explore the many facets of personhood (history, illusion, encounters, power struggles, symbolic
resources, subversion, vitality), and to develop a practice that fosters empathy, consciousness and active
imagination.

Notes:

1
Artwork 1 Title: Encounter/ A Moment In A Person
Artwork 1 Dimensions: 4272 x 2848 pixels (72,3 cm x 120,1 cm)
Artwork 1 Medium: Mixed Media: Assemblage and Photography (Found Photograph, Glass, Dried Flower, Magnifying
Glass)
Artwork 1 Commentary: This work is part of a series of photographs titled "A Moment In A Person" in which I use a
magnifying glass to interact with found objects.

My inspiration was drawn from two essays:

The first by artist and writer Renee Gladman [Untitled (Environments)], explores drawing in relation to writing
through a series of real and fictional encounters.

In the second (Drawn To Each Other: A Love Affair With Sketches) architect Rachel Hurst examines the parallels
between sketching and falling in love.

What is an encounter with someone/something about? Fascination? Intimacy? Understanding?


What kinds of imagery/seeing, attempts at healing come about?

The series aims - through the lens of photography- to explore attraction, approximation, and representation
(meanings and processes linked to drawing) as they happen in ‘real’ time: the frustrations of balancing
magnified lovable details and the need to be truthful to the whole; but also the need to touch (by its nature partial)
as it unfolds first through the eyes.

Here the "object of love" is an old found photograph of a young man.

Artwork 1 Image:

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3
Artwork 2 Title: Aqueous Deception 9
Artwork 2 Dimensions: 4961 x 3508 pixels (126 cm x 89,1 cm)
Artwork 2 Medium: Mixed Media (Analogue Photography, Digital Photomanipulation)
Artwork 2 Commentary: This artwork is part of a series titled Aqueous Deceptions, which explores our attachment to
reflections as a source of true representations.

On an aqueous surface the nature of reflection is altered through the changeable states of water, the intrusion of
objects and undercurrents of texture.

Fluidity as an essential quality of water can be applied to the accuracy and willingness of an observer with regards to
understanding: Often in our perception of symmetries in events, structures, and bodies we assume balances and
causalities which are not factual or consistent.

Artwork 2 Image:

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5
Artwork 3 Title: Transformational Change
Artwork 3 Dimensions: 960 x 718 pixels (24,4 cm x 18,2 cm)
Artwork 3 Medium: Mixed Media: Assemblage and Digital Photomanipulation (Plaster Cast, String)
Artwork 3 Commentary: The work is part of a triptych which explores the nature of change and the language and
concepts we use to understand it.

There are three variants of change as outlined in managerial/business terms:

1) Developmental Change: improving on what you are already doing.

2) Transitional Change: replacing something with something new which has already been tested.

3) Transformational Change: the future state is unknown and it can only be determined through trial and error.

This series aims to highlight the hopeful and simultaneously ominous aspects of change which make it an object of
both deep desire and fear as well as study and practice across various fields.

Artwork 3 Image:

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Catalogue3 ID0532
Artist ID: 0532

Artist Name: Ioanna Sakellaraki


Website: http://ioannasakellaraki.com/
IG: https://www.instagram.com/ioannasakellaraki_photography/

Artist Statement: My work suggests a constructed space of fantasy and loss within the magical potential of
transformation and fiction the camera allows. My interest on memory and loss is strongly connected with my
homeland Greece which has an archetypical aura and ambiguous personal importance. I work in analogue medium
format photography and I like to see my work as a series of images that provide a thorough map of what amounts to
a set of movements in space and time. What is important to me is to find a personal connection with an external
meaning and express through it an internal vision to the world. What happens when memory does not anymore take
the expected shape and form and instead comes out as an abstract fragment captured by the camera? The results
are not part of a definition of what photography as a medium is but rather a set of propositions of what photography
can be and how photographs aim at ‘’acting’’. With the use of a range of techniques, be it digital post
production processes that often leave their visible marks in the final work or more subtle ways of re-constructing an
existing image, the work aims at developing a commentary around the changing role of the image and its
subsequent narrative. The images reveal a set of possibilities for alternative readings we may be capable of finding
outside the conventional “limits― of the image, engaging the viewer in a debate about what photography can
be in and of itself.

Notes:

1
Artwork 1 Title: Throne of Zeus
Artwork 1 Dimensions: 80x 80 cm
Artwork 1 Medium: Zenza Bronica SQ-A (medium format 6x6 cm) C-type print on Kodak Professional Metalic Paper
Artwork 1 Commentary: The image has been shot with Zenza Bronica SQ-A (medium format 6x6 cm) and has then be
double exposed, layered and reconstructed by post-production. It is part of my photographic series The truth is in
the soil looking into the fictional aspect of memory and rituals from the past. The photographs lay between real and
unreal allowing the viewer to believe in the real that is yet to come; another type of reality. According to the ancient
Greeks, Mount Olympus was also known as the Throne of Zeus.
Artwork 1 Image:

2
Artwork 2 Title: Aér
Artwork 2 Dimensions: 80 x80 cm
Artwork 2 Medium: Zenza Bronica SQ-A (medium format 6x6 cm) C-type print on Kodak Professional Metalic Paper
Artwork 2 Commentary: The image has been shot with Zenza Bronica SQ-A (medium format 6x6 cm) and has then be
double exposed, layered and reconstructed by post-production. It is part of my photographic series The truth is in
the soil looking into the fictional aspect of memory and rituals from the past. The photographs lay between real and
unreal allowing the viewer to believe in the real that is yet to come; another type of reality. The image speaks about
the element of Air which is one of the four classical elements in ancient Greek philosophy and in Western alchemy.
The alchemical symbol for air is an upward-pointing triangle, bisected by a horizontal line.
Artwork 2 Image:

3
Artwork 3 Title: Flying Pigeon
Artwork 3 Dimensions: 80 x 80 cm
Artwork 3 Medium: Zenza Bronica SQ-A (medium format 6x6 cm) C-type print on Kodak Professional Metalic Paper
Artwork 3 Commentary: The image has been shot with Zenza Bronica SQ-A (medium format 6x6 cm) and has then be
layered and reconstructed by post-production. It is part of my photographic series The truth is in the soil looking into
the fictional aspect of memory and rituals from the past. The photographs lay between real and unreal allowing the
viewer to believe in the real that is yet to come; another type of reality. The image is inspired by the inventionof the
Greek mathematician and philosopher Archytas’ steam-powered self- propelled Flying Pigeon, dating back to
405 BC, closely resembling modern aeroplanes.
Artwork 3 Image:

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Catalogue3 ID0533
Artist ID: 0533

Artist Name: Aggie Matyjaszek


Website: https://www.aggiem-art.com/
IG: https://www.instagram.com/aggie.matyjaszek/

Artist Statement: Agnieszka Matyjaszek was born in small town in Poland in 1987 but she has lived in the UK since
2006. In 2014 she achieved Bachelor of Arts at Staffordshire University.

Aggie often lets the contents of her heart spill out onto her paintings, as she says: “Painting for me always comes
back to my emotions and my feelings. I paint what I cannot express in words.― Her mood often influences the
medium, technique and subject matter of her work. Aggie paints mainly with oils, but she likes to atek a break from
it and work with Mixed Media, Ink, Watercolour or charcoal.

You could say that Aggie's art is just as adventurous as Aggie is herself. She loves to travel to new places and gaining
new experiences. Each of these journeys influences Aggie's landscapes art. She discovered her love to paint en plein
air after taking part in the Pintar Rapido Competition in London in 2017. Since then she relishes the opportunity to
take part in competitions of this nature.

However, landscape is just one of two main subjects that the artist puts most of her time into. The other and just as
important is figurative art which is always crossing Aggie's portfolio. Moreover, she regular takes part in life drawings
events in her local town. Now she can't let a week go by without creating something new.

Aggie has already exhibited in many places in Around Manchester, Derbyshire, Yorkshire as well as London at the
Pebeo Art Exhibition.

Notes:

1
Artwork 1 Title: Stop Suicide
Artwork 1 Dimensions: 100x100x4
Artwork 1 Medium: Mixed Media
Artwork 1 Commentary: This artwork was inspired by the number of suicides that happen on motorways on my daily
route to work alone. Driving in those places and seeing posters with pictures of the people who gave up on they life,
sometimes hearing about they stories and how they were as humans, made me sad and emotional. It made me feel
guilty in a way and i wanted to create a simple piece of work that may make people stop for a minute and think
about. If one person would be nicer for a day, more optimistic for day that all it takes to sometimes change people
negative thinking.
The painting is done in mixed media on canvas but the part of human figure is cut out and replaced with drawings of
people in distress. I have sawed few parts to demonstrate that often our feelings are hidden inside and are not
allowed to bee seen by others. I think we should freed them and tell people how we feel, what we are getting
though in order to help our-self's and help others.
Artwork 1 Image:

2
3
Artwork 2 Title: Reflections
Artwork 2 Dimensions: 60x90x4
Artwork 2 Medium: Mixed media
Artwork 2 Commentary: This artwork is different than any other one I have done. It may be the mood I was in at that
time in my life, but this artwork can be taken on may level:
Level 1. The visual pleasure- personally I think it looks cool and you have to see it life, it changes colours due to the
light. It looks great in the morning and day time, but wait till the light get low, it reflect amazing colours. It is a great
artwork for colour lovers and music or computer enthusiasts.
Level 2. Meaning behind materials- easy to guess that I am reusing here CD Discs as well as leather belt, zip and
jewellery, crating and eco-inspired art, but one that looks great, so if you like art that reuse, reduce and recycle here
is something for you. (by the way this is new to me but I am thinking more about this, I love this Earth and I think
that shows in my landscape art and that's why I want to help to reduce the rubbish we though away).
Level 3. Spiritual meaning- I called this artwork 'Reflection' not because it reflect the light but because it reflects the
people who are looking at it (if its hanged low enough). Then there is a reflections of humans.
Level 4. The blood of many many artists that got lost in the music industry because it's so demanding, emotionally
and in any other way. Many great artists suffered and still are suffering depression and anxiety caused by the mass
media. They are pleasing us with they music but what do we do to help them?
Artwork 2 Image:

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5
Artwork 3 Title: The Star Abstract
Artwork 3 Dimensions: 40x50x1
Artwork 3 Medium: mixed media
Artwork 3 Commentary: The Star Abstract was created in July 2018. I used mixed media paints which gives fantastic
effects when mixed together and apply in different ways. To create the geometrical 3-D shapes I used little wooden
block. This painting is like little bright universe that can warm up and light up any room. I love looking at it. Each time
you can find new detail. This time the idea behind it is quite simple, make an interesting pattern, use warm colours
and crate an artwork that will make people feel positive and happy.
Artwork 3 Image:

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Catalogue3 ID0534
Artist ID: 0534

Artist Name: Asta Caplan


Website: www.astacaplan.com
IG: @astacaplan

Artist Statement: All of my painting has a root in the awe of visual beauty and fascination. As an artist I'm compelled
to further research by the sparks of light and it's play in my surroundings. Were I not an artist I would most likely
have pursued a study in natural science: thus the interest in nature and encounters with living individuals in their
own habitat. In the contemporary time of environmental insecurity I find the connection with and appreciation of
the presence of the other beings invaluable.

Notes:

1
Artwork 1 Title: Crossing Paths II - A Song of the Acacia and Sunrise
Artwork 1 Dimensions: 210x90x4cm
Artwork 1 Medium: Soft pastel on paper. mounted and framed
Artwork 1 Commentary: Crossing Paths II - A Song of the Acacia and Sunrise
Soft pastel on paper. mounted and framed
90 cm x 210 cm
2015

This work is part of a larger series of soft pastel paintings of animals I've studied in the wild during my travels from
Mexico to South Africa. They are studies of individuals and encounters as well as the precarious state of some of
these species.

Artwork 1 Image:

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3
Artwork 2 Title: Crossing Paths VII - Ultramarine Migration I
Artwork 2 Dimensions: 140x100x4cm
Artwork 2 Medium: Soft Pastel on Paper, mounted and framed
Artwork 2 Commentary: Crossing Paths VII - Ultramarine Migration I
Soft Pastel on Paper, mounted and framed
140 cm x 100 cm
2016

This work is part of a larger series of soft pastel paintings of animals I've studied in the wild during my travels from
Mexico to South Africa. They are studies of individuals and encounters as well as the precarious state of some of
these species. The underwater element makes this part of the series very special to me as an artist.

Artwork 2 Image:

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Artwork 3 Title: Crossing Paths VIII - One of 65 (King Cheetah II)
Artwork 3 Dimensions: 140x100x4cm
Artwork 3 Medium: Soft Pastel on Paper, mounted and framed
Artwork 3 Commentary: Crossing Paths VIII - One of 65 (King Cheetah II)
Soft Pastel on Paper, mounted and framed
140 cm x 100 cm
2016

This work is part of a larger series of soft pastel paintings of animals I've studied during my travels from Mexico to
South Africa. They are studies of individuals and encounters as well as the precarious state of some of these species.
This part is particularly rare as this genetic mutation of the cheetah was at the time of this painting only present in
65 individual cheetahs in the world.
Artwork 3 Image:

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Catalogue3 ID0536
Artist ID: 0536

Artist Name: Balal Aquil


Website: www.balalaquil.com
IG: balalaquil

Artist Statement: Aquil examines his cultural identity, biography and global social trends. He reframes his
“otherness― through the conduit of paintings and collages and explores his Pakistani-Kashmiri heritage and
British nationality through images with open narratives, interweaving aspects of his perspective with various
influences from current economic and current day culture as well as from Persian-Mughal miniatures, Japanese
prints and Kashmiri shawls.

Notes:

1
Artwork 1 Title: What Did the Wise Man Say?
Artwork 1 Dimensions: 60x42 cm
Artwork 1 Medium: Oil and Giclee on paper
Artwork 1 Commentary: A Mughal inspired painting combining a European Western abstracted aesthetic is
combined with the root of the Mughal tradition in form, colour and composition, as well as flatness and on paper.
We all seek guidance from others on various issues in life. We seek meaning and have questions about happiness
and fulfilment. The abstracted figure on the left seeks direction from what appears an elderly man. The question
remains, what indeed did the wise man advise. This is left for each viewer to consider and think further whilst
examining the painting or think about after so it leaves a lasting impression on the audience.
Artwork 1 Image:

2
3
Artwork 2 Title: Of Fallen Kingdoms
Artwork 2 Dimensions: 82 x 54
Artwork 2 Medium: Collage, Oil and Giclee on Wasli handmade paper
Artwork 2 Commentary: A hybrid world of Mughals, royal splendour, collaged into these characters and tigers
approaching the court makes reference to a Kingdom which was once was at the height of its rule, subject to change.
The art considers ideas of identity, hybrid cultures, a combination of past and present using the form of paint and
collage as well as to consider what happens when a nation (such as the UK) leaves the European Union. Will this be
a fallen kingdom? and what does global history teach us? We are transported into this new quasi world which raises
interesting questions as well as uses new mediums combined together for an interesting aesthetic.
Artwork 2 Image:

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Artwork 3 Title: Blue Mountain
Artwork 3 Dimensions: 60x42 cm
Artwork 3 Medium: Oil and Giclee on paper
Artwork 3 Commentary: An abstract Persian-Mughal inspired miniature sees a gathering on a mountain recalling of a
time where humans interacted with each other, sat and enjoyed their time, meeting and walking together enjoying
nature. The current technological trends and social media as well as work pressures is removing us as a society so
far away from basic human relations. Is this a past forgotten? or should we as a society be taking measures to
continue to encourage the growth of human interaction. The subject of the painting is abstracted as this is the way
we possibly remember the past - a blurring of tradition. The title "Blue Mountain" is inspired by Annie Proulx short
story "Brokeback Mountain" and the film which shares the same name - which feeds into an element of one
narrative of this work. The painting is flat and on paper following the cultural root and tradition of the artist - being
from Mughal Kashmir ancestry.
Artwork 3 Image:

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Catalogue3 ID0537
Artist ID: 0537

Artist Name: Lali Torma


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

Artist Statement: In my calligraphic ink drawings, I generate new images from repetitive movements as
representations of the subconscious. The movements are simple, looking for primal impulses of expression, so as to
dissolve the complexity, restrictiveness and ambiguity of the language and of the figurative imagery. The result of
this transcendental quest away from intellectualism resembles a “surface―, or a “membrane― with a
profound emotional behavior. There is no figurative interpretation, the artworks are abstract and may resemble
landscapes, geological formations, elemental structures, organic membranes, or vibrational fields. But, in the end,
they are only inner states which crave being discovered.

Born in 1975 in communist Romania, I immigrated to Canada at the age of 19 years old. From political restrictions to
excessive economic focus, survival seemed to be a function of skilful ideological understanding and adaptability to
the system. My mathematical training became a foundation for a career in finance and this time consuming trade let
little time for a deeper personal inquiry. Nevertheless, the inquiry came (and it is still going on). I turned to art in
2003 at the age of 28. It was at first a desire to find more balance in my life, but it gradually became an internal
questioning method. And after years of “art by doing―, I am finally closer to some kind of understanding: I do
not draw to render an image, but to ask a question.

Lali Torma - Romanian-Canadian, b. 1975, OneÅŸti, Romania, lived in Montreal, Canada, based in Berlin, Germany

Notes:

1
Artwork 1 Title: Blauer Schutzmantel (Blue Cloak)
Artwork 1 Dimensions: 156x110x0.1
Artwork 1 Medium: Ink on paper
Artwork 1 Commentary: “Blauer Schutzmantel― is part of the new ink drawing series called “Dense
Blue―. The series started organically from my “Darker― series. The initial motionless surface is transformed
by a softer flowing movement, like water infiltrating earth and beginning to move it around. The surfaces are fluid
although they keep a mud like slowness resembling more heavy textiles and quiet large rivers. The subconscious
starts to move from its deep folds attempting to change old and fixed ideas into more fluid and adaptable
experiences.
“Blauer Schutzmantel― resembles a water surface but it has an emotional connection with the protective
qualities of the blue color. As Mary’s blue cloak protects children, the ocean and the atmosphere protect the
Earth.

Artwork 1 Image:

2
3
Artwork 2 Title: Blue Pinch
Artwork 2 Dimensions: 84.1x59.4x0.1
Artwork 2 Medium: Ink on paper
Artwork 2 Commentary: “Blue Pinch― is part of the new ink drawing series called “Dense Blue―. The
series started organically from my “Darker― series. The initial motionless surface is transformed by a softer
flowing movement, like water infiltrating earth and beginning to move it around. The surfaces are fluid although
they keep a mud like slowness resembling more heavy textiles and quiet large rivers. The subconscious starts to
move from its deep folds attempting to change old and fixed ideas into more fluid and adaptable experiences.
“Blue Pinch― starts as a surface resembling textile and transitions to a wavy organic surface. A somewhat fixed
structure unfolds freely making a connection between the material and the ephemeral.

Artwork 2 Image:

4
5
Artwork 3 Title: Teal Tide
Artwork 3 Dimensions: 84.1x59.4x0.1
Artwork 3 Medium: Ink on paper
Artwork 3 Commentary: “Teal Tide― is part of the new ink drawing series called “Dense Blue―. The series
started organically from my “Darker― series. The initial motionless surface is transformed by a softer flowing
movement, like water infiltrating earth and beginning to move it around. The surfaces are fluid although they keep a
mud like slowness resembling more heavy textiles and quiet large rivers. The subconscious starts to move from its
deep folds attempting to change old and fixed ideas into more fluid and adaptable experiences.
“Teal Tide― had only a few fixed points on the side to keep the resemblance of a structure, and the lines
moved freely between the points. The surface created may be glossy water but it shapes an emotional state.

Artwork 3 Image:

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Catalogue3 ID0538
Artist ID: 0538

Artist Name: Momo Meng


Website: www.momomeng.com
IG: www.instagram.com/momomengart

Artist Statement: I love exploring deep emotions of humans and animals, expressing them in my art. I create my
works to be the voice for the voiceless,the powerless, the hopeless, in order to fight against the absurd, the violence
and the inequalities. I wish my creations could raise audience's awareness, be the standing point for all of us to fight
for a better future, a better society which has variety, equality, healthy environment, and respect for all living beings.

Notes:

1
Artwork 1 Title: The Machine
Artwork 1 Dimensions: 157cmX62cmX5cm
Artwork 1 Medium: Digital fine art print
Artwork 1 Commentary:
“The Machine― touches many aspects of our society, including social values, environmental crisis, pollution,
animal cruelty, slave labour, war, poverty and so on. As you can see, our society is extremely vulnerable. We are
depending on that last tree to hold the balance of the whole structure, yet we are chopping it; we need a solid
foundation to function properly, yet we are bombing it; we are wiping out other species and killing unnecessary
lives, just so we can dump them away as garbage, meanwhile leaving the other side of the world rot to death from
hunger and poverty; we need variety to feel alive, yet we allow the society to feed us these shallow formulas of
success and happiness.

“The Machine― is my voice for the voiceless,the powerless, the hopeless. I want to use it to fight against the
absurd, the violence and the inequalities. May it also raise your awareness, be the standing point for all of us to fight
for a better future, a better society which has variety, equality, healthy environment, and respects for all living
beings.
Artwork 1 Image:

2
3
Artwork 2 Title: Breeding Lab
Artwork 2 Dimensions: 50cmX40cmX5cm
Artwork 2 Medium: Digital fine art print
Artwork 2 Commentary: “Breeding Lab― is the first part of my theme creation “The Trilogy of Society―.
The rest two parts of this theme are “The Machine― and “The Prison―.

“Breeding Lab― is a bizarre work. It was created to ask this provoking question: Are we truly the fruits of love,
or are we simply just productions of our society?

In “Breeding Lab―, human babies are produced from the tree of uterus inside of a snow globe shape
laboratory, which is owned by the Society Corporation. The lab serves the great duty to keep our society machine
running by providing it continuous new fuel to burn. Hundreds of thousands newborns were produced and flushed
down the fuel pipeline every single day to fulfill that great duty. The newborns were told they were the future. They
were promised hope, wealth, glory and power someday. They were allowed to dream big, because our materialistic
society adores children and flatters the youth. But one day, on the path of growing up, our society stops adoring us,
it starts to teach us to serve the “right― roles, do the “right― things at the “right― times, be realistic
and not dreaming. Day by day, we will gradually burn out and get discarded like waste simply just by getting old.

Anyhow, as we are approaching the AI era, young population is not as golden as it used to be. Over population turns
into a burden to our society, by then, we can’t even reach getting old to be discarded, when we were born, we
already will be cast away through the waste outlet from the “Breeding Lab―.
Artwork 2 Image:

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5
Artwork 3 Title: Seek Shelter Immediately
Artwork 3 Dimensions: 50cmX40cmX5cm
Artwork 3 Medium: Digital fine art print
Artwork 3 Commentary: Don’t you think our society is very similar to The Walking Dead? Same chaos, same
brutality, same despair, the only difference is that in real life the living dead are not hungry for blood & flesh.
They’re more drawn to smartphones, smartwatches and tablets, making massive kills simply by
indulgence,ignorance, neglect, numbness, selfishness and silence.

An artistic form of expression criticizing smartphone addiction does not equal saying the development of technology
is bad. There's a fine line between using technology properly and misusing it. You should make friends with
technology, not be a slave to it. And this is what my work tries to express.
Artwork 3 Image:

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7
Catalogue3 ID0540
Artist ID: 0540

Artist Name: Martha Ellis


Website: www.marthaellis.co.uk
IG: www.instagram.com/marthaellisart

Artist Statement: Martha Ellis is inspired by natural and urban landscapes, exploring positive and negative space, and
the challenge of using laser technology to create cut out drawings.

Ellis is greatly influenced by nature, particularly how it contrasts and compliments manmade forms and architecture.
Having grown up in Marsden, West Yorkshire, her early works drew inspiration from the iconic Yorkshire Pennines -
dry stone walls, woollen mills and terraced houses interwoven with fields, moorland, wild flowers and rivers. Her
more recent work investigates the juxtaposition between constructed buildings and nature in her drawings based on
her visits to Kew Gardens and the Royal Botanic Garden Edinburgh.

An ever-growing fascination in reducing complex scenery down to more simplified lines and block colours has been
inspired by the work of Julian Opie and Michael Craig-Martin. All Ellis’ pieces start with pencil and paper as she
spends hours drawing from life in her sketchbook. She re-creates these line drawings on the computer, painstakingly
adding detail until she is finally happy. Using laser technology, Ellis then cuts out the drawing, creating eye catching
and intriguing pieces. Her unique wooden laser cut drawings are hung directly onto the wall where they cast
beautiful shadows which vary depending on strength of light, cloud or time of day, a deliberately interactive and
living aspect to her art.

Notes:

1
Artwork 1 Title: 'Water Lilies'
Artwork 1 Dimensions: 59/42/1 cm
Artwork 1 Medium: laser cut MDF drawing
Artwork 1 Commentary: ‘Water Lilies’ is part of Martha Ellis’ Botanical series along side two other laser cut
drawings, inspired by her visits to Kew Gardens and Botanical Gardens, Edinburgh. Ellis is fascinated with the
juxtaposition between constructed buildings and nature within and around the glasshouses. Obsessed with the
challenge of reducing complex scenery down to more simplified lines and block colours, Ellis plays with
positive/negative space to create intriguing and delicate drawings which float in front of the wall.

Each drawing is in an edition of 50

Artwork 1 Image:

2
3
Artwork 2 Title: 'Cactus House'
Artwork 2 Dimensions: 59/42/1 cm
Artwork 2 Medium: laser cut MDF drawing
Artwork 2 Commentary: ‘Cactus House’ is part of Martha Ellis’ Botanical series along side two other laser
cut drawings, inspired by her visits to Kew Gardens and Botanical Gardens, Edinburgh. Ellis is fascinated with the
juxtaposition between constructed buildings and nature within and around the glasshouses. Obsessed with the
challenge of reducing complex scenery down to more simplified lines and block colours, Ellis plays with
positive/negative space to create intriguing and delicate drawings which float in front of the wall.

Each drawing is in an edition of 50

Artwork 2 Image:

4
5
Artwork 3 Title: 'Glass House'
Artwork 3 Dimensions: 59/42/1cm
Artwork 3 Medium: laser cut MDF drawing
Artwork 3 Commentary: ‘Glass House’ is part of Martha Ellis’ Botanical series along side two other laser cut
drawings, inspired by her visits to Kew Gardens and Botanical Gardens, Edinburgh. Ellis is fascinated with the
juxtaposition between constructed buildings and nature within and around the glasshouses. Obsessed with the
challenge of reducing complex scenery down to more simplified lines and block colours, Ellis plays with
positive/negative space to create intriguing and delicate drawings which float in front of the wall.

Each drawing is in an edition of 50

Artwork 3 Image:

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7
Catalogue3 ID0541
Artist ID: 0541

Artist Name: Seungwon Jung


Website: https://www.jungseungwon.com/
IG: @jung.seung.won

Artist Statement: My practice is focused on how people perceive time and past in the context of space. I explore and
investigate how our perception situates time in relation to space: the distortion and gap we sense in
memories—skipping and stretching temporal distance within the coordinates of our timeline.
My work involves contradictions and duality. However, I seek to discover how the two contrary layers can stand
together and overlap each other, rather than denying or removing one side. It is about creating tangible
representations of the intangible layers and an effort to define the indefinable.

Notes:

1
Artwork 1 Title: Memories Full of Forgetting
Artwork 1 Dimensions: 115 x 172 cm
Artwork 1 Medium: installation, digital print on fabric unthreaded by hand, magnet, paper, rock
Artwork 1 Commentary: Space can be found in the most concrete of objects—but there is also intangible space,
gaps in our own cognitive processes: memory distortions often mislead our own beliefs of the past, and our
understanding of the pathways in the human brain is still incomplete.

Memories Full of Forgetting (2017-2018) focuses on how people perceive memory in the context of space. I print
fragmental photographic images on fabrics, destruct them by removing the threads and again stitch them back,
collected the fragments layer by layer. Empty space and accumulation is central to my work. I begin with a complete
object—a length of fabric—and chip away it’s physical presence. Through the creation of empty space and
accumulation, I consider the gaps in our existence, memory and consciousness. The pulled out threads embody both
the process of forgetting as well as the imperfect form of retained memories. By stitching back the extracted strands,
reminiscences gather to reconstruct a storage of oblivion full of memories. My process highlights the omissions in
our knowledge, but also the ways their remaining traces can unconsciously influence how we shape the past.
Artwork 1 Image:

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3
Artwork 2 Title: Time Grid
Artwork 2 Dimensions: dimensions variable
Artwork 2 Medium: penciled grid on wall, wood, woolen thread and digital print on fabric
Artwork 2 Commentary: Time Grid (2018) is part of my ongoing exploration of how people perceive time and past in
the context of space. Above the pencilled grid, wooden frames and surfaces are draped, wound around with fabric
and thread. The source images printed on fabric are abstracted photographs—taken in different time and
dates—of the same view that I could see through the fluted window.
Using the compositional logic of the grid as a template, I explore and investigate how our perception situates time in
relation to space: the distortion and gap we sense in memories—skipping and stretching temporal distance within
the coordinates of our timeline.
Artwork 2 Image:

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5
Artwork 3 Title: Siccar Point
Artwork 3 Dimensions: 110 x 148 cm
Artwork 3 Medium: pigment print on paper (digital photograph converted to hand-knotted rug pattern)
Artwork 3 Commentary: Siccar Point (2018) considers the geological time in relation to personal time. Strata is the
vertical history of earth. Faults and folds, weathering and erosions leave traces on geological layers. These records
allow us an observation of the past and present, the distortion and gaps between them.
The work contains layers of interoperating analogue and digital representations. Using a software, I generated a
knotting rug pattern of a strata. A knot functions as a pixel. Each cell of the pattern is identical to a knot of the rug,
and each letter indicates the colour of the yarn. Making a knotted rug by hand from a digital image, the grid
becomes the structure of the work itself. Personal time and labour weaves into the image of geological layers.
Artwork 3 Image:

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Catalogue3 ID0543
Artist ID: 0543

Artist Name: Nicolas Laborie


Website: http://www.nicolaslaborie.com
IG: https://www.instagram.com/nicolaslaborie

Artist Statement: Work from the Suffragettes : Millennial rebels series.

The Suffragettes : Millennial rebels is part of a photographic series about the suffrage movement in the UK.

The movement is a women's organisation in the late-19th and early-20th centuries which advocated the extension of
the the right to vote in public elections, to women. The Suffragettes were militants who fought and even died for the
cause.

To celebrate the 100 years anniversary for the vote for women in UK - Representation of the People Act 1918, the
series is presented in an historical photographic process created in the 19th century - wet plate collodion
photography.

The project invited young millennial women aged 16 to 20 years old to pose as some of the Suffragettes who fought
for the right to vote for women in UK and reflect on what the anniversary means to them.

In The Suffragettes : Millennial rebels These young women wore vintage Victorian and Edwardian clothes but also
unique creations : The hats were designed and created especially for the series by milliner Claire Strickland as a
collaboration.

Notes:

1
Artwork 1 Title: Josephine: Suffragette Millennial rebel
Artwork 1 Dimensions: 42 x 57 x 1 cm
Artwork 1 Medium: Giclee print on Hahnemühle German Etching paper from a wet plate collodion tintype
Artwork 1 Commentary: The young Josephine, 11 years old as Rose Elsie Howey, a militant activist with the Women's
Social and Political Union and was jailed at least six times between 1908 and 1912.

Artwork 1 Image:

2
Artwork 2 Title: Rachel as princess Sophia Duleep Singh
Artwork 2 Dimensions: 21.5 x 16.5 x1 cm
Artwork 2 Medium: Wet plate collodion tintype
Artwork 2 Commentary: The young Rachel, 20 years old as Sophia Duleep Singh, Sikh princess, god daughter to
Queen Victoria and seller of The Suffragette newspaper.
Artwork 2 Image:

3
Artwork 3 Title: Josephine as Joan of Arc patron saint of the Suffragettes
Artwork 3 Dimensions: 42 x 57 x 1 cm
Artwork 3 Medium: Giclee print on Hahnemühle German Etching paper from a wet plate collodion tintype
Artwork 3 Commentary: Rose Elsie Howey dressed as Joan of Arc in a full set of armour on horseback during
demonstration.

Joan of Arc being the patron saint of the suffragettes.


Artwork 3 Image:

4
Catalogue3 ID0544
Artist ID: 0544

Artist Name: Micah Hooks


Website: micahmorel.cc
IG: @micahmorelart

Artist Statement: Micah Morel, the son of an American missionary and an N. Irish musician, works as a
multidisciplinary visual artist based in Southwest London. His work explores the subjects of belonging and the lasting
effect of experience.

Micah was heavily influenced by his frequent childhood trips from the conservative, modest lifestyle of Europe to
the glamorous excesses of the American behemoth. Subsequently his time in Greece working with refugees from the
Middle East provoked him to comment on the increasing trend of shrouding current global, social and political issues
in statistics and rhetoric. By providing a real human perspective Micah seeks to demonstrate the existential risk with
it's lasting consequences for everyone involved.
Challenging the ideas of “victory―, “individualism― “change― or “success―, he asks ‘Are we
really as powerful or progressive as we think we are? Is our claim to value life reflected in our actions or are some
lives more valuable than others?’

Notes:

1
Artwork 1 Title: MOAB
Artwork 1 Dimensions: 76cm x 122cm
Artwork 1 Medium: ACRYLIC on canvas
Artwork 1 Commentary: On 13 April 2017, the United States conducted an airstrike. It used for the first time, the
largest non-nuclear bomb in its arsenal. The MOAB, (GBU-43/B Massive Ordnance Air Blast), nicknamed the Mother
Of All Bombs. The target was said to be launch to destroy underground Cave systems hiding Isis militants. The exact
death toll was unclear. Based on a still taken from the aerial targeting system, Micah preserves a moment of
utilitarian, mundane, and impersonal, destruction.
The bomb was seen by some as an act of American posturing or a military experiment. Micah was struck by the
triumphant attitude of the US Government and media. He questioned whether this kind of destruction should ever
be celebrated no matter who its targets are.
The Incongruous title provides the ultimate irony.

Artwork 1 Image:

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3
Artwork 2 Title: Girl with a Cat
Artwork 2 Dimensions: 152cm x 107cm
Artwork 2 Medium: oil & acrylic on canvas
Artwork 2 Commentary: Micah met the girl with the cat in 2017 in Malakasa camp in Greece, as he was working with
refugees from the Middle East. She spoke to him about Kurdistan and the uncertain status of her people. Meanwhile
the cat she had found in a ditch behind her hut slumped listlessly in her arms.
Artwork 2 Image:

4
Artwork 3 Title: SHAME
Artwork 3 Dimensions: 110cm x 183cm
Artwork 3 Medium: Hammerite, oil & gold leaf on panel
Artwork 3 Commentary:
Based around the 2013 news and You tube reports surrounding the Japanese singer Minami Minegishi who broke
the strict code of conduct demanded in her girl band contract. Apologising to the public for her liaison with a
member of a boy band, she shaved her head and was publicly shamed. The price of her career as a member of the
pop band is highlighted in the gold letters which spell the word 'success'. Umbilically linked to her however, is the
monster that is big brother and those who seek to control everything she does
Artwork 3 Image:

5
Catalogue3 ID0545
Artist ID: 0545

Artist Name: Marco Sanges


Website: https://www.sangesstudio.com/
IG: https://www.instagram.com/sanges_studio/

Artist Statement: At the early age I started to work at my uncle’s photographic lab and became fascinated by the
crafts and the process of developing and printing black and white photography. Greatly attracted to cinema and in
particular the luminous Black and White films of the silent era, I create photographs in sequence. Every sequence
tells a unique, multi-layered story, creating a highly personal, imaginary cinema. Bigger than life characters and
stories lavish costume and the core, reminiscent of Surrealism and especially the Visual and Performing Arts of the
‘20s and ‘30s I sets the scene, as a scene in a film unfolds a story. Magnifying imagination beyond imagination
there is dedication to the often-elaborate projects that are staged as a live theatrical performance. The surrealistic
feel of my work represents the liberation of the unconscious, as a means to create art outside the boundaries of
official culture, the rejection of established values and a concrete effort to illustrate extreme mental states,
unconventional ideas, or elaborate fantasy worlds, There is also an enchanting, yet dark side, to my work, an
intriguing depth that appears to be destined to highlight the drama of life and capture the sincerity of the journey,
the scenes of intimacy that confront human vulnerability, challenging our own fragility. My work makes the
spectators enter an emotional journey and loose themselves in the narrative, visual richness and the power of story
telling.
Although fascinated by digital arts, I strongly believe in the immortality of film, the real essence of photography. I
work with a 6x7 camera, and always expects the pictures to be perfect at the first raw.

Notes:

1
Artwork 1 Title: Wunderkamera n 5
Artwork 1 Dimensions: 80x90 in cm
Artwork 1 Medium: Photography
Artwork 1 Commentary: This picture is part of series that I was working on called Wunderkamera , It s an analogue
image , no retouch, no cropping straight from the negative.
I wanted to play with virtual reality by mixing elements. superimposes them in multiple layers, ​
The resulting compositions reveal the various states of consciousness of the character and explore the dualities
between content and absence, space and surface creating a scene from a imaginary world.​
​
From new kinds of compositions and perspectives to photomontage, technical experiments, and staged scenes, I
wanted to rediscover the range and multifacetedness of photography between the real and the surreal.​
I use photography as a medium to explore the unconscious and fantasy realms.
Artwork 1 Image:

2
3
Artwork 2 Title: Rome series
Artwork 2 Dimensions: 80x90 in cm
Artwork 2 Medium: Photography
Artwork 2 Commentary: This picture is part of series that I was working on , It s an analogue image , no retouch, no
cropping straight from the negative.
I wanted to play with virtual reality by mixing elements. superimposes them in multiple layers, ​
The resulting compositions reveal the various states of consciousness of the human nature and explore the dualities
between content and absence, space and surface creating a scene from a imaginary world.​
​
From new kinds of compositions and perspectives to photomontage, technical experiments, and staged scenes, I
wanted to rediscover the range and multifacetedness of photography between the real and the surreal.​
I use photography as a medium to explore the unconscious and fantasy realms.
Artwork 2 Image:

4
5
Artwork 3 Title: Wundrkamera n 6
Artwork 3 Dimensions: 80x90 in cm
Artwork 3 Medium: Photography
Artwork 3 Commentary: This picture is part of series that I was working on called Wunderkamera , It s an analogue
image , no retouch, no cropping straight from the negative.
I wanted to play with virtual reality by mixing elements. superimposes them in multiple layers, ​
The resulting compositions reveal the various states of consciousness of the human nature and explore the dualities
between content and absence, space and surface creating a scene from a imaginary world.​
​
From new kinds of compositions and perspectives to photomontage, technical experiments, and staged scenes, I
wanted to rediscover the range and multifacetedness of photography between the real and the surreal.​
I use photography as a medium to explore the unconscious and fantasy realms.
Artwork 3 Image:

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7
Catalogue3 ID0549
Artist ID: 0549

Artist Name: Adriana Florea Baloiu


Website: https://www.adrianafloreabaloiu.com/
IG: https://www.instagram.com/adriana_baloiu/

Artist Statement: Starting with a state of constant contemplation upon human mind and behavior mixed with a
playful, but satirical point of view, my work illustrates stereotypes such as absurdism, superficiality, mass thinking,
historical obedience, mindless conformity as portrayal of society, pointing to nonsense, deviation and contradiction.
Following childhood memories with an interrogative, paradoxical melancholic eye, my visual discourse places itself
on an introspective perspective set between emotional and rational, reality and fantasy, from a micro-personal
context to general issues. Work strategies and research methods both fall under the same common interest in
contemporary criteria: creative, spontaneous, experimental, interdisciplinary, post conceptualist approach. Mediums
of visual exploration expands from painting, photograph, sculpture, collages, objects, installation to digital media.

Notes:

1
Artwork 1 Title: My work is finally unfinished
Artwork 1 Dimensions: 190x90x30
Artwork 1 Medium: Installation - welded wire, various iron elements
Artwork 1 Commentary: "My work is finally unfinished" speaks about the contradiction between human limits and
the endless resources of our mind. The chosen materials are used as metaphors to illustrate the human open cage.
The installation has two layers, one made from found/used pieces of iron attached on a welded wire mesh panel and
another one mirroring the first one though a game of lights and shadows creating a dialogue.

The title of my work is inspired from 'A monologue by Marcel Duchamp and/or Rrose Sélavy' by Marcel Duchamp.
Artwork 1 Image:

2
Artwork 2 Title: Echo
Artwork 2 Dimensions: 100x85x4
Artwork 2 Medium: Digital art, Lambda print on aluminium
Artwork 2 Commentary: "Echo" continues my series "Recipes Incubator", my latest solo project exhibited in 2018 at
the Romanian Cultural Institute in Lisbon. This series of works proposes a satire of behavioral patterns, human
psychology, as derivatives of the social mechanism, through a ludic monologue through which all fears and
obsessions about our inner and outer boundaries and the human sisyphic character come to life.

The show of the world is the show of the individual. One’s inner rhythm, assimilated by the constant, repetitive
outside rhythm, with the unchangeable grotesque voluptuousness, marks for me the pretext of traveling to
childhood, and borrow from memories a child’s gestural freedom to portray the unconditioned conformism that
is gradually setting up in our evolution.
Artwork 2 Image:

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4
Artwork 3 Title: Fashion police brainstorming in Bahamas
Artwork 3 Dimensions: 50x45x2
Artwork 3 Medium: Digital art, Lambda print on pvc
Artwork 3 Commentary: "Fashion police brainstorming in Bahamas" speaks about social conventional patterns often
defying the absurd, laying in a never ending unchanging uniform. This amuses me, makes me sad and intrigues me. I
ironically reject them and seek a refuge in a childlike space: simple, colorful, ludic.

Artwork 3 Image:

5
Catalogue3 ID0551
Artist ID: 0551

Artist Name: Kate Fulford


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

Artist Statement: My background has always been in photography. I went to art college in the 80s and studied
fashion design but found while there that I was happier doing photography.
After leaving college I trained in social photography and specialised in weddings and portraiture where I stayed for
the next 25 years.
Since moving to Somerset 15 years ago I have been drawn to a more artistic form of photography. I fell in love with
the beautiful landscape in and around Glastonbury.
While on many walks with my dog Rusky I have always been amazed how the light around here changes and how it
seems to take on an almost ethereal quality.
I wanted to somehow relay this positive energy from an image that would call out to a person's deeper side and give
them a feeling of magic and warmth to lift their spirit!
I have always felt a strong connection to the Galactics and feel their energy working through me while creating my
final images in my digital art. I use photography and digital software to create most of my pictures. I want to create
work that gives a positive and healing energy that is felt by all that views it.

Notes:

1
Artwork 1 Title: 5D Galactic Dream
Artwork 1 Dimensions: 76 x 102 x 1.2
Artwork 1 Medium: Chromoluxe Fine Art Printing
Artwork 1 Commentary: Photography and digital art mixed media.
Originally taken on camera of clouds. I am very interested in cloud formations and the barrier between the universe
and our 3D planet . My vision is a world in 5D, a world where we vibrate so highly that the dark and chaos will no
longer be able to exist any longer.
5D Galactic Dream is a powerful image that will bring a feeling of positive hope and calm and will transform any
space just with its presence.
Artwork 1 Image:

2
Artwork 2 Title: Blue Crystal Bowl Energy.
Artwork 2 Dimensions: 76 x 102 x 1.2
Artwork 2 Medium: Chromaluxe Fine Art Printing
Artwork 2 Commentary: Photography and digital art mixed media.
Originally taken on camera inside a blue crystal bowl (ones used for healing).
I wanted to use the healing energy and colours and infuse them into this picture with codes from the Galactics. This
would give a powerful energy to heal the mind body and Spirit. A powerful image to infuse and create a healing and
positive space.

Artwork 2 Image:

3
Artwork 3 Title: Egg of Revolution.
Artwork 3 Dimensions: 76 X 102 x 1.2
Artwork 3 Medium: Chromoluxe Fine Art Printing
Artwork 3 Commentary: Photography and digital art mixed media .A spiritual Red pill to awaken and transform your
perspective of life in the Matrix.
Infused with awakening codes and in red pill red, a powerful and positive picture to give us hope that positive
change on our planet is possible
We only need to free our Minds and believe.
Artwork 3 Image:

4
Catalogue3 ID0553
Artist ID: 0553

Artist Name: Chelsea Theilmann


Website: www.chelseatheilmann.com
IG: @chelslikescats

Artist Statement: My research primarily focuses on cognitive neuropsychology and how the mind reacts to our
environment. Specifically, I am interested in how those who suffer from different mental disorders view the world
differently and navigate life. As someone who not only has diligently researched and studied this topic, I am also
personally affected by mental illnesses. I am interested in mirroring mine and others experiences within my artwork
through paintings on canvas and in the expanded field. With my artwork, I want to remove the negative stigma that
surrounds mental illness and illustrate the complexities of the mind.

Notes:

1
Artwork 1 Title: So, you know I have bipolar?
Artwork 1 Dimensions: 120 x 120 cm
Artwork 1 Medium: Oil paint and glitter on MDF panel
Artwork 1 Commentary: 2019

Navigating the dating world with a mental illness is a daunting task. When exactly is the right time to casually
mention you have manic depression?

Artwork 1 Image:

2
Artwork 2 Title: A Wise Man Once Said, "It Does Not Matter"
Artwork 2 Dimensions: 200 x 160 cm
Artwork 2 Medium: Oil paint and pressed flowers on linen
Artwork 2 Commentary: 2018

This painting was about the process of mirroring a recent event that occurred in the US. (Dr. Christine Blasey Ford vs.
Judge Brett Kavanaugh) and President Trump's lack of empathy afterwards.
​
I have my subject matter. I researched, analyzed, grid, and broke down section by section every part of my subject. I
needed to get what I think is an accurate representation in a short amount of time. One morning I went out and
bought fresh flowers, they had already been slowly dying over time, so it didn’t matter what I was about to do.
By evening that same day their lifelines’ were detached and they were stripped of all moisture from their petals.
They appeared alive yet were dead.
I covered up key components to the subject, because after all, the subject doesn’t matter, even if the portrayal
was true to point. I even went as far to display the subject matter to anyone and everyone to see, so that they could
come up with their own judgments and conclusions.

Artwork 2 Image:

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4
Artwork 3 Title: I forgot to take my meds today
Artwork 3 Dimensions: 275 x 275 cm
Artwork 3 Medium: Glitter and EL wire on MDF panel
Artwork 3 Commentary: What if you’re put into a space that is familiar, yet feels unfamiliar; a surrounding that
you’re acquainted with, but you’re dissociated? Ordinary objects and scenery appear extraordinary, and
perhaps overwhelming at times; to be at ease yet overstimulated all at once. Details that are often overlooked
become magnified and arousing. What would it be like to walk into a room that is a hyperreality? Welcome to the
world of mental illness.

Mental disorders such as dissociative disorder, anxiety, ADHD and bipolar are all affected drastically by our
environment and normal objects are perceived in a co-mingling of what is real and what is fiction. Adding an element
of intensity to simplistic objects is my way of creating my personal experiences.

The aim of this project is to address the following: Whether an excessive environment will disgust or appeal to the
viewer. Will these otherwise disregarded details be appreciated more or become unbearable? How will a hyper-
atmosphere feel for those who don’t experience it every day?

Artwork 3 Image:

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Catalogue3 ID0554
Artist ID: 0554

Artist Name: Sue Wodarzik


Website: not yet
IG: @shewalksin_beauty

Artist Statement: My artist name "She walks in beauty" is inspired by the poem "She walks in beauty" by Lord Byron.
It has always been my heart's desire to create beauty in this world.
Authentic beauty. For me, creating art and creating beauty is the truest expression of my soul essence.
It is a sacred act. I consider myself to be a vessel for the "creative downloads" that I receive. My work is completely
intuitive and soul based. There is nothing more fulfilling and satisfying than allowing myself to receive these
downloads and to open myself up completely for the wonderful inspiration.
The most challenging aspect of this work is to trust, to let go of control . Once I have come into this state of allowing
, the divine can flow through me and I am merely the "servant" of this creative flow.

I have started painting in autumn 2017 and have resisted it for a long time, which was truly painful. But the urge to
paint became so strong, the calling could no longer be ignored and since last summer I have become completely and
utterly absorbed in painting because this is what have wanted to do for such a long time but didn't dare to.
So, I am literally and "emerging artist" . I don't even have a webside yet. I hope that this is not an impediment for
this competition.

Notes:

1
Artwork 1 Title: Womb Wisdom
Artwork 1 Dimensions: 100 x 70 x 2 cm
Artwork 1 Medium: canvas, acrylic paint
Artwork 1 Commentary: This painting was triggered by the hashtag #metoo.
It is raw and expresses all my anger, fury, the sadness, shame and grief I went through after I had heard about the
hashtag for the first time.

I called it "womb wisom" because that's where women store their hidden emotions, the ones they don't want to
deal with, the ones they are too afraid to look at... our wombs are wise and fertile and hold mysteries that go
beyond the spoken word.

Artwork 1 Image:

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3
Artwork 2 Title: In the depth of my heart
Artwork 2 Dimensions: 80 x 60 x 1,5 cm
Artwork 2 Medium: canvas, acrylic paint, water
Artwork 2 Commentary: The title of this painting tells it all.....

There is an infinite space in our hearts... it is very deep and quiet inside.... it is dark but there is also light... the light
enters through the cracks..... when we are brave enough to allow the pain to crack us open instead of resisting it.
Because the pain shows us where we are living against our heart's desires.
Feelings must be felt. The difficult ones as well as the easy and light ones.
There is also much room in our hearts for joy, happiness and bliss if we allow so... the colours indicate that... There
are so many different shades of red, dark , light, bright and the shining bronze.
The many different layers correspond to the multiple layers of our personality and also symbolize the growth and
evolution of our souls.
The little "bridges" inside the heart show that we are all connected on a collective level as humanity.

Artwork 2 Image:

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5
Artwork 3 Title: Alienation
Artwork 3 Dimensions: 40 x 60 x 0,3 cm
Artwork 3 Medium: Photography
Artwork 3 Commentary: We live in a society that is constantly telling us what to do, how to react, to be more than
what and who we are and that we are not enough the way we are. We are constantly evaluated, compared and
judged by other people and have completely lost touch with our soul's desires that we have reached a point of
alienation with our true selves.

We are so focused on the outside, we have become so attached to what other people think of us, we are so
dependent on the validation from the outside that we have lost touch with our own wisdom.

The feeling of alienation comes from constantly searching outside of us instead of focussing within and listening to
the wisdom of our heart and soul.

Artwork 3 Image:

6
7
Catalogue3 ID0558
Artist ID: 0558

Artist Name: Tamsin Relly


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

Artist Statement:
Tamsin Relly is a London based visual artist working across a range of media that includes painting, print-making,
textile and photography.

Relly’s practice reflects the increasingly disrupted environmental conditions associated with a shifting global
climate, and considers the erasure and construction of wilderness, whether for purposes of industry or leisure.
Recent work explores the relationships between wild and cultivated jungle environments; and the preservation of
these ecosystems through conservation remote green houses, and memory—be it personal, collective or held
within the land.

Drawing on both found media imagery and first-hand observations, Relly works with the fluid and unpredictable
qualities of her materials and processes to present impressions of natural and urban spaces in states of uncertainty
or impermanence.

Relly creates site specific installations with her paintings, drawings and prints. For example, a recent solo exhibition
'Imagining the Amazon' was set against pre-existing rainforest-inspired wallpaper and reflected on how notions of
exotic environments are woven into the everyday through art, design and popular culture. ‘I’ve always taken
comfort in the idea of wilderness, but as more of our natural spaces are cultivated, developed or polluted, perhaps
any truly untouched nature is at risk of living only in our imaginations.’

Interested in taking typically studio-bound processes out into the field or other changeable environments, her
research has led her to visit diverse locations globally: from the receding glaciers in the Arctic Circle, to the drought-
ridden landscapes of Nevada in Southwest America.

Notes:

1
Artwork 1 Title: Glacier Tide
Artwork 1 Dimensions: 63 X 78 x 1.5 (unframed)
Artwork 1 Medium: Silver Gelatin Print , dry mounted on aluminium
Artwork 1 Commentary: Glacier Tide is one in series of 12 handprinted photographs that Tamsin Relly shot on film in
Svalbard in the Arctic Circle in 2014. Multiple exposures created in the field on camera, and accidents typical of the
analogue process, invite unpredictable outcomes in the negatives. These layered, broken or underexposed
impressions disrupt the translation of the landscape image, and hint at the vulnerability and impermanence of the
Polar environment.

In Glacier Tide, for example, a single glacier is photographed multiple times in the same frame and gives a sense of
the glacier shifting shape, dissolving or retreating over time.

Artwork 1 Image:

2
3
Artwork 2 Title: Treading Lightly
Artwork 2 Dimensions: 63 X 78 x 1.5
Artwork 2 Medium: C-Type hand print , dry mounted on aluminium.
Artwork 2 Commentary: Treading Lightly is one in series of 12 handprinted photographs that Tamsin Relly shot on
film in Svalbard in the Arctic Circle in 2014.

Multiple exposures created in the field on camera, and accidents typical of the analogue process, invite
unpredictable outcomes in the negatives. These layered, broken or underexposed impressions disrupt the
translation of the landscape image, and hint at the vulnerability and impermanence of the Polar environment.

In keeping with the content of Tamsin’s practice, the images across the series reflect both the idea of the
untouched landscape of our imaginations as well as the reality of humanities interventions.

In Treading Lightly ghostly figures inhabit the image - like traces of the many groups who have passed through the
landscape at different times - as explorers, scientists, extractors, tourists or poets. The identity is ambiguous and
could be from any era of exploration, but for a few clues of contemporary lines and colouring in the clothing.

Artwork 2 Image:

4
5
Artwork 3 Title: Sea Mount I
Artwork 3 Dimensions: 63 X 78 x 1.5
Artwork 3 Medium: C-Type hand print , dry mounted on aluminium.
Artwork 3 Commentary: Sea Mount I is one in series of 12 handprinted photographs that Tamsin Relly shot on film in
Svalbard in the Arctic Circle in 2014. Multiple exposures created in the field on camera, and accidents typical of the
analogue process, invite unpredictable outcomes in the negatives. These layered, broken or underexposed
impressions disrupt the translation of the landscape image, and hint at the vulnerability and impermanence of the
Polar environment.
As the images are hand printed directly from the negatives - clues of the analogue process remain in the artwork -
scratches on the negative, an inconsistency in the border of the frame or where the exposed areas overlap in on the
edges of the multiple exposures.

Relly has experimented with both the limits of the medium and the alchemy unique to it. Sea Mount I was shot using
slide film which was cross processed into a negative. This creates a surreal hue and atmosphere to the colours.

Artwork 3 Image:

6
7
Catalogue3 ID0559
Artist ID: 0559

Artist Name: Anna Stevenson


Website: www.annastevensonart.com
IG: annamstevenson

Artist Statement: Void of figures, my painting still deeply centres on people. In abstaining from the human form,
instead I depict their creations and habitat. Through colour, shape and line I aim to transform the mystical ambience
found in a city to the visual. I immerse myself in a process of layering and rearranging the landscape in attempts to
understand and unlock this psyche. Ultimately my canvas becomes a map and reflection of this process,
documenting my journey to the answer as oppose than being an endpoint itself. Through making some areas of the
canvas instantly recognisable, others impossible to decipher in their origins, the work becomes an unfinished
tapestry of colour; the viewer imperative for the work to be complete.

Notes:

1
Artwork 1 Title: No8
Artwork 1 Dimensions: 151 x 100
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: Abstracted Urban Landscape I
Artwork 1 Image:

2
Artwork 2 Title: No7
Artwork 2 Dimensions: 151 x 100
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: Abstracted Urban Landscape II
Artwork 2 Image:

3
Artwork 3 Title: No2
Artwork 3 Dimensions: 102 x 76
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: Abstracted Urban Landscape III
Artwork 3 Image:

4
Catalogue3 ID0560
Artist ID: 0560

Artist Name: Ellyssa Paterson


Website:
IG: E.M.Paterson

Artist Statement: Becoming disabled recently seriously impeded my ability to hold a pen, or paintbrush, I could no
longer utilize so many previously enjoyed artistic mediums. Then I discovered Digital Art Apps. Using just my fingers
and thumbs I have found a most fantastical creative outlet that has fired my imagination as never before. No longer
a creative spirit stifled but rather, liberated and flying, passions relit and hope re-engaged. And I used to be the
ultimate techno-phobe. Spirit is found in maths.

Notes:

1
Artwork 1 Title: Frieze, Frees, Freeze.
Artwork 1 Dimensions: Its digital so can be various sizes
Artwork 1 Medium: Digital.
Artwork 1 Commentary: Having no brush doesn't matter with digital, you can still allude to the swish of the paint on
Canvas.
Artwork 1 Image:

2
Artwork 2 Title: In The Telling Smile
Artwork 2 Dimensions: Is Digital so can be various sizes
Artwork 2 Medium: Digital.
Artwork 2 Commentary: First Of A Series Of Three Pictures. There can be cuteness in the hardness of Maths.
Artwork 2 Image:

3
Artwork 3 Title: A Couple Of Moments.
Artwork 3 Dimensions: Digital.
Artwork 3 Medium: Digital.
Artwork 3 Commentary: The belongs to a Collection of pictures under the concept title, " Moments". Comprising 10
sets of three, each set captures the complexity of the mathematical concept of a "Moment" and how we express
time in segments we refer to as "Moments"
Artwork 3 Image:

4
Catalogue3 ID0561
Artist ID: 0561

Artist Name: Eichler Juergen


Website: holocenter.org/juergen-eichler
IG:

Artist Statement: Jürgen Eichler deals with three-dimensional colored light structures in space. They reflect special
properties of light that are rarely used in art: coherence and interference. These three-dimensional images are made
possible by the technique of holography. In the work, holographic elements with their pure spectral colors are
combined with colored photos. In front and behind the photos float delicate structures of three-dimensional images
in space, which change with the movement of the observer. The normal colors of the photo are superimposed with
the spectral colors of the hologram. A unique additive and substractive color mixing takes place, which depends
dynamically on the observer´s line of sight.

The holographic works deal with the nature of light, the different colors in space and the effects on the eye and
brain. It is about the properties of seeing and the question of the reality of the seen. The holograms have
interdisciplinary connections to painting and graphics, photography and sculpture.

His holographic studio, called Hololab, is located at the University of Applied Sciences (BHT-Berlin). Jürgen Eichler is
Professor of Physics and author of several articles and textbooks on Physics, Lasers and Holography.

His holograms have been shown at various exhibitions: Research Market Berlin (2013 and 2015), "Coherence and
Incoherence" at Holocenter, New York (2017) and "Percepcoes" at Gallery MBlois, Rio de Janeiro (2018). The work
"The Future of Holographic Art" was presented at the symposium "The Future of Light Art 2018" at the ZKM
Karlsruhe, Germany.

Notes:
See USB Stick for Video 1

1
Artwork 1 Title: Interference I, Nature and Technology, 2018
Artwork 1 Dimensions: 40 x 50 cm
Artwork 1 Medium: Self-made dichromatic holographic film on glass
Artwork 1 Commentary: In the film (artwork image 1) the three-dimensional character of the holographic image can
be seen. The camera of the smart phone is moved in the space of the image.
The work features three-dimensional structures of seaweed and spherical wire objects. It is intended to show the
connection between nature and technology, which do not always have to be at odds with each other.
The holographic image floats in three dimensions in front of a photo containing the colors of the entire light
spectrum. The colors start at the top with red, orange and yellow and end with green and blue below.

Artwork 1 Image:

2
3
Artwork 2 Title: Interference II, Nature and Technology, 2019
Artwork 2 Dimensions: 30 x 40 cm
Artwork 2 Medium: Self-made dichromatic holographic film on glass
Artwork 2 Commentary: The file (artwork image 2) shows a photo of the three-dimensional holographic image.
However, a photo can´t represent the third dimension. It is a collage of a hologram and a photo of a similar
hologram.

The work features three-dimensional structures of seaweed and spherical wire objects. It is intended to show the
connection between nature and technology, which do not always have to be at odds with each other.

The holographic image floats in three dimensions in front of a photo. The colors and the structures of the 2D photo
and the 3D holographic image are mixing in a very unique manner.

Artwork 2 Image:

4
5
Artwork 3 Title: Interference III, Hologram, 2018
Artwork 3 Dimensions: 20 x 30 cm
Artwork 3 Medium: Self-made dichromatic holographic film on glass
Artwork 3 Commentary: The file (artwork entry 3) shows a photo of the three-dimensional image of the hologram.
However, the third dimension can´t be represented.

The work features three-dimensional structures created by interference of light. It is based on the coherence of laser
light. Interference and coherence are properties of light which usually are not used in art.

The holographic image floats in three dimensions in front of a photo. The colors and the structures of the 2D photo
and the 3D holographic image are mixing in a very unique manner.

Artwork 3 Image:

6
7
Catalogue3 ID0562
Artist ID: 0562

Artist Name: Detlef E. Aderhold


Website: www.aderhold-art.de/en/
IG: instagram.com/detlefaderhold/

Artist Statement: Forming, uncovering, and exploring structures, understood in the broadest sense, constitutes my
overriding process and theme. Structures, which lie at the root of every aspect of life, are formed through
interactions. This is also the case in an artist's work. My mood and feelings as well as spontaneity and chance play an
important role when I am painting. A painting is finished when its visual and intellectual configuration results in a
solid form and thus identity. My paintings emerge from within this network of interlocking forces of conception,
emotion, chance, and construction.
I always work in three phases. Initially I record my concepts on paper. As I translate my ideas into acrylic on canvas, I
find that I am creating from two inter-dependent processes. I start with a dynamic and expressive approach and
then the contemplative and reflective method responds. Sometimes the latter takes up the consequences of the
former and further develops them. This reflective and emotional formulation takes place spontaneously within the
painting.
Sometimes I incorporate imprints of everyday objects, such as shards of glass or natural materials. Some symbols
that I use—for example, the airplanes that appear in various paintings can be charged with meaning by their
viewers and can represent a threat in today’s global context. These symbols, however, play with ambiguity and
can be purposefully understood in a variety of ways. Ultimately, my mixed-media work as an artist is fundamentally
defined by abstraction and representation which I use together to create unique visual formations.

Notes:

1
Artwork 1 Title: Potzblitz
Artwork 1 Dimensions: 170X200X2
Artwork 1 Medium: mixed media on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Catalyst 2
Artwork 2 Dimensions: 90X130X2
Artwork 2 Medium: mixed media on canvas
Artwork 2 Commentary: „Catalyst 2“ is part of a series I call „Zeitgeist“, that is developing over time.
Even if my work is mostly abstract, sometimes the „Zeitgeist“ leaves an imprint in my paintings and so a more
concrete message to the viewer.
Artwork 2 Image:

3
Artwork 3 Title: Whispers 2
Artwork 3 Dimensions: 50X60X2
Artwork 3 Medium: mixed media on canvas
Artwork 3 Commentary: „Whispers 2“ is part of the „Digital Age Series“ inspired by british curator Ben
Moore. It is about my relationship and place in the digital age, my feelings and emotions about this time we are now
living in.
Artwork 3 Image:

4
Catalogue3 ID0563
Artist ID: 0563

Artist Name: Magdalena Aguirre


Website:
IG: nuna_00

Artist Statement:
Finishing school, I enrolled to study architecture motivated by a desire to develop my creative passions. I worked
professionally as an architect in Chile and Spain for a span of about ten years; I realized that architecture was not
the path I was meant to take. During this time I gave birth to my first son, who was born with a genetic syndrome
that caused serious developmental problems, reason why I left my job to dedicate myself entirely to his care. In the
time since then, I have worked intermittently on a diverse array of personal projects related to creative processes of
which I am an enthusiast, such as digital engravings, which I was able to place for sale in art galleries and related
venues, My life now involves looking after my three children, their education, daily household work and sports,
alongside the small creative projects that manage to appease my lifelong and constant artisan and artist spirit.
My work, it is inspired by the observation of nature, specifically in the way they combine chance, spontaneous,
chaos with the structure of forms, patterns, colors, textures and materials, creating natural canvases of harmonious
and infallibly beautiful compositions; like a field of wild flowers, a picture of rocks left at random on the shore of the
beach or the stars thrown in the sky. My abstract compositions are the search for reproduction to create the
harmony within the apparent chaos, the balance within the apparent imbalance, the stillness within the apparent
storm.

Notes:

1
Artwork 1 Title: Tormenta / Storm
Artwork 1 Dimensions: 75x26 CM
Artwork 1 Medium: Digital Art, print in special paper for art.
Artwork 1 Commentary:
It is the result of the eighth derivative of the original drawing.
It represents conflict and obsession, in the way of achieving harmony.
Artwork 1 Image:

2
Artwork 2 Title: Avestruz / Ostrich
Artwork 2 Dimensions: 90x215 CM
Artwork 2 Medium: Digital Art, print in special paper for art.
Artwork 2 Commentary:
I work a very small detail of the original drawing.
Represents the infinity (universe) that exists in the micro world.
Artwork 2 Image:

3
Artwork 3 Title: susurro / whisper
Artwork 3 Dimensions: 90 x 67 CM
Artwork 3 Medium: Digital Art, print in special paper for art.
Artwork 3 Commentary:
represents the subtle, the breeze a whisper that cuts through the air
Artwork 3 Image:

4
Catalogue3 ID0566
Artist ID: 0566

Artist Name: Paul Stefan Barbu


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

Artist Statement: Since childhood I felt a strong fascination in relation to myths and legends. They seem to come
from far away, from ancient times.
They are more like faded dreams, unfamiliar to the modern man, but they must have a deep, powerful meaning that
was transmitted over time, even if they have undergone transformations.
Telling stories is one of the characteristic behaviors of human beings. Humans have been telling stories to each other
for ages, in order to transmit information about the past, to map the future and to assess the present. Telling stories
helps human explore
their identity and define their values.
I think the idea of myths is not that they teach us what is good and what is bad but that they can offer us a mirror of
our society. By looking carefully at them we can see our social and political problems.
I combine different types of objects (symbols) to form an installation through which I want to create an invisible
connection with our ancestors and, generally, our past. I strive to create a personal mythology, described by my
artistic language, which can give meaning to man`s life and may enable him to find a place in the universe.

Notes:

1
Artwork 1 Title: The Chase
Artwork 1 Dimensions: 200X180X50
Artwork 1 Medium: mix media
Artwork 1 Commentary: The myth of Apollo and Daphne is a story of savage chasing, of happiness driven by lust.
Eros made Apollo fall under the spell of Daphne, but made Daphne hate Apollo. This gives rise to a tiring chase. The
work draws a parallel between the myth and consumerism. Just like Eros, consumerism plants the seeds of desire in
people's minds and condemns them to eternally chase things they don't need or can't have, by linking mass-
produced goods to their subconscious triggers. Full satisfaction can never be obtained in the consumerist mindset.
This chase ends in the myth with Daphne taking refuge in vegetable form, by transforming herself in a laurel tree - a
petrified state, between life and death. The work opens a discussion about what are the possible solutions for the
consumer who wants to end the chase.

Artwork 1 Image:

2
3
Artwork 2 Title: Asterion
Artwork 2 Dimensions: 170X100X40
Artwork 2 Medium: mix media
Artwork 2 Commentary: The myth of the Minotaur is linked to the power exercised by different totalitarian regimes
and how oppressive forms of government create the need of a hero.
The labyrinth represents real world's intricacies and the bureaucracy used by oppressive governments to control
civilians and make sure that they are crippled mentally, to avoid any possibility of a rebellion.
The lack of linearity in the labyrinth is also a symbol for recurrence and a warning that what we take for granted (e.g.
democracy) might be shattered in a moment by movements that we consider a thing of the past.

Artwork 2 Image:

4
5
Artwork 3 Title: The Death of Kheiron
Artwork 3 Dimensions: 50X120X80
Artwork 3 Medium: mix media
Artwork 3 Commentary: This work explores how Kheiron's myth is relevant to ethical issues arising in modern
medicine, like the issue of assisted suicide.
Artwork 3 Image:

6
Catalogue3 ID0567
Artist ID: 0567

Artist Name: Louise Kaye


Website: www.myartwork.london, www.louisekaye.com
IG: http://instagram.com/louise.c.kaye

Artist Statement: I am both artist and environmentalist .The two are entwined .The natural world and the negative
impact of humankind galvanise my feelings, my art practice being the outlet.
Initial studies are from life often en plein air ,The work develops and transforms in the making process ,studio based,
where mark making ,colour and scale often shift the original into a realm of semi abstraction and ambiguity .Here
the spectator can experience a personal interpretation.

Notes:

1
Artwork 1 Title: disappearing night moth
Artwork 1 Dimensions: 1m50x 3meter
Artwork 1 Medium: acrlic on velvet
Artwork 1 Commentary: I express identification with species facing extinction.This large scale work draws attention
to one of the many unnoticed and endangered fellow beings.
The choice of velvet and the powdery texture of the painting technique evoke the characteristic of these beautiful
,delicate "earthlings".
The scale offers the viewer the space to pause and contemplate .
Artwork 1 Image:

2
Artwork 2 Title: storm
Artwork 2 Dimensions: 1m40x1m
Artwork 2 Medium: oil pastel charcoal paper
Artwork 2 Commentary: storm is a vigorous drawing expressing the state of emergency we have imposed on the
natural world .

Artwork 2 Image:

3
Artwork 3 Title: History Plates
Artwork 3 Dimensions: 12" diameter
Artwork 3 Medium: Ceramic
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0568
Artist ID: 0568

Artist Name: Dorothy Mcguinness


Website: http://www.dorothymcguinnessbasket.com
IG:

Artist Statement: After exploring the woven form, I have mastered the art of diagonal twill, with which I create forms
and structures not normally found in the basketry world. My medium for this unique work is watercolor paper,
which I’ve painted and cut into very narrow uniform strips to achieve the precision I seek.
Approaching my work as a puzzle drives me to discover new shapes and weaving innovations. I often think, “How
will it work out if I try this, or how can I get this shape or pattern combination? What if I use these colors in this
combination in this order? What if…―
I am also very much interested in the math and geometric constraints of the work. Using hundreds of strips of paper
at a time, I explore new structural forms: multiple woven units, asymmetrical corners, weaving opposite corners
together, multiple-stepped corners in tandem that add structure to the work. This creates a singular look to the
pieces, building unique and intriguing forms that are encoded with energy and elegance.
I am intrigued by the potential outcome of any new design. The evolution of my body of work is built on taking risks,
and avoiding the “known―. The risks offer challenges, which often lead to new directions. This is the
excitement that keeps me working in a repetitive medium: it is an on-going meditation on improvisation, a continual
experiment through which my work can progress and develop.

Notes:

1
Artwork 1 Title: Zig Zag 2
Artwork 1 Dimensions: 23 x 36 x 20
Artwork 1 Medium: Watercolor paper, acrylic paint, waxed linen thread
Artwork 1 Commentary: This is the 2nd sculpture in the Zig Zag series, where I am experimenting with using more
than one woven start in the piece. This piece was woven with 5 starts with several different patterns in the sections
which interact in different ways in the finished sculpture. I was interested in how the geometry and the patterning
would resolve itself as it was woven.
Artwork 1 Image:

2
Artwork 2 Title: Zig Zag 4
Artwork 2 Dimensions: 25 x 33 x 28
Artwork 2 Medium: Watercolor paper, acrylic paint, waxed linen thread
Artwork 2 Commentary: This is the 4th sculpture in the Zig Zag series, where I am experimenting with using more
than one woven start and patterning in the piece. This piece was woven with 9 starts which created even more
complexity. I continued to explore how the various patterns interacted and how the increased woven sections
changed the finished geometry of the piece.
Artwork 2 Image:

3
Artwork 3 Title: Zig Zag 5
Artwork 3 Dimensions: 28 x 33 x 30
Artwork 3 Medium: Watercolor paper, acrylic paint, waxed linen thread
Artwork 3 Commentary: This is the 5th sculpture, so far, and the most complex, in the Zig Zag series, where I am
experimenting with using more than one woven start in the piece. This piece was woven with 11 sections and was
quite complicated to keep track of all the weavers. It looked like a pile of random weavers in the beginning. I was
continuing explorations of how increasing the complexity of the weaving informed the finished sculpture.
Artwork 3 Image:

4
Catalogue3 ID0569
Artist ID: 0569

Artist Name: John O'Sullivan


Website: www.celtic-poet.com
IG:

Artist Statement: My name is John O'Sullivan and I am originally from Sligo, Ireland.

I have travelled extensively throughout my life, visiting over 80 countries and living in several. Latterly settling with
my family in Punta Mita, Mexico.

During my travels I take extensive photographic shoots and write poetry whilst I am transient. I am an abstract
painter working with multi medias and formats , and will paint in my studio when I am at home overlooking the
ocean, and being inspired by the vivid colours, history and the rich tapestry of culture saturating Mexico providing
constant variety and provoking creativity and visual stimulation.

My work, is inspired by the impact of the image on a flat painter’s space and how I can build depth with the
inspired use of multi medias. My work explores the dialogue and tension between information and imagination,
between the ideas that drive the paintings and the uncertainties and excitement of the process.

I am inspired by journeys, places, music, depth and colour, providing both catalyst and context. My recent focus has
been a response to the written word. The three paintings (to date) of the Sheltered Lines series, inspired by my
poem of the same title written in Cairo in 2000, explore and blur the relationships between fact and poetry, painting
and object, In 2017, I began this series, inspired by the revisions in life and the surrounding world.

Notes:

1
Artwork 1 Title: Sheltered Lines
Artwork 1 Dimensions: 420 x 594
Artwork 1 Medium: multimedia - acrylic & charcoal
Artwork 1 Commentary: "Sheltered lines of natural hearth, embroidered and smiling lineage"

Artwork 1 Image:

2
Artwork 2 Title: For Real
Artwork 2 Dimensions: 420 x 594
Artwork 2 Medium: multimedia - acrylic & charcoal
Artwork 2 Commentary: "Proud & drought free, in the sense spiritual"

Artwork 2 Image:

3
Artwork 3 Title: Revised Reversions
Artwork 3 Dimensions: 420 x 594
Artwork 3 Medium: multimedia - acrylic & charcoal
Artwork 3 Commentary: "Revised reversions of a lie less morose; ordained directions followed thoroughly with credit
given to the souls not taken'
Artwork 3 Image:

4
Catalogue3 ID0570
Artist ID: 0570

Artist Name: Mei-Lin Lin


Website: http://www.flickr.com/photos/45204069@N03/
IG:

Artist Statement: Image creation is more than combining colors and shapes.
In the creation process, the creator endeavors to enable the artwork to narrate her observation of the boundless
universe.
Thus, in Mei-Lin Lin’s creations, she uses a combination of painting and photography layering, similar to image
superimposition in the multiple exposure technique of photography.
By integrating the various layers of images using post production techniques, a novel and colorful picture is created.
Using stark contrasting color blocks and unconventional methods, she hopes to guide viewers into her interpreted
world.

Notes:

1
Artwork 1 Title: valley
Artwork 1 Dimensions: 82*101
Artwork 1 Medium: Digital collage
Artwork 1 Commentary: Digital collage using Chinese characters and images.
Artwork 1 Image:

2
Artwork 2 Title: riverside
Artwork 2 Dimensions: 82*101
Artwork 2 Medium: Digital collage
Artwork 2 Commentary: Digital collage using Chinese characters and images.
Artwork 2 Image:

3
Artwork 3 Title: cracking
Artwork 3 Dimensions: 82*101
Artwork 3 Medium: Digital collage
Artwork 3 Commentary: Digital collage using Chinese characters and images.
Artwork 3 Image:

4
Catalogue3 ID0572
Artist ID: 0572

Artist Name: Dougie Adams


Website: www.dougieadams.com
IG: barry2015gwp

Artist Statement: I’m trying to find my way through the art world. I enjoy most landscape painting, also dog
portraiture.

Notes:

1
Artwork 1 Title: Waterdog.3
Artwork 1 Dimensions: 40x50x0.5
Artwork 1 Medium: Oil
Artwork 1 Commentary: From my enjoyment of painting dogs I also want to learn at the same time. I have chosen a
ground of Raw Sienna. I painted the rest in a mix of Raw umber & Ivory black + white.
I mixed up 3 values to start with, then extended the dark values. After the darks I move into the mid values and one
or two light values.
Artwork 1 Image:

2
Artwork 2 Title: Splash of colour waterdog
Artwork 2 Dimensions: 22x33cmx0.3mm
Artwork 2 Medium: Oil
Artwork 2 Commentary: First version in colour
Artwork 2 Image:

3
Artwork 3 Title: Swimming dog
Artwork 3 Dimensions: 40x50cm
Artwork 3 Medium: Oil
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0573
Artist ID: 0573

Artist Name: Marta Valls


Website: www.martavalls.it
IG:

Artist Statement: Marta Valls usually works with mixed media using essentially fotography , plus watercolours,wood,
iron, paper. She plays with lights and trasparencies that reveal an idea, conveying the internal and external worlds,
between men soul and enviroment.
She places us in front of a mind mirror, opening the world to the “possibility― she doesn't stop at Beauty but
breaks, overlays, deforms with inteligence to convey deep ideas and emotions.

Notes:

1
Artwork 1 Title: ALINA'S LETTER
Artwork 1 Dimensions: 80X50CM
Artwork 1 Medium: PHOTO ON PLEXIGLASS, IRON, WOOD, PAPER
Artwork 1 Commentary: Alina's letter
This image is inspired in the story of the people in the displace camp of Grugliasco Italy in 1945-48, after the II world
war, the survivors of the Shoah were displaced in camps , there they started living , first of all reaquiring their own
identity, finding their roots and celebrating life,
Artwork 1 Image:

2
Artwork 2 Title: Kambili's map
Artwork 2 Dimensions: 70x50 cm
Artwork 2 Medium: plexiglass wood iron paper
Artwork 2 Commentary: Kambili is reading a book by Chimamanda Ngozi, the book pages embrace her because
education is the road por personal and comunitary developtment, and the passion for reading is an awesome
descovery., fragments of a broken and wounded Africa and wood

Artwork 2 Image:

3
Artwork 3 Title: Eva's violin
Artwork 3 Dimensions: 40x50
Artwork 3 Medium: plexiglass, iron wood
Artwork 3 Commentary: Eva Maria, Levy was arrested in Turin in 1943, she had her violin, she was deported to
Auschwitz,there Eva was assigned to the camp orchestra . She died there in 1944. At the camp liberation her brother
Enzo finds the violin miracolously saved in a store and brought back it to Turin
Artwork 3 Image:

4
Catalogue3 ID0575
Artist ID: 0575

Artist Name: Charlie Tipthorp


Website: Charlietipthorp.com
IG:

Artist Statement: I have always enjoyed painting. It wasn’t until my early 40’s did I decide to pursue my
interest in art more seriously.
Having been self taught for years I would simply just try and get the painting as close to the subject I was trying to
record.
It was only after studying Francis Bacon’s work that my attitude towards my paintings changed.

Notes:

1
Artwork 1 Title: Man washing woman's hair.
Artwork 1 Dimensions: 140cm X 100cm.
Artwork 1 Medium: Oil and canvas
Artwork 1 Commentary: This painting came about after I was given an old black and white photograph of a man
washing a woman's hair. In the original photo the couple are on the beach and the women is bent over a sea brake
whilst the man is pouring a jug of water over the woman soapy head.
In this painting I wanted to achieve a more artificial image than the photo. In trying to do so I added an industrial
frame like background and distorted the women into a near impossible position.
Artwork 1 Image:

2
Artwork 2 Title: Man with crutch
Artwork 2 Dimensions: 140cm X 100cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: In this painting originally I was trying to paint a cricketer bowling a cricket ball. The idea
came about from a picture in the spots section of a news paper. It was about half way through doing the thing that I
decided to abandon the idea of painting a cricketer and decided to try and paint a man tripping up. It was at the end
I put the crutch in. possibly influence after spending sometime on crutches myself.

Artwork 2 Image:

3
Artwork 3 Title: Man and dog seated on stairs
Artwork 3 Dimensions: 105cm X 105cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: This is a painting of a good friend I had and his dog seated outside there house in London.
The idea came about after he give me two separate photos. One off him seated on a bench and another of his dog
standing at the front door.
In my pantings I always want to get across the vulnerability of however I am trying to paint.
Sadly six mouths after doing this painting my friend took his own life. He did see the painting and liked it
commenting " it looks more like me, than me"

Artwork 3 Image:

4
5
Catalogue3 ID0576
Artist ID: 0576

Artist Name: Ursula Schregel


Website: www.ursula-schregel.com
IG:

Artist Statement: I'm a german artist who started painting at the end of 2014.
I attended classes with a masterclass student of Gerhard Richter. Within a short time I exhibited in Germany,
Belgium, Luxembourg, France, Spain and the USA and in march 2019 for the first time in Bahrain with a Parisian
Galerist during artBAB. The world wide operating french group ERMEWA selected me 2018 as artist of the year.
I paint in acrylic and mixed media technics, work with overpainting, application and ablation of strong colors.

I studied history of art and theory of drama (PhD) and graduated as an interior designer. Before I started painting I
worked over 20 years as a theatre dramaturge and a radio play editor for the german public broadcast radio.

Notes:

1
Artwork 1 Title: TRYPTICHON 1, 2018
Artwork 1 Dimensions: 120x100x2
Artwork 1 Medium: acrylic on canvas
Artwork 1 Commentary: TRYPTICHON 1 is the first part of the three-part artwork TRYPTICHON, which has to be
seen at the same time as a composed singular work as well as a three-part artwork where every part maintains its
independence

Artwork 1 Image:

2
Artwork 2 Title: TRYPTICHON 2, 2018
Artwork 2 Dimensions: 120x100x2
Artwork 2 Medium: acrylic on canvas
Artwork 2 Commentary: TRYPTICHON 2 is the second part of the three-part artwork TRYPTICHON, which has to be
seen at the same time as a composed singular work as well as a three-part artwork where every part maintains its
independence
Artwork 2 Image:

3
Artwork 3 Title: TRYPTICHON 3, 2018
Artwork 3 Dimensions: 120x100x2cm
Artwork 3 Medium: acrylic on canvas
Artwork 3 Commentary: TRYPTICHON 3 is the third part of the three-part artwork TRYPTICHON, which has to be
seen at the same time as a composed singular work as well as a three-part artwork where every part maintains its
independence
Artwork 3 Image:

4
Catalogue3 ID0577
Artist ID: 0577

Artist Name: Tom Herck


Website: www.tomherck.com
IG: instagram.com/tom.herck

Artist Statement: Tom Herck


Born in Sint-Truiden (Belgium), 22 June 1984

Tom Herck is raised in the unauthorized graffiti culture. He refines his techniques during his travels throughout
Europe, leaving his mark in most of the capitals across the continent. In recent years he has taken his art to a
professional level. His raw and pure roots however remain visible in his work, as well as they continue to return in his
professional development as a contemporary artist.

Using iconography and symbolism, Tom incorporates observations about developments and trends in classic and
modern society, often using confrontational themes in his paintings, installations and sculptures. The violence and
aggression he recurrently shows through his work are presented in a direct, bold and satirical manner. He
increasingly attaches importance to the use of ideas and concepts in his works using sharp contrasts, both in colour
and in topic.

Tom calls into question the societal role of religion, (social) media on the background of a progressive and highly
individuating society. While mixing old forms with new ones and using various cultural icons his work causes a
significant tension with the spectator. As such, the resulting –and at times paradoxical– consequences of
‘vanitas’ and ‘decay’ become important topics, which we mainly find back in all of his work.

Notes:

1
Artwork 1 Title: Holy cow head
Artwork 1 Dimensions: Real size cow head
Artwork 1 Medium: Bronze with messing elements
Artwork 1 Commentary: The Capitibus (‘head’ in Latin) series starts with a polyester head, later replaced by a
bronze head cast from the mould of a stuffed cow. The prototype of Holy Cow (2017). The polyester heads and the
greenish bronze head are both numbered -both series- from 1 to 7 (indicated on the brass ear tags). The artist chose
a more sober design for the unique black bronze head, cast in one piece. The animal heads originate from the same
moulding technique Tom Herck applies to create realistic human busts.

Opposites attract! The artist therefore produced polyester as well as cast bronze Capitibus versions. The very first
bronze castings date to the mid 3rd millennium BC, when a high level of sophistication was achieved in Mesopotamia
and Egypt. Developed in a 20th-century laboratory, synthetic fiber -derived from coal, air, water, and petroleum-
was the fabric of choice in a changing economy of speed, efficiency and convenience.

Combining traditional and contemporary elements and materials, the artist expands on their mystical properties by
synthesizing new symbols with a very personal iconography. This enables him to tackle universal themes like life and
death, vanity, transformation and religion. He creates perspectives that challenge “universal― views.

The barbed wire around the head of the cow symbolizes the Crown of Christ as well as the electrified barbed wire in
the meadows. Capitibus is a satirical work, packed with hints like the brass nose piercing of the cow ornamented
with a cross and the brass earring with a tag carrying the words 'TH 1984, Holy Cow Project 0001'.

Between the 1960s and 1980s, the punk scene embraced body modification in an effort to mock bourgeous society.
However, many of these revolutionaries later helped usher body art into mainstream society. As evidenced from the
mask of Tutankhamun found in an archaeological site in Egypt, ear piercing has long been around. Earrings are
considered to have spiritual and cultural meanings in many societies.

Piercings have always been a showcase of social status and hierarchy. The Bible mentions ear pierced slaves on
several occasions, e.g. in Exodus 21:6 “Then his master shall bring him to God, and he shall bring him to the door
or the doorpost. And his master shall bore his ear through with an awl, and he shall be his slave forever.― As a
contemporary means of `property` identification, the ear tag systematically marks the once so spiritual animal, with
an Animal Identification Number (AIN) or code for the animal, or for its herd or flock.

Through his oeuvre, the artist shows the harsh reality of the current western society, where the cow -said to
symbolize trust and positivity and considered sacred in many world religions-, suffers from a much less sacred,
healthy and mutual relationship.
Artwork 1 Image:

2
3
Artwork 2 Title: Stiletto
Artwork 2 Dimensions: Small cow skull ( 30 x 20 x 15 cm)
Artwork 2 Medium: Bronze skull and cow horn
Artwork 2 Commentary: Stiletto brings a new element to Herck’s cow symbolism as known from the exhibitions
Holy Cow Project and Missing: gilded and bronze cow skulls. A tribute to the highly respected creature, treated by
many cultures as a source of life, cow skulls were hung on walls and brought to sacred ceremonies. The Aztecs
excelled in skull and bone design. Although it’s carved in our minds when we see a skull it recalls death, in many
traditions it promises new beginning; resurrection. With cross-references to Christianity as well as his own playful
symbolism his works Holy cow, Capitibus and Stiletto revive this ancient tradition.

The cow skulls tell us to not take things for granted as life eventually ends. It says ‘Et in Arcadia ego’ or simply
‘Vanitas’. The vanitas genre – a genre that flourished in the Netherlands in the late 16th, early 17th century
as a metaphor for meaningless earthly life and transience of earthly goods and pursuits – found a clear revival in
modern and contemporary art. Animal corpses seem to add a modern twist to the ‘memento mori’
iconography. Contemporary Vanitas ( ‘emptiness’ in Latin) serves as a commentary on the vainglory and self-
admiration dominating our celebrity-obsessed society.

A contemporary Vanitas symbol used by Herck in this series is the stiletto. Shoes are associated with wealth,
freedom as well as vanity and arrogance. The Stiletto, as the prime symbol of erotic femininity, inspires simultaneous
fantasies of vulnerability and power.

A new phase in the Stiletto series will be marked by an exploration of the human skull and bone -as a universal
theme of war and death-, interacting with the cow skull. The Totenkopf, German skull-and-crossbones, was the
perfect sigil for the SS. National Socialism took it as a dark, foreboding symbol of courage and self sacrifice, built
upon two centuries of traditional use in the German military, dating to the reign of Friedrich the Great himself.
Destruction plays an immense role in contemporary art as rebellion or protest, as spectacle and release, or as an
essential component of re-creation and restoration. Nietzsche's announcement in the 19th century that God is dead
was significant in art's 'Big Bang'. In recent years, art often reflects life in the age of terrorism and destructive images
shoot across the Internet at such incredible speeds that we see so much of this every day. Extreme examples of
artists destroying their own work are John Baldessari’s Cremation project (1970), burning 13 years’ worth of
'boring art' he’d made and of course Ai Weiwei’s Dropping a Han Dynasty Urn (1995).
Artwork 2 Image:

4
5
Artwork 3 Title: (Greetings from) Tijuana
Artwork 3 Dimensions: 50 x 70 cm
Artwork 3 Medium: Acrylic on linen
Artwork 3 Commentary:
Artwork 3 Image:

6
Catalogue3 ID0578
Artist ID: 0578

Artist Name: Francesca Castellano


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

Artist Statement: At the interface between circus and militant practice, my current work has developed through
performance but continually expands into a multi-media practice. I am fascinated by the critical roles that human
connections play in forming an identity.
Through collaborative performances and interventions in the public spaces, my intention is to highlight unconscious
emotive responses and possible hacking of such embodied thinking. Each performance provides a tool for
encounters where both artist and viewer are momentarily connected in a shared experience, free from the ever-
pressing fears of our time. Each simple gesture, such as eating, walking, writing, etc, is an attempt to inscribe the
language of possibility on the human mind and body, which may have become scarred or numbed in the urgency of
the everyday.
My process focuses in on various issues including surveillance, invisible labor, and cultural hijack and forms a
response to the relationship between individual and multiplicity within capitalist society. In my work I am driven to
explore the possibility of a shared emotional intelligence which can become the medium for reconnection to each
other and to the wider world itself, to reveal who we really are when everything else is removed.

Notes:
Youtube = film 3 = https://www.youtube.com/watch?v=We9UweLE_GE

1
Artwork 1 Title: gesture
Artwork 1 Dimensions: 43 square
Artwork 1 Medium: Photography
Artwork 1 Commentary: The artist proposed this work in connection to the Repeal Movement which she
passionately supported in 2018, and which still influences both her activist and artistic work
Artwork 1 Image:

2
Artwork 2 Title: reappropriating reproduction #1
Artwork 2 Dimensions: 18 square
Artwork 2 Medium: Photography and Collage
Artwork 2 Commentary: This is one of a six artworks series entitled "Reappropriating Reproduction".
The artist, an enthusiastic participant to the Urbex Movement (Urban Explorer), regularly breaks into the
institutional derelicts that are scattered in our cities. These series of photographs were taken, using a Hasselblad
camera, in the old Magdalen Asylum in Cork City, where she is based. The photos were developed and then
manipulated with the collaged images of women and children partaking in the collective activities which are central
to feminist discourse.
Artwork 2 Image:

3
Artwork 3 Title: encounters
Artwork 3 Dimensions: n/a
Artwork 3 Medium: video from performance
Artwork 3 Commentary: This is a video edited from the collaborative performance "encounters", please follow the
link: https://www.youtube.com/watch?v=We9UweLE_GE
Artwork 3 Image:

4
Catalogue3 ID0580
Artist ID: 0580

Artist Name: Ivelina Ivanova


Website: https://ivsebastian.wixsite.com/ivelina
IG:

Artist Statement: The works Nocturne Chopin are expression of my love of both the Music and the Silence. This is a
visualization of music. Moments of time-space, collected in one.

The goal I set was to visualize specific musical works, using note of music. In ancient times, before being introduced
the known system of notes for recording music has been used letters. The letters as characters, the characters as
symbols are a the major building block.
With the help of various artistic devices and techniques created a conditional sign system which is different for each
work. The shape of the whole composition is determined by the number of times. For the form of time I use the
square, a symbol of the earth and matter: 4/4, 3/4, 3/8
Instruments and the voices involved range occupy at least two octaves. The symbols that express the notes have
different shapes, colors, raster, and the matter is determined by my personal perception and attitude towards the
musical work. They affect both the emotional and perceptions, as a bridge between the visible and unvisible and
tangible. As a form can be art or expressive, abstract or concrete.

Notes:

1
Artwork 1 Title: Nocturne Chopin I
Artwork 1 Dimensions: 49x69 cm
Artwork 1 Medium: high printing
Artwork 1 Commentary: This is visualization of music piece Nocturne from Chopin
Artwork 1 Image:

2
Artwork 2 Title: Nocturne Chopin II
Artwork 2 Dimensions: 49x69 cm
Artwork 2 Medium: high printing
Artwork 2 Commentary: This is visualization of music piece Nocturne from Chopin
Artwork 2 Image:

3
Artwork 3 Title: Nocturne Chopin IV
Artwork 3 Dimensions: 49x69 cm
Artwork 3 Medium: high printing
Artwork 3 Commentary: This is visualization of music piece Nocturne from Chopin
Artwork 3 Image:

4
Catalogue3 ID0581
Artist ID: 0581

Artist Name: Joseph Hayes


Website:
IG: joseph.w.hayes

Artist Statement: My general starting points are influenced by certain material and immaterial elements such as
Renaissance Grisaille, Ancient Roman Sarcophagus, Classical drawings, European late modernism, German radical
painting, shadow forms and concepts of the shadow self, Richard Hell and the void oids, Blank Generation and
musical Nocturns. These elements are then distorted and combined creating my own arrangements, scenarios, and
settings, using various material processes and automated gestures to create an internal structure, achieving a
dynamic of subtle modulations of space and form upon and within the surface of which dictates where the painting
will go. Although offering flashes of concrete form, this sub-structure does not define the end result, but is instead
used as a starting point for further investigation of which intuition, errors and resolutions combine to create a
unified space of wildly different perspectives and protean forms. To this end, I exploit the heterogeneous qualities of
graphite and raw pigments, merging and redefining a process of drawing as painting and painting as drawing,
separating the tools of each from the medium applied; through sanding, scraping and applying varnishes the surface
variants achieved can be seemingly endless, creating weight and spatial ambiguities that open up a fusion of the
pictorial and actual. This setting creates a particular modality of space where upon form, picture and support are
born out of themselves. Thus producing something that is its own creation, evolving as the body and light move
around the picture plane the viewer is faced with certain dilemmas of delineation.

Notes:

1
Artwork 1 Title: The red room
Artwork 1 Dimensions: 80x80
Artwork 1 Medium: Oil, Graphite, Charcoal, Raw Pigment, Lacqure on panel
Artwork 1 Commentary: This particular painting is influenced by a text from HG Wells 'The red room' ''I turned to
where the flames were still dancing between the glowing coals''
Although being a purely abstract painting I tried to re-create the sensation these word created. Using an initial layer
cadmium red then applying several layers of charcoal and ivory black a coal like texture is created upon the surface,
which was sanded down allowing hints of red to come through at random points, directing the viewers gaze to these
areas of effulgent reds then back amidst the darkness.
Artwork 1 Image:

2
Artwork 2 Title: Gift of luxury and tar
Artwork 2 Dimensions: 50x50
Artwork 2 Medium: Oil, Graphite, Charcoal, Gold Gilding Wax, on panel
Artwork 2 Commentary: For this painting I wanted to create a sense of light and beauty within the initial appearance
of desolation and darkness ( An ongoing theme) In a figurative sense I looked to the city at night and smog filled
streets lit by the glare of lights. Applying a gilding wax of gold, oranges and reds and working over with charcoal and
graphite I sanded and varnished different areas creating modulations of lights and darks creating movement and a
shimmering effect. The viewer is drawn in by the areas that reflect and shine then lost amidst the darker tones.
Artwork 2 Image:

3
Artwork 3 Title: Head half shaved by the sun
Artwork 3 Dimensions: 80x80
Artwork 3 Medium: Oil, Graphite, Charcoal, Raw Pigment, Lacqure on panel
Artwork 3 Commentary: Those who know that they are profound strive for clarity. Those who would like to seem
profound to the crowd strive for obscurity. For the crowd believes that if it cannot see to the bottom of something it
must be profound. It is so timid and dislikes going into the water.

Artwork 3 Image:

4
Catalogue3 ID0583
Artist ID: 0583

Artist Name: Roland Brass


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

Artist Statement: I am an amateur artist, based in Maidenhead / London, and British, aged 37. Art has always been a
hobby of mine and it has played a much greater role in my life over the past year following a personal / life-changing
event. It provides me with total escapism and a kind of therapy. I specialise in digital art, using programs like
ProCreate or ArtRage on the iPad or iPhone (which I can more easily fit into my busy life)! I consider this to be an
emerging and growing medium, and with the popularity of tablets and smart phones, it will only expand more, and
therefore I submit my work to the New Media Award as well. I also do fine line black & white illustrations, and am
experienced in acrylics. My images show how I feel, what I see and what I hear. Therefore my subject matters are
broad but that have a strong meaning. Key themes relate to everyday life, fitness, music and travel. I like trying to
transform the ordinary to extraordinary, or look at something under a different light to show it from a different
angle. I am incredibly passionate, ambitious and highly motivated, and it is my goal to try to showcase my work and
inspire others in 2019. This would make me very proud indeed! I have FIRE in me to do this! Finally, my day job is in
Town Planning. Thank you for considering my entries.

Notes:

1
Artwork 1 Title: Sound
Artwork 1 Dimensions: 60 x 45 x 4
Artwork 1 Medium: Digital Art on iPad (ArtRage app)
Artwork 1 Commentary: This artwork is called "Sound" because is it my interpretation of sound. It specifically relates
to a song called "Lateralus" by an alternative progressive metal band called "Tool". To make this clear it includes the
bassist however the shift in the colour spectrum across the canvas, and the chinks (of light and sound) and other
markings are my attempt to show the thump and groove. I sat on my sofa for several hours with the song on repeat
to make this happen. I got there in the end!
Artwork 1 Image:

2
Artwork 2 Title: Mts
Artwork 2 Dimensions: 60 x 45 x 4
Artwork 2 Medium: Digital Art on iPad (ArtRage app)
Artwork 2 Commentary: The splashes and splurges of thick colour on the canvas try to capture the scale of this
impressive colourful mountain range in Romania.
Artwork 2 Image:

3
Artwork 3 Title: Mt Times Square
Artwork 3 Dimensions: 60 x 45 x 4
Artwork 3 Medium: Digital Art on iPad (Procreate app)
Artwork 3 Commentary: I visited New York for the first time in November 2018 on a solo holiday. I didn't want to
come home as I had an brilliant time. This is my attempt to capture the colour, light and energy that bounces around
Times Square. Partly inspired by Monet's painting of Leicester Square at Night (1901). This picture has a lot of
awesome memories wrapped up in it.
Artwork 3 Image:

4
Catalogue3 ID0584
Artist ID: 0584

Artist Name: Xiaoru Guo


Website:
IG: tyrannic

Artist Statement: I am exploring different relationships and issues behang them.

Notes:

1
Artwork 1 Title: Extra luck
Artwork 1 Dimensions: free
Artwork 1 Medium: photography
Artwork 1 Commentary: According to physiognomy, some moles can bring misfortune. My mother took me to the
hospital when I was young. I was deeply influenced by the barbecue smell given off by the flesh under the burning of
the laser. When later working in a tattoo shop, a customer asked me to draw a mole in his eyebrow, as he believed
that doing so would bring him fortune. At that moment I thought of how ridiculous my childhood experience with
moles was, which made me deeply doubtful about conventional practices.
Since people believe that removing “bad― moles can help them avoid calamity, that means duplicating an
existing "good" mole next to it can double one’s luck.
At times I try to photograph moles in a playful way; when they become part of a picture, we only pay attention to
the body of the mole itself.
There were many books that combined human destiny with astronomy, geography, Yin and Yang, and geomancy.
Many people's moles connect like a constellation, also like a map. The body is like a miniature geographical
landscape, and the body is the land where the soul lives.It is easy for people to inflict violence and harm on others.
When we think of ourselves as this "outside" , the immediate victims of internal unrest are ourselves.

Artwork 1 Image:

2
3
Artwork 2 Title: Cipher
Artwork 2 Dimensions: 55cm*15cm, free
Artwork 2 Medium: real fishes, resin teeth, resin glue, claypuddle, acrylic, polyester thread
Artwork 2 Commentary:
Diving and swimming both are my favorite sports. I can rolling, stand upside down, make any action, but I can’t
speak in the water. If I need to communicate with other person, playing sign language is the only choice. It’s kind
of cipher between partners.Though fishes have lived in the water whole life, they can’t express themselves by
mouth freely. Current, pheromone, color of skin, ultrasonic wave, even make sounds by twist their body, the way
fishes communicate is almost like cipher.
When people first began paying attention to the hazard of smog, the government’s false reports on PM2.5
content became an open secret. People of insight who speak for it are regulated, and the panic-stricken social
atmosphere creates a large number of deformed speakers: they are filled with indignation but cannot say it clearly,
instead they can only be expressed on the internet in a variety of concealed ways.
Speakers are quickly censored by state agencies, much like the mutants created by environmental degradation which
are captured, researched, and even covered over.
Freedom of speech is just a dream. Is there real free speech even in countries that boast freedom of speech?

Artwork 2 Image:

4
5
Artwork 3 Title: Cold media
Artwork 3 Dimensions: 50cm*75cm
Artwork 3 Medium: Print,puzzle
Artwork 3 Commentary: Marshell McLuhan said: The media is an extension of the people. In other words, whatever
the media does must be something that people can do, and the media only extends existing organs and functions. It
is not so much that the media has cut off people’s independent thinking and critical abilities, but that pervasive
commercial values have already broken people’s psychological defence before media action even takes place. In
the fast-operating rhythm of society, people suffer too much sudden pressure and instinctively choose to paralyse
themselves.
A face illuminated by a flashlight is similar to the light from a cell phone. I took a lot of photos of people holding a
flashlight and imitating the action of using smart phone. I printed this picture to make a puzzle. Puzzle is a retro toy
with no hightech component, but according to the media theory, it can be judged that puzzle is a "cold" medium
with higher participation than the mobile phone with certain functions (such as viewing video or twitter).
I took all the flashlights pieces out of the puzzle so the audience could put them together. This process simulates the
human the industrial revolution and technological. It's like a throwback to the age of technology that humans are
engaged to produce a product that reduces their participation.
Artwork 3 Image:

6
7
Catalogue3 ID0586
Artist ID: 0586

Artist Name: Gus Murrieta


Website: https://www.behance.net/GusMurrieta
IG: @gus.murrieta

Artist Statement:

Notes:

1
Artwork 1 Title: Nº2 (full body spell series)
Artwork 1 Dimensions: 60x60cm
Artwork 1 Medium: print graph
Artwork 1 Commentary: A body that spell, light game where shadows play a crucial part because of the energy and
dance it project. A unique connection with the universe that reflect an awkward reality.
Artwork 1 Image:

2
Artwork 2 Title: Sound (Symphony series)
Artwork 2 Dimensions: 100x100cm
Artwork 2 Medium: print graph
Artwork 2 Commentary: An energetic song that empowers and reflects musical harmony. Lights and shadows that
reveals the power of the music vibes.
Artwork 2 Image:

3
Artwork 3 Title: hubbub Nº2 ( the dark roar of the jungle)
Artwork 3 Dimensions: 60x60cm
Artwork 3 Medium: print graph
Artwork 3 Commentary: Hubbub is the vibration of the mexican jungle and the negative of colors and lines that
create the space to review the magic atmosphere of the dark roar of the jungle.
Artwork 3 Image:

4
Catalogue3 ID0587
Artist ID: 0587

Artist Name: Anna Weichert


Website: www.anna-weichert-art.com
IG:

Artist Statement: The aesthetics of my works most frequently demonstrate a

uniquely different

perspective of simple the moments in life.

I often find myself touched in certain ways by even the

most ordinary of settings, and that is what fuels me

to persistently paint:

​the necessity of authentic expression.

Notes:

1
Artwork 1 Title: Mongolia
Artwork 1 Dimensions: 100 x 160 x 3
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Created after a trip to Mongolia in 2017
Artwork 1 Image:

2
Artwork 2 Title: The man in the closet
Artwork 2 Dimensions: 160 x 100 x 3
Artwork 2 Medium: Yellow Oil with pencil and pastel on canvas
Artwork 2 Commentary: created in the early 2018 on the basis of an idea after a visit to a friend.
​
At first very funny,
obviously he was looking for something.....
​
Aren`t we all ?!

Artwork 2 Image:

3
4
Artwork 3 Title: Act in blue
Artwork 3 Dimensions: 100 x 100 x 4
Artwork 3 Medium: Oil with pencil and pastel on canvas
Artwork 3 Commentary: no comment
Artwork 3 Image:

5
Catalogue3 ID0588
Artist ID: 0588

Artist Name: Elsie Mckeegan


Website: erotic nude paintings. Com
IG:

Artist Statement: Growing up in rural Ireland I have always had a deep love and fascination with nature and my
current paintings are inspired by this. I am also drawn to the patterns of nature and how they give us so much
information about the tree, or rock etc. There is often great beauty in these patterns and how they influence our
every day lives. Unfortunately, the great danger of our age is how the actions of humans are affecting the
environment. In my current work, a triptych I have named 'The Potted History of Planet Trump' I have incorporated
text into each painting which gives an insight into how President Trump is further endangering the planet by
changing environmental policy.

Notes:

1
Artwork 1 Title: THE Potted History of Planet Trump
Artwork 1 Dimensions: 50cmx50cm
Artwork 1 Medium: Oil paint and oil pastel impeded text
Artwork 1 Commentary: This is one of 3abstract nature paintings with lines depicting natures pattern.
Artwork 1 Image:

2
Artwork 2 Title: The Potted History of Donald Trump
Artwork 2 Dimensions: 50cmx50cm
Artwork 2 Medium: Oil paint and oil pastel with impeded text
Artwork 2 Commentary: As above
Artwork 2 Image:

3
Artwork 3 Title: The Potted History of Donald Trump.
Artwork 3 Dimensions: 50cmx50cm
Artwork 3 Medium: Oil paint and oil pastel with text
Artwork 3 Commentary: As above
Artwork 3 Image:

4
Catalogue3 ID0589
Artist ID: 0589

Artist Name: Richard Carr


Website: www.richardcarr.ie
IG:

Artist Statement: Manifesting itself in many ways, my work hovers between notions of installation, the sculptural
and the participatory. It evolves out of a core relationship with listening as a critical practice, and sound as a physical,
spatial and tangible material. While my practice is predominantly sound based, it is consistently informed by a visual
art history and context.

My work usually begins with a place, person or notion of sonic interest, the development of the work then takes
place within the intimate setting of my studio. When exhibited, the work straddles a range of intersecting formal,
spatial, sonic and art historical interests. Combining multiple recording methodologies, alongside contemporary
audio technologies, my practice draws out the relatively silent and various histories of sound-making and listening.

Notes:

1
Artwork 1 Title: Dumb Listenings
Artwork 1 Dimensions: Variable
Artwork 1 Medium: Installation
Artwork 1 Commentary: VIDEO DOCUMENTATION LINK
https://vimeo.com/286683235

Melkorka is a princess; she is the first daughter of the Irish King Mýrkjartan of the magnificent
kingdom of Medieval Ireland. However, she loses all this the day she is kidnapped by the Vikings
and brought as a slave to Iceland. Pretending she is dumb, Melkorka takes a personal vow of
silence lasting a few years. Relying on the practice of listening, she carves out a place for herself
in this new world – all without uttering a word. Tracing the story of Melkorka, Dumb Listening’s
developed through a number of research/listening trips to various parts of Iceland.

Dumb Listening’s was developed for the Museum of Contemporary Art London (2018) and was
selected to feature as part of Culture Ireland’s national GB18 programme. It evolved out of a core
relationship with listening as an intuitively critical practice and sound as a physical, spatial and
tangible material. While it was one sonic installation, it comprised of three ‘sonic objects’
entitled: Next! What’s your name? Say Money!, Small-town trickeries and Partner is probably too
strong a word.

They can be exhibited together as Dumb Listening’s or individually under their own names. They utilise Audio-
Spotlight systems allowing them to be exhibited alongside other work.
Artwork 1 Image:

2
3
Artwork 2 Title: Dozing of a City
Artwork 2 Dimensions: Variable
Artwork 2 Medium: Audio-Visual Installation
Artwork 2 Commentary: VIDEO LINK
https://vimeo.com/274480556

This is an audio-video installation which was part recorded in my studio and the Phoenix Park,
Dublin a few months prior to the Papal visit to Ireland. Pope Francis’ visit to Ireland was a highly
controversial event due to decades of revelations and investigations into clerical abuse from the
Roman Catholic Church.

While the Phoenix Park became the listening ground for c.125,000 people to listen to Pope
Francis say Mass, thousands more people gathered in the Garden of Remembrance in solidarity with clerical abuse
survivors and walked in silence to the site of the country’s last functioning Magdalene Laundry. On this day,
Dublin City turned into a divided, multi-layered and contested space for the ear.

In this context, Dozing of a City aims to enquire into the liminality of these divisions and provide
a quiet, contemplative and visceral space for the ear. When exhibited, it can be presented in a
darkened room, with two flat-screen TV’s back to back in the centre. The sound can be played via
loudspeakers. Alternatively, it can be presented in a lit space via headphones with one TV
mounted to the gallery wall.
Artwork 2 Image:

4
5
Artwork 3 Title: Secret
Artwork 3 Dimensions: 24.8x24.8x24.8cm on plinth
Artwork 3 Medium: Installation
Artwork 3 Commentary: VIDEO DOCUMENTATION LINK
https://vimeo.com/101979520

Secret invites the audience to participate with one another in an engaging, playful and subtly
flirtatious 'secret'. Inside the Box are two Omni-directional micro-phones setup to create one
participatory binaural feed to the two sets of headphones. Creating tensions between object and event, the work
created remains a private construction between the two participants, only
lasting as long as they engage with each other. By tapping, touching, scraping and rubbing the
box, the ‘secret’ is created by the participants through the construction of a sonic dialogue.

Secret was exhibited alongside Bill Viola at PERIPHERIES 2014, Gorey School of Art, Wexford, the F15 festival in
association with IMMA, featured in the Dec-Jan (2014/2015) issue of
Aesthetica Magazine and was a finalist for the HotRon Prize at VISUAL Centre for Contemporary Art.

The experience for the audience can vary depending on who you participate with. Is it a friend, someone you are in a
relationship with or a stranger? For a first-time participant the experience
can be tentative as they engage in a shared personal dialogue, performing for each other through interacting with
the box. Participants move their hands from one ear, over the head and around the other giving an almost physical
sensation to the other participant. As participants spend time with the work it can become a communicative device
where participants respond/react to sounds they are creating for each other.
Artwork 3 Image:

6
7
Catalogue3 ID0594
Artist ID: 0594

Artist Name: Freya Tewelde


Website: www.freyatewelde.com
IG:

Artist Statement: The Fossil and the Readymade, investigates the territorial differences of a dense and complex
world. The work attempts to re-evaluate regimes of systemic power that bind the positionality of the individual in
relation to cultural and global forces that govern our societies today. ‘The Fossil’ exposes the invisible dual
states of citizenship and ‘the Readymade’ explores multiple forms of representation that reside outside a
desire for transparent autonomy. In expressing my intentions through The Fossil and the Readymade, I continue to
playfully cleanse an existence of bodily subjects that articulate a move beyond the affliction of hegemonic states
whereby I am directly exposing contradictions, differences and singularities.Â

The Fossil and the Readymade adopts a use of video as a medium conveyed across a visual instrument towards the
emotions and the senses, working through movements of time and memory through the use of mundane objects.
The objects vary from boxing to fighting oneself; untangling chains of lights; fitting into small shoes; suffocating with
various layers of clothing; to roller blading in the dark whilst wearing shoes, a hat and mask carousing oneself. The
work performs elements of homo-eroticism, absurdity and self-questions through various moments of belonging and
disassociation in beauty that co-opts humour as a vehicle to convey the endless cycle of seeming futile actions.Â

Notes:
YouTube: https://youtu.be/X44CU0KSOmM

1
Artwork 1 Title: What left of me
Artwork 1 Dimensions: 205x50cm
Artwork 1 Medium: Monotone photo on tracing paper
Artwork 1 Commentary: Distorted monotone photographic image, floating on to a transparent quality tracing paper
Artwork 1 Image:

2
Artwork 2 Title: Rebirth
Artwork 2 Dimensions: 150x50x30
Artwork 2 Medium: Plaster, clay, jeans trouser
Artwork 2 Commentary: Three identical heads with different shades resting onto a lived jeans trousers.
Artwork 2 Image:

3
Artwork 3 Title: Suffocation
Artwork 3 Dimensions: 19x25
Artwork 3 Medium: Video
Artwork 3 Commentary: A morph suited figure layers and un-layers clothing to point of suffocation
Artwork 3 Image:

4
Catalogue3 ID0596
Artist ID: 0596

Artist Name: Rhiannon Rees


Website:
IG: @rhiannonmayart

Artist Statement: Rhiannon Rees is currently studying Fine Art at Loughborough University. She is undertaking the
exploration of paint and bringing a new surface to minimalism and the concept of a painting. Currently concentrating
on the theme of the absent father she is exploring colour theory and how material choice can change a way a
painting is perceived. She is hoping to challenge the notion that 'painting is dead'.

Notes:

1
Artwork 1 Title: Untitled (Going to the white)
Artwork 1 Dimensions: 150 x 120 x 3.5 cm
Artwork 1 Medium: Oil paint on canvas
Artwork 1 Commentary: The experimentation of a single colour is prevalent in this piece of work as I wanted to
challenge materiality and depths of paint. This piece of work was created with water and mental health as a
references.
Artwork 1 Image:

2
Artwork 2 Title: Pink is you, Blue is you
Artwork 2 Dimensions: 150 x 120 x 3.5 cm
Artwork 2 Medium: Oil paint on canvas
Artwork 2 Commentary: This piece is directly associated with the relationship I have with my absent Father. The pink
is a figuration of myself and the blue is a figuration of the emotions which surround the distant memory of him.
Artwork 2 Image:

3
Artwork 3 Title: Barred window to the blue
Artwork 3 Dimensions: 61 x 76 cm
Artwork 3 Medium: Muslin, thread and oil paint on canvas
Artwork 3 Commentary: I wanted to experiment with materiality in this piece and what a painting could be. It
consists of three layers, one of hand dyed muslin, the second pink oil paint on canvas and the third blue oil paint on
canvas which can be seen though the square cut. Through the layering of materials and techniques I wanted to
explore depth and territory within painting.
Artwork 3 Image:

4
Catalogue3 ID0597
Artist ID: 0597

Artist Name: Diana Wolzak


Website:
IG: dianawolzak_artist

Artist Statement: Artist Statement

My current work is a series of detailed drawings of closely observed sculptures I have made in the last 10 years. My
sculptures run concurrently with the drawings. I take photographs of the work. The narrative below describes my
impulse and process.

I find things. I make sculptures out of these things.


Objects, lying around, discarded. Sponges, buckets, shelving, buttons, domestic and industrial debris. I collect them
and connect them. They potentially have a limited lifespan. I look at the objects’ properties and a dialogue
emerges between their form, colour, texture, shape and purposes.

‘Visible, and mobile, my body is a thing among things. It’s caught in a fabric of the world, and its cohesion is
that of thing. But because it moves itself and sees, it holds things in a circle around itself.’ Maurice Merleau Ponty

I examine their identities and reinvent their existence. Through touch and holding, I have temporary possession of
the object, and by completing a series of repetitive binding, gluing and tying processes, a relationship develops. The
work is a form of caress, and seeks significance in its new presence.

Pop Art Shaman?

Life and Art and Art and life.


Everything is recognisable and yet.
A new and spontaneous fiction or narrative appears.
It is an Art of Recycling. An Art Provera in a society that is far from poor. My works are handmade and
unmonumental. They are influenced by Surrealism, Pop art, minimalism and abstraction.
The drawings, sculptures and photographs are for sale.
The works are in collections in the UK, France and Dubai.

Notes:

1
Artwork 1 Title: Grid Sweet Colour
Artwork 1 Dimensions: 38cm x 48cm
Artwork 1 Medium: Glicee Print on Canson Barytha Photographic paper
Artwork 1 Commentary: Photography Edition of 10

Photograph of found discarded object, re imagined through painterly intervention.


Artwork 1 Image:

2
Artwork 2 Title: Yellowtouch Bulb
Artwork 2 Dimensions: 38cm x 48cm
Artwork 2 Medium: Glicee Print on Canson Barytha Photographic paper
Artwork 2 Commentary: Photography Edition of 10

Photograph taken of a found discarded object, re imagined through painterly intervention


Artwork 2 Image:

3
Artwork 3 Title: Open Grid Play
Artwork 3 Dimensions: 59cm by 42cm
Artwork 3 Medium: Digital Glicee Print on Photorag Hahnemuhler paper
Artwork 3 Commentary: Print Edition of 10

Initially a drawing from a sculpture made of a discarded found object re imagined with painterly intervention
Artwork 3 Image:

4
Catalogue3 ID0598
Artist ID: 0598

Artist Name: Christine Roychowdhury


Website: artandbailey.co.uk
IG:

Artist Statement: I was born in Lancashire and studied Fine Art at Goldsmith’s College London graduating with a
BA Hons in 1987. Following a divorce, I moved North to Aberdeenshire in Jan 2017 to start life afresh.
I am interested in how people see objects, how memory affects the importance of objects and how the background
is as important as the subject, as the eye shifts across a scene how some objects are implied, and others are fully
realised. Some parts don’t have to be’ filled in’ or might merge with others such as the staff and the hand
in Choices. Time is an important element in all my paintings.
I have been exhibited in Salford Gallery, Manchester City Gallery, and Bury Gallery. More recently I have been
shortlisted for the BP Portrait exhibition in 2018 and the Threadneedle exhibition 2018 and was a finalist in the
Scottish Portrait award 2018 exhibiting in Edinbough and Glasgow.

Notes:

1
Artwork 1 Title: Choices
Artwork 1 Dimensions: 75cmx50cm x2cm
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: Choices is a self portrait that depicts the choice made in life. It features me at a stile looking
forward to the future with my back to the past. Conversly in Greek mythology I am standing with my back to the
future being unknown only able to see the past. The stile a crossroads and a staff for guidance. The dog is an
innocent and lives only in the present.

Artwork 1 Image:

2
Artwork 2 Title: Heritage
Artwork 2 Dimensions: 75cmx50cmx2cm
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: This is a portrait of my son Alex who made the decsion to become a Dr after watching his
grandfather slowly circum to the ravages of Parkinsons. He is sat on his great grandfathers chair outside the house
he grew up in. The plums represent the possible potential fruits of the future generations.
Artwork 2 Image:

3
Artwork 3 Title: Angus
Artwork 3 Dimensions: 60cmx60cmx2cm
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: Angus son of Ander study. Looking at paint layering.
Artwork 3 Image:

4
Catalogue3 ID0600
Artist ID: 0600

Artist Name: Fareeda Carroll


Website: www.solihullartistsforum.co.uk
IG:

Artist Statement: I am a budding artist who enjoys the opportunity to express myself with art. The chance to paint
life is an exciting experience capturing the reality and feelings of the subject. Painting animal portraits is very
appealing and captivating..
The three paintings I have submitted are done in acrylic . I have tried many mediums but this is my favorite with its
flexibility and quick drying time.. I enjoy using other medium tools alongside the acrylic to create the wanted effect
as well as to add texture and clarity to my paintings. I have received inspiration for the paintings from family
members and friends. I am also a person of nature and fascinated with faeries. The artists who inspire me are Carol
Gillan and Marcel Witte.
Painting is truly a gifted experience for me especially as my journey in life has changed. The long years of being a
nurse is no longer due to an illness and my path has veered towards being an artist. Expressing myself in art gives
me the freedom of fantasy and escapism . The joy and gratification I bring to others with my paintings fuels my life as
an artist.

Notes:

1
Artwork 1 Title: A Faerie's Touch
Artwork 1 Dimensions: 50x76 x1 ( CANVAS BOARD UNFRAMED)
Artwork 1 Medium: Acrylic
Artwork 1 Commentary: An acrylic painting done in a nearby woodland incorporating both nature and fantasy. I
have used irridescent medium and gloss glazing fluid with acrylic paint to enhance the bold effects I required.
Artwork 1 Image:

2
Artwork 2 Title: Steampunk Foxy
Artwork 2 Dimensions: 50 X40 X 1 (GICLEE PRINT UNFRAMED)
Artwork 2 Medium: Acrylic
Artwork 2 Commentary: A steampunk fox created for my friend and partner,It captures the elements of steampunk
with luscious acrylic brush strokes creating the soft fur required.
Artwork 2 Image:

3
Artwork 3 Title: Rinty
Artwork 3 Dimensions: 50 x40 x 1 (GICLEE PRINT UNFRAMED)
Artwork 3 Medium: Acrylic
Artwork 3 Commentary: This portrait is one of a family dog with a cheeky look and spunk. The acrylic paint is used
purposefully to feather out his fur and enhanced the look required.
Artwork 3 Image:

4
Catalogue3 ID0603
Artist ID: 0603

Artist Name: Almudena Torrã³


Website:
IG: https://www.instagram.com/almudena.torro/?hl=es

Artist Statement: My beginning in art was given with the search for the expressiveness of emptiness, for instance
creating from a solid body which is then manipulated to show essence of the emptiness, together with a personal
language in order to simplify and synthesize forms in a proportional and purified way, with the sole purposes of
discovering the volume’s essence in behind.

It has aroused my curiosity, leading me to experiment with other materials and to develop the concept of the
incidence of light in aluminum and in steel and to work in the essentialist search for formal simplicity, without losing
the focus on the technical simplicity. My creation is built around the ethics and aesthetics of diversity, in the search
for beauty, geometry, the essentialist minimalism of volume and the reflectance of aluminum/steel to shape my
inner feelings.

What I want to express with the abstraction and with my creation in general are my sensations and emotions
through an expressionist language, as process where the spontaneity, the intuition and the artist-creation link play a
significant and decisive role in a dynamic self-expression action.

It is all about creating a self-explanatory art work, where the audience feels affected and integrated, and a
communication flow is set in a perceptive game, and as a final result the audience become co-creator.

Notes:

1
Artwork 1 Title: Way V
Artwork 1 Dimensions: 120 x 100 x 45 cm
Artwork 1 Medium: Mixed Technique
Artwork 1 Commentary: Path that you choose to feel free, without ties. Moment of expansion.
Artwork 1 Image:

2
Artwork 2 Title: Tale I
Artwork 2 Dimensions: 37 x 37 x37 cm
Artwork 2 Medium: Mixed Technique
Artwork 2 Commentary: Moment of life in which you do not know where to go, what to do ..., subject to life by
tangled threads.
Artwork 2 Image:

3
Artwork 3 Title: Way VII
Artwork 3 Dimensions: 97 x 97 x 8 cm
Artwork 3 Medium: 0
Artwork 3 Commentary: Point in life you have to choose a path, the one on the right is flat, but at the end of it, you
find a hawthorn. The one on the left is a path of thorns.
Ease, emptiness, difficulty, loneliness, overcoming, strength.

Which one do you want to choose?


Artwork 3 Image:

4
Catalogue3 ID0604
Artist ID: 0604

Artist Name: Aphrodite Lutz


Website:
IG: madcafeart

Artist Statement: Entirely self-taught, my art process is about discovery and engaging with the world on a deeper
level. Bold colors, contrast and balance are present in my artwork. Ultimately, the work is about engaging people
and inspiring them to think and learn more about themselves. Thank you for your consideration

Notes:

1
Artwork 1 Title: Waves of Gold
Artwork 1 Dimensions: 16x40
Artwork 1 Medium: Acrylic
Artwork 1 Commentary: Made with sponge and palette knife. Emphasis on this painting is timing. Timing with
colors and how they blend together as they dry. Feeling out the moment of each wave and knowing instinctively
when to start and stop. No sketch was done prior.
Artwork 1 Image:

2
Artwork 2 Title: Electric Youth
Artwork 2 Dimensions: 20x20
Artwork 2 Medium: Acrylic
Artwork 2 Commentary: The inspiration behind this painting is laying the ground carefully. There are over 10 layers
of paint applied with sponge and palette knife. Once all was carefully applied, I felt like it needed deconstruction,
hence the blurred lines. Like in our youth we grow, and learn, and rebel. Everything we carry is our very own
treasure, which is symbolized by the gold and the blue marks of the knife.
Artwork 2 Image:

3
Artwork 3 Title: Mother Earth
Artwork 3 Dimensions: 12x16 canvas
Artwork 3 Medium: Acrylic
Artwork 3 Commentary: The pain and joy of our planet. The precarious situation we have placed Mother Earth with
global warming. What will prevail? The metallic paint symbolizes terrain and the blue obviously our oceans and ice
melting. The red and black represent the wounds that we must heal.
Artwork 3 Image:

4
Catalogue3 ID0607
Artist ID: 0607

Artist Name: Ho Lam Au


Website: www.auholam.com
IG:

Artist Statement: AU Ho Lam, Suzanne was born in Hong Kong. She graduated from the Bachelor of Arts (Fine Art)
programme co-presented by the Royal Melbourne Institute of Technology University, Australia and Hong Kong Art
School. Her creativity integrates ceramics, crafts and photography as the medium between the state of nature spirit
and human’s inner being.

Suzanne is an artist and a natural healing therapist, through the ceramics creation process to manifest the
expression of the human healing thoughts power and reveal ceramic’s own contemporary uniqueness and the
spirit of art.

Her continuous research over the past few years lead to the discovery of a unique ceramics repairing technique. She
explores ceramics and materials through the transformation of the nature recovery process by permeating the fine
fibrous filaments and connecting with the sensory nerves. The hierarchical layers within the materials recorded the
energy, frequency and temperature, subconsciously transforming the hidden energy force.

Notes:

1
Artwork 1 Title: SpectrUM
Artwork 1 Dimensions: H24 x W36 x D10 cm (each included wooden frame on wall x 3 pieces)
Artwork 1 Medium: Cyanotype on Ceramics
Artwork 1 Commentary:
<Spectrum> The cyanotype replaces photographic film in documenting the transformation on ceramics.

Regardless of any place and matter, "consciousness" is present, therefore there must be a "change", and this
“transition― process confirms the presence of “energy― within the materials.

As contradictions accumulate over time, consciousness progressively undergoes a subtle inner to outer transition,
and energy is sustained to affect changes in future. The colour change of “Red― and “Yellow― into
“Blue― is a metaphor of abstract emotion.

Artwork 1 Image:

2
3
Artwork 2 Title: Breathable
Artwork 2 Dimensions: H240 x W130 x D250 cm each
Artwork 2 Medium: Ceramics
Artwork 2 Commentary: <Breathable> The artwork examines the concept of dismantling, the process of change and
reorganizes to completely displace the original cognition. The flowing of the clay is blended into the transformation
to give rise to it subtle qualities. The complement with handicrafts elements such as “cutting, stitching, filling,
plastering, layering― to enhance the form of change. Ceramics transform the internal and external to the original
white space.
Artwork 2 Image:

4
Artwork 3 Title: Self recovery
Artwork 3 Dimensions: W25 x H20 x D12cm
Artwork 3 Medium: Ceramics
Artwork 3 Commentary:
<Self recovery> The artwork series presents the different states from clay to ceramics, with the initial flow,
penetration, forming, breakdown, through to the high temperature in re-firing to form new association and repair.
The hierarchical layers recorded the energy and frequency recovery across time and space.

Artwork 3 Image:

5
Catalogue3 ID0608
Artist ID: 0608

Artist Name: Makotu Nakagawa


Website: www.makotu.net
IG:

Artist Statement: What will be after death? It can probably be "nothingness". Then, what is true mourning? Strongly
realizing the disconnection with the dead, and enduring the extreme of sorrow. These pictures are the remains of my
father. He was half a century older than me, so I grew up worried that he would die in near future. Since I was in
photography school, I have been taking pictures of him for nearly 10 years. However, death was abrupt. There was
no notice, no reason, no promise, death took away almost all of himself. At that time, I came to know despair for the
first time in my life. The only world when he alived was over. Nonetheless, I keep bending ear to these remains. In
order to carry this world after he passed away. The work is only way for me to listen to the voice of silence.

Notes:

1
Artwork 1 Title: uro no ena - the remains of my father
Artwork 1 Dimensions: 58.6X48.4X0
Artwork 1 Medium: Photography - silver gelatin print
Artwork 1 Commentary: These pictures are the remains of my father. Death was abrupt and took away almost all of
himself. However, I keep bending my ear to these remains. In order to carry this world after he passed away. I
named these pictures "uro no ena" in Japanese. It means "the placenta left after being reborn as nothingness".
Artwork 1 Image:

2
Artwork 2 Title: uro no ena - the remains of my father
Artwork 2 Dimensions: 58.6X48.4X0
Artwork 2 Medium: Photography - silver gelatin print
Artwork 2 Commentary: These pictures are the remains of my father. Death was abrupt and took away almost all of
himself. However, I keep bending my ear to these remains. In order to carry this world after he passed away. I
named these pictures "uro no ena" in Japanese. It means "the placenta left after being reborn as nothingness".
Artwork 2 Image:

3
Artwork 3 Title: uro no ena - the remains of my father
Artwork 3 Dimensions: 58.6X48.4X0
Artwork 3 Medium: Photography - silver gelatin print
Artwork 3 Commentary: These pictures are the remains of my father. Death was abrupt and took away almost all of
himself. However, I keep bending my ear to these remains. In order to carry this world after he passed away. I
named these pictures "uro no ena" in Japanese. It means "the placenta left after being reborn as nothingness".
Artwork 3 Image:

4
Catalogue3 ID0609
Artist ID: 0609

Artist Name: Robin Watkins Davis


Website:
IG: https://www.instagram.com/rart.insta/

Artist Statement: I am 20 years old and a contemporary artist, I am also the UK's youngest qualified yoga teacher, I
trained at 16 years old.
Recently, I finished my art foundation at Stroud college where I was awarded a distinction and an award for
'creativity and innovation,' for my project 'shift' where I explored my fascination for the transformation effects
movement and art can have. The project explored my love for art and yoga and led me to create some of my most
daring work to date, it pushed my boundaries and completely altered my opinions on art and what it meant on a
personal level. I enjoy experimenting with materials, becoming very involved in the material and the way it feels and
interacts with the surface it is on.

After finishing my foundation in summer 2018, I have been running my own business, sharing yoga to young people
in schools and prisons, supporting people with their mental health. This work gives me the time in the day to
continue making artwork. In the beginning of January 2019, I had my first solo art exhibition which in Painswick. The
exhibition was a fantastic experience and I learnt a lot from it. My dream is to exhibit my installation 'shift' again and
offer transformation movement and art workshops to accompany the my main art installation.

Notes:
See USB Stick for video

1
Artwork 1 Title: 'Shift' Main Art Installation
Artwork 1 Dimensions: 350cm x 350cm x 350cm
Artwork 1 Medium: Body paint, perspex
Artwork 1 Commentary: 'Shift' art installation consists of seven pieces of perspex, the perspex has been re-used from
old bus shelters. The seven perspex pieces are suspended from metal rods on a wooden frame. Printing onto the
perspex are various movements and prints of my body, some abstract, other inspired by yoga or dance postures.

Printing with natural based printing ink.

(video of art work being emailed to you via wetransfer)


Artwork 1 Image:

2
3
Artwork 2 Title: Experimental body print on Charcoal 'shift'
Artwork 2 Dimensions: 200cm x 50cm
Artwork 2 Medium: Charcoal
Artwork 2 Commentary: This was the first time I ever printed with my body, an experimental drawing with Charcoal
on drafting paper. It was this piece that inspired be then develop 'shift' the main installation.

The charcoal resists the drafting paper and it never fully sits onto the paper, I became fascinated with resistance and
kept pushing the materials until I then moved onto to using paint and perspex (see entry 1)

Artwork 2 Image:

4
Artwork 3 Title: 'Twirling Around'
Artwork 3 Dimensions: 200cmx300cm
Artwork 3 Medium: charcoal on drafting paper
Artwork 3 Commentary: This piece is a development from (entry 2) and instead of capturing a singular posture or
expression it captures a journey, a dance, a movement.
This piece is made with drafting paper which I have hand stitched together, charcoal is then applied to the drafting
paper and by body issued as the eraser to remove the material. This was such a joy to make a very messy!
Artwork 3 Image:

5
Catalogue3 ID0611
Artist ID: 0611

Artist Name: Mihaela Dimitrova


Website:
IG: misha___art

Artist Statement: Taking something and looking into it in a different way is the only way to live. Perceiving and
feeling. Capturing the light. These are the main words that can be used to describe how I create my artworks.
Pursuing the creation of art has been happening alongside everything I have done and accomplished in quite
different areas which can probably be hard to put besides the desire for painting. This is so because we are all wrong
to think that there is only one thing that defines who we are and there is only one way to express reality.

Notes:

1
Artwork 1 Title: Within and Without
Artwork 1 Dimensions: 51x41
Artwork 1 Medium: Acrylic and oil
Artwork 1 Commentary: It is only when we accept the darkness in us that we start radiating the light. She can be
somebody and nobody. Within us. Life without her is impossible.

Artwork 1 Image:

2
Artwork 2 Title: Transcendence
Artwork 2 Dimensions: 51x41
Artwork 2 Medium: Acrylic
Artwork 2 Commentary: A place. A time. Nowhere. Somewhere. A franction of infinity.

Artwork 2 Image:

3
Artwork 3 Title: Glow in the dark
Artwork 3 Dimensions: 41x51
Artwork 3 Medium: Acrylic
Artwork 3 Commentary: The only way to represent the person depicted in the painting is by capturing the fire that
burns within him because some people are the glow that we help us find our way in the dark.

Artwork 3 Image:

4
Catalogue3 ID0612
Artist ID: 0612

Artist Name: Ning Yan Li


Website: lilienli.com
IG:

Artist Statement: Collaborates with diverse medium, Li consistently explores the notion of relationship including
the sentiment of time and ethereal substance in between. Her practice consciously response to the context
encountered and presented as a dimension of collective archives. Currently based in Edinburgh, Li is studying Art,
Space and Nature at Edinburgh College of Art, in which her research has extended to environmental entanglement in
the Anthropocene. Born and raised in Hong Kong, she is a graduate majored in painting from Hong Kong Art School
and RMIT University in 2018. Her works have been exhibited worldwide in Hong Kong, Australia, Taiwan and the UK.

Notes:

1
Artwork 1 Title: Between
Artwork 1 Dimensions: 300 x 130
Artwork 1 Medium: Paper cut
Artwork 1 Commentary: Between cognition and consciousness
Between you and where you are
Between today and too late
Artwork 1 Image:

2
Artwork 2 Title: Stay (2018)
Artwork 2 Dimensions: Variable
Artwork 2 Medium: Mixed media installation
Artwork 2 Commentary: 'So dawn goes down to day.
Nothing gold can stay.'

- Robert Frost, “Nothing Gold Can Stay―


Artwork 2 Image:

3
Artwork 3 Title: Origin
Artwork 3 Dimensions: Variable
Artwork 3 Medium: Egg, bleach, glass bottle, rubber band
Artwork 3 Commentary: Are we free from birth
As free as a bird
Artwork 3 Image:

4
Catalogue3 ID0614
Artist ID: 0614

Artist Name: Nicholas Jones


Website:
IG: https://instagram.com/nickdjonesart

Artist Statement: I have always been interested in colour and shading to create a 3d effect and many of my works
reflect this.

I studied Fine Art at Camberwell and then at the Bath School of Art.

I am based in London and have shown my work in Bath, Bristol and London. My studio is in Wimbledon, London.

Notes:

1
Artwork 1 Title: Stria Turquoise
Artwork 1 Dimensions: 82x114x5
Artwork 1 Medium: Oil, Acrylic, glaze and lacquer on wood
Artwork 1 Commentary: I have worked on a set of paintings layering and intricately painting lines and colours to
create a mesmerising, modern finish. I have lacquered it to mirror the observer into the painting.
Artwork 1 Image:

2
Artwork 2 Title: Stria Purple
Artwork 2 Dimensions: 82x114x5
Artwork 2 Medium: Oil, Acrylic, glaze and lacquer on wood
Artwork 2 Commentary: I have worked on a set of paintings layering and intricately painting lines and colours to
create a mesmerising, modern finish. I have lacquered it to mirror the observer into the painting.
Artwork 2 Image:

3
Artwork 3 Title: Tubism1
Artwork 3 Dimensions: 150x200x2
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: Tubism is about colour and 3d. I wanted it to look like it was coming out of the canvas
towards the observer. It was a modern, clean look, using a strong colour and showing the softness of the rolling
tubes. It was a way of working with colour and shadow to create a piece that although is on a flat canvas is anything
but flat.
Artwork 3 Image:

4
Catalogue3 ID0616
Artist ID: 0616

Artist Name: Sara Binadwan


Website:
IG: sara_binadwan.art

Artist Statement: The dichotomies, conflicts and harmonies of human behavior intrigue me. My art explores social
issues, as well as inner conflict.
I am a mixed media artist from Riyadh, Saudi Arabia. I have a BA in Linguistics; the nature of language and
communication play into my art. I have a Master’s in Business Administration; the execution of my art is
technical, practical, and experiential.
My art aspires to capture and interpret the essence of the human condition, of human experience and of human
nature. It invites pondering. It stirs. It elicits a response or call to action. Diverse media such as installation,
photography, sculpture and video serve as a strong platform for my concepts and ideas.

Notes:

1
Artwork 1 Title: Inner Reflection
Artwork 1 Dimensions: 130 × 70 × 20
Artwork 1 Medium: Metal, mirror, and wood.
Artwork 1 Commentary: Inner reflection

“You are not a drop in the ocean. You are the entire ocean in a drop.― Rumi

This installation enables the audience to reflect on their inner self in relation to themselves, to the world and to the
universe. In this interactive installation I provide an atmosphere for intrigue, exploration, contemplation and finally,
self-reflection.

The installation is a life-size hand mirror placed on a wall. The mirror has a diffused reflection, reflecting undefined
features or detail.

When we look at ourselves in a mirror we see the reflection of our image. But if we linger, what is reflected back to
us is what is inside us; painted on the surface of the mirror we can see our joy or sadness, our enthusiasm or frivolity
and our positive and negative feelings.

In the mirror we only see a silhouette of the person reflected in the mirror. We can see what is inside without the
need to read the eyes or what the features of the face and movements of the mouth say. The world that we are
living in today is basically a reflection of what is inside each of us. If we strive for a better world we have to look first
beyond our outer selves and instead, into our souls.

Artwork 1 Image:

2
3
Artwork 2 Title: Untitled; Swing
Artwork 2 Dimensions: 260 × 60 × 20
Artwork 2 Medium: Wood board, and rope.
Artwork 2 Commentary: Untitled; Swing

This is an interactive installation that invites people to reflect on spatial awareness and its impact on us. In this
immersive installation I provide an atmosphere for intrigue, exploration, contemplation and finally, reflection.

The swing is associated with playing, relaxing, and feelings of exhilaration. Swinging gives the feeling of free
movement and takes us back to childhood and a simpler time. This installation was inspired by Riyadh’s modern
progress and the fast-encroaching development that I have witnessed since my childhood and, along with it, a loss of
simplicity and lightness. This inspired me to create an installation by placing swings in unexpected and
unconventional positions such as between two buildings, up against a wall or in a blank room, places that restrict or
prevent a feeling of freedom of movement.

Modernization has touched upon every aspect of our lives. The pace of modernity has come to us at a very fast pace.
Modernization has changed human interactions in many ways. Our emotions and attitudes have changed as well. My
grandmother’s stories, about the past and how simple life used to be, live vividly within me.

Consequently, space, or lack thereof, is one aspect of growth that has had an impact on our emotions, our wellbeing,
, how relaxed we feel and the feelings of lightness, exhilaration and playfulness. Buildings blocking the free
movement of the swing or swings are placed very close to walls or inside rooms where movement is restricted mimic
the restriction of that simplicity and lightness we used to have in our daily lives.

The materials for the swings will be simple materials, such as wood and rope. The overall concept will be greatly
influenced by the placement and installation of the swings.

Artwork 2 Image:

4
5
Artwork 3 Title: Reflective Perspective
Artwork 3 Dimensions: 190 × 40 × 5
Artwork 3 Medium: Colored mirrors
Artwork 3 Commentary: “Empathy begins with understanding life from another person’s perspective.
Nobody has an objective experience of reality.
It is all through our own individual prisms.―
Sterling K. Brown

Reflective Perspective

I propose to create an interactive installation to enable people to reflect, on their own perspective, and the
perspective of others, real as well as their distorted. In this immersive installation I hope to provide an atmosphere
of exploration and contemplation.

The installation is comprised of four free-standing mirrors set at different angles with each angle having a different
degree of measurement. Colored mirrors are used as part of the design to show the different facets of self. A
suggested ideal standing point is located on the floor in the center where one will have his image reflect off of all the
mirrors at one time. But the vantage point is not limited to the suggested standing point, allowing the audience to
also explore other perspectives. Mirrors are the medium used as they play a significant role in viewing the self.

Life itself is a mosaic that molds the self unknowingly and gives us our perspective and depth. This leads the human
to have his own cognitive bias, as he knows himself. When confronted with perspectives that differ from his own, he
finds that he can only see his own reflection, which clouds his ability to see others’ perspectives.

In this installation, by using colors and angles he sees himself as different, altered, changed. But in actuality, mirrors
reflect back the input they receive. “The image of everything in front of the mirror is reflected backward,
retracing the path it traveled to get there― (Kaplan, 2017). When he sees his reflection altered by color and angles,
it gives him the illusion that he sees differently, or has the ability to see different perspectives. But he is still seeing
himself reflecting back.

“Reflective Perspectives― allows the audience to contemplate perspectives; of themselves, of others, and of
how we perceive the perspective of others’.

Artwork 3 Image:

6
7
Catalogue3 ID0617
Artist ID: 0617

Artist Name: Paul Hagan


Website: https://ni4.com.au/
IG:

Artist Statement: Time in our lives is a constant evolving sequence of events. All of us are interconnected within the
dimension of time. I believe our thoughts are a causative mechanism for the future events in our lives. Evaluating
negative and inappropriate thought patterns is essential for the healthy development of society. These images
illustrate the formation of time in our reality and the subsequent need for the adherence to the best possible set of
values we can as a whole. These images capture some city scapes and the interpretation of them through the state
of the city currently. Developed through digital media using a variety of techniques they encapsulate the formation
of our reality through interpretation.

Notes:

1
Artwork 1 Title: Reality and its formation.
Artwork 1 Dimensions: 101.6 x 57.15 x 1
Artwork 1 Medium: Digital Media
Artwork 1 Commentary: The Matrix of Time is illustrated in this image through the evolving shapes representing the
elements of its formation. Imposed on the city scape it conveys the wealth and class the city has within its grasp. The
future determined by its occupants it forms the reality we think of as a collective body of people we can perhaps
improve our own futures. The lights and colours illustrate the constant movement of time as it forms over the city
and the resultant reality that forms.
Artwork 1 Image:

2
Artwork 2 Title: Transfiguration Matrix
Artwork 2 Dimensions: 101.6.x 57.15 x 1
Artwork 2 Medium: Digital Media
Artwork 2 Commentary: This image illustrates an interpretation of the city through a distortion and realisation of
aestheticism and attempts to capture the nature of the city at night. Through colour space shape lighting and design
the city is portrayed as a living reflection of the current state that the city resides in. The dark colours capturing the
often-unfriendly atmosphere contrasted by the Lights and cars composited to create an image of Sydney at Night.
Artwork 2 Image:

3
Artwork 3 Title: The City 7
Artwork 3 Dimensions: 101.6 x 57.15 x 1
Artwork 3 Medium: Digtal Media
Artwork 3 Commentary: This image of everyday building and objects is a distorted interpretation amalgamated into
a surreal image that encapsulates many of the aspects of the city at Night. Our thoughts contribute to the realities
that form some many I feel have the wrong attitudes and perpetuate wrong in society. And as such teach wrong to
our children. This image is a representation of those process interpreted by design and shape.
Artwork 3 Image:

4
Catalogue3 ID0618
Artist ID: 0618

Artist Name: Keith Planner


Website:
IG: KEITH_PLANNER_ART

Artist Statement: I have been experimenting and painting for about 2 years now, I am self taught, was never really
drawn to painting although I did appreciate the masters, and have now found it quite a passion. I work full time in
my day job but painting has given me the release I was seeking to express myself in ways I never knew I was capable
off.
I get inspiration from the living world, nature, people, circumstances and just allow myself the freedom to express
and interpret what I see and feel emotionally,
As a novice I continue to learn, process and compose what I feel comes from within,
I hope I invoke some kind of emotional reaction from compositions I produce. I do not use paint brushes on any of
my compositions, that is the challenge for me which gives me the inspiration and learning process's I embrace as I
compose.

Notes:

1
Artwork 1 Title: Springtime Stream
Artwork 1 Dimensions: 50cm x 60cm
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: This was produced from a view of a steam I imagined that would be ideal in a famous
London Park in an area that was shaded and lacked any kind of life, sunlight or movement.
Artwork 1 Image:

2
Artwork 2 Title: The Strength Within
Artwork 2 Dimensions: 50cm x 60cm
Artwork 2 Medium: Acrylic On Canvas Board
Artwork 2 Commentary: This was produced from a personal incident that had me thinking for quite a long time. I
acknowledged that I needed to find a solution to a problem that had been bothering me for some time in my
personal life and wanted to envision what strength within to overcome some obstacles would look like and feel. This
was raw emotions transferred onto canvas board with a thought process that come through as I began to compose
the piece.
Artwork 2 Image:

3
Artwork 3 Title: Being Vulnerable
Artwork 3 Dimensions: 50cm x 60cm
Artwork 3 Medium: Acrylic on Canvas Board
Artwork 3 Commentary: Composed within the mindset of how vulnerability can be quite difficult to express in both
words or gestures. From the complexity of emotions how could I make being vulnerability a positive thought process
that can actually be a positive reflection of ones ability to be open and candid. A process of personal growth that can
be both beautiful and liberating.
Artwork 3 Image:

4
Catalogue3 ID0620
Artist ID: 0620

Artist Name: Johnny Armstrong


Website: curatorspace.com/artists
IG:

Artist Statement: With my decorative instincts, I seem to end up with sumptuous colour, and wristy patterns. Mostly
landscape-
like, but not really anywhere I can remember. But I am
emotionally attached to mid-Wales, having lived in and around for years.

Notes:

1
Artwork 1 Title: A somewhat different place
Artwork 1 Dimensions: 92 x 92 cm
Artwork 1 Medium: acrylic on canvas
Artwork 1 Commentary: completed late 2018, part of a group looking at
evoking heightened emotions associated with
some sort of landscape, without going into illustration
or labelling.
Artwork 1 Image:

2
Artwork 2 Title: not quite as I remembered
Artwork 2 Dimensions: 92 x 92 cm
Artwork 2 Medium: acrylic on canvas
Artwork 2 Commentary: completed late 2018, part of a group looking at
evoking heightened emotions associated with some sort of landscape, without going into illustration or
labelling.
Artwork 2 Image:

3
Artwork 3 Title: nearly where I was
Artwork 3 Dimensions: 92 x 92 cm
Artwork 3 Medium: acrylic on canvas
Artwork 3 Commentary: completed late 2018, part of a group looking at
evoking heightened emotions associated with some
sort of landscape, without going into illustration or
labelling.
Artwork 3 Image:

4
Catalogue3 ID0622
Artist ID: 0622

Artist Name: Sabine Vogt


Website: www.sabinevogt.de
IG:

Artist Statement: My paintings literally haunted me for two years, until I bought my first brushes and started to
paint. They still come to me in visions and with a very clear idea which colors to use, where to paint, when to paint
etc. I work from an inner space without thought, but with immense creative joy and drive. A lot of patience is
needed by me, though, because I often put very fine layers of paint on top of each other, in some spots hundreds of
them, until they form a landscape of their own.
Since two of the paintings I submit are not completely dry yet, I cannot have them scanned for another week or two
and took photos instead.

Notes:

1
Artwork 1 Title: City map
Artwork 1 Dimensions: 60x60x2
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: This painting follows the consciousness and the emotions of a big city like London, Paris or
New York. It is like a fluid map that is not bound to one place, giving guidance whenever and wherever you look at it.
Artwork 1 Image:

2
Artwork 2 Title: Multiverse
Artwork 2 Dimensions: 100x100x2
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: The "Multiverse" developed over a period of seven years. It shows, from a metaphysical
point of view, the merging of four universes. Each universe has it's unique perspective and in merging the
perspectives merge and form a higher, much more refined way of looking at life.
Artwork 2 Image:

3
Artwork 3 Title: Crystalline
Artwork 3 Dimensions: 80x80x2
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: This is definitely a work of art I always wanted to be able to paint, I am beyond happy with
it. I developed a technique of brushing almost translucent layers of paint on top of each other, using a lot of physical
strength, until the color became deep and luminous.
Artwork 3 Image:

4
Catalogue3 ID0623
Artist ID: 0623

Artist Name: Marek Domaniecki


Website:
IG: @jeenrogaczynski

Artist Statement: Painting is a play.


The play is fun.
Painting is fun.

Notes:

1
Artwork 1 Title: Pegasus
Artwork 1 Dimensions: 70x80x 0,2
Artwork 1 Medium: oils
Artwork 1 Commentary: Oil painting on wooden board primed with gesso .
Artwork 1 Image:

2
Artwork 2 Title: Milky way
Artwork 2 Dimensions: 80x70x0,2
Artwork 2 Medium: oils
Artwork 2 Commentary: Oil painting on wooden panel primed with gesso.
Artwork 2 Image:

3
Artwork 3 Title: The Past
Artwork 3 Dimensions: 80x70x0,2
Artwork 3 Medium: oils
Artwork 3 Commentary: Oil painting on wooden panel primed with gesso.
Artwork 3 Image:

4
Catalogue3 ID0625
Artist ID: 0625

Artist Name: Jamie Sanders


Website:
IG: Jamie_sanders-uk

Artist Statement: I'm a Bristol builder and never really thought about art or making any until a chance meeting with
an artist whilst traveling in Thailand!
We became friends and the guy ended up renting a room off me! We then turned my garage into an art studio which
is where he taught me all aspects of art, colour theory and composition etc, but whilst still keeping rawness.

Notes:

1
Artwork 1 Title: Best two minutes
Artwork 1 Dimensions: 140cm x 140cm x 0.6cm
Artwork 1 Medium: Acrylic paint on canvas
Artwork 1 Commentary: I painted this after a work colleague on a building site said this to me about a girl he fancied.
"I'll give her the best two minutes of my life". He said it in a derogatory way, hence the snake and the shark in the
painting! But when you really think about the words they could seen as a loving way! To give someone the best two
minutes of your life would be a very meaningful gesture hence the heart in the painting
Artwork 1 Image:

2
Artwork 2 Title: Urban life
Artwork 2 Dimensions: 160cm x 160 cm x 0.4cm
Artwork 2 Medium: Acrylic paint on canvas
Artwork 2 Commentary: This is a take on life for some single mothers in the U.K.! Not just urban as it can be similar
in other parts of the country too! After having a relationship with a single mother I witnessed the trials and
tribulations they have to overcome, which can sometimes lead them to needing a joint at the end of a hard stressful
day!
The faces of the children portray that they are certainly not the angels they're made out to be!
Artwork 2 Image:

3
Artwork 3 Title: Sex is better when you're green
Artwork 3 Dimensions: 150cm x150cm x 0.6cm
Artwork 3 Medium: Acrylic paint on canvas
Artwork 3 Commentary: This is a painting I made after I broke up with my girlfriend! It's hard for me to explain why I
really painted this but I guess I was angry and upset which is why I used the colours that I did and maybe I missed the
sex!
Artwork 3 Image:

4
Catalogue3 ID0626
Artist ID: 0626

Artist Name: Christine Savage


Website: www.savageabstract.com
IG:

Artist Statement: My artistic influences the American abstract artists and the English abstract artists of from the 20th
Century.

Similarly, my paintings reveal the formal perceptual experiences that underpin our encounters with the world. They
start from observation of the world around me. It could be form or shape; a combination of these; occasionally the
juxtaposition of colour. Sometimes it is the designs and complications in what I observe around me. These
observations are then distilled to their fundamental relationship.

The distillation starts with photographs or quick sketches. However, I do not like to map my ideas out too
deliberately and sometimes move straight into painting. My colour palette is normally monochrome, tying in with
the abstraction of what I have observed. I am not trying to achieve a literal interpretation and rely on my own
feelings and the evolution of the painting itself to dictate the final image. I apply my own visual language to my
observations and my language is both the geometry which underpins the world but mixed with free-flowing
subjective imagery.

The media I use to achieve my interpretations of the world is acrylic and watercolour.

I choose to give my paintings titles which hint at their genesis but try not to lead the viewer down a given path. I
want them to feel their own response to the image without coercion.

Notes:

1
Artwork 1 Title: Under, Over, Sideways, Down I
Artwork 1 Dimensions: 76 x 52 x 4 cm
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: My view of objects in the world showing a different perspective
Artwork 1 Image:

2
Artwork 2 Title: Under, Over, Sideways, Down II
Artwork 2 Dimensions: 76x 52 x 4 cm
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: My view of objects in the world showing a different perspective
Artwork 2 Image:

3
Artwork 3 Title: Under, Over, Sideways, Down III
Artwork 3 Dimensions: 76 x 52 x 4 cm
Artwork 3 Medium: Acrlic on Canvas
Artwork 3 Commentary: My view of objects in the world showing a different perspective
Artwork 3 Image:

4
Catalogue3 ID0627
Artist ID: 0627

Artist Name: Erik Deerly


Website: http://erikdeerly.com
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: Diomorph 6
Artwork 1 Dimensions: 76x27x0 CM
Artwork 1 Medium: Photographic print on board
Artwork 1 Commentary: Over the last decade, much of my work has focused on time-based compositions in an
investigation of alternative narratives created solely by the deliberate manipulation of otherwise extraneous
content. In my series, “Dysmorphia,― I further explore those possibilities, while representing the moving image
in a purely two-dimensional form. The resulting work, comprised of a ten-panel wall-mounted installation
approximately 485cm (16 feet) across, is augmented with an emersive audio soundtrack. This submission features a
single panel from the larger series.
Artwork 1 Image:

2
Artwork 2 Title: exo 0100
Artwork 2 Dimensions: 50x50x0 CM
Artwork 2 Medium: ChromaLuxe on aluminum
Artwork 2 Commentary: This print is one from a larger body of work (2018-present) which grew from large abstract
illustrations. The entire collection will be shown in an upcoming solo exhibition, to be installed with an
accompanying emersive audio soundtrack. The visual and audio components are both derived from an investigation
of faster-than-light travel.
Artwork 2 Image:

3
Artwork 3 Title: exo 0111
Artwork 3 Dimensions: 50x50x0 CM
Artwork 3 Medium: ChromaLuxe on aluminum
Artwork 3 Commentary: This print is one from a larger body of work (2018-present) which grew from large abstract
illustrations. The entire collection will be shown in an upcoming solo exhibition, to be installed with an
accompanying emersive audio soundtrack. The visual and audio components are both derived from an investigation
of faster-than-light travel.
Artwork 3 Image:

4
Catalogue3 ID0628
Artist ID: 0628

Artist Name: Lawrence Douglas Davis


Website: www.dougalart.co.uk
IG:

Artist Statement: I have used the mono printing style to draw the human figure as this gives the viewer a more visual
tactile image to look at. I enjoy this medium for life drawing as like most printing methods it is not until you roll back
the paper the magic begins.

Notes:

1
Artwork 1 Title: Mono 192. Female Torso.
Artwork 1 Dimensions: 45 x 35 cm
Artwork 1 Medium: Mono printing.
Artwork 1 Commentary: This is a life drawing drawn from the model within a group setting. This method of drawing
can produce a very sensuous image, the surface, traced with ink from the pressure not only of the drawing
instrument but by the pressure of ones hand resting on the paper has a dream quality to it.
Artwork 1 Image:

2
Artwork 2 Title: Mono 155.
Artwork 2 Dimensions: 55 x 42 cm.
Artwork 2 Medium: Mono Printing
Artwork 2 Commentary: Mono 155 was from a live model who posed for some 20 minutes. The image is relaxed and
was drawn in response to this giving a slightly exotic feel to the finished picture. It was not so much as to what one
puts in but to what one leaves out.
Artwork 2 Image:

3
Artwork 3 Title: Mono 201.
Artwork 3 Dimensions: 55 x 45 cm
Artwork 3 Medium: Mono Printing.
Artwork 3 Commentary: This female torso was drawn when I wanted to get more detailed work into the finished
image. I took only the torso for this picture, indulging my love of drawing. Hopefully I have given a sense of form and
structure to this.
Using the mono printing technique in this way opens it up for a more modern approach to drawing. It is a style of
drawing that lends itself to a variety of variations in terms of individual expression.
Artwork 3 Image:

4
Catalogue3 ID0630
Artist ID: 0630

Artist Name: X. A. Li
Website: xa-li.com
IG:

Artist Statement: I am a multimedia artist and computer scientist based out of Chicago, USA. I use digital media,
sound art, and text to explore how individual personhood interacts with complex economic and technological
systems, especially the juxtaposition of messy realities against simplified versions constructed for consumption. My
work frequently employs computer algorithms and large datasets to investigate the unintended narratives of human
experience emerging from the vast corpus of information generated through contemporary life.

Notes:
See USB Stick for Video

1
Artwork 1 Title: In Touch
Artwork 1 Dimensions: 160cm x 250cm x 1cm
Artwork 1 Medium: Website, video, sound
Artwork 1 Commentary: In Touch displays live surveillance footage from around the world ranging from billboards,
offices, to cities, paired with a looping composition constructed entirely from audio datasets and operating system
sounds. The footage is streamed in real time from unsecured cameras refreshing randomly every few seconds,
creating an ever-changing tableau of raw scenes alternatingly static and unpredictable. While the cameras are
publicly accessible and of public locations, individuals in each scene appear unaware that they are being surveilled or
that the footage is globally visible. This work contemplates the physical versus digital connectivity of the modern
world, to what extent the intimacy and access afforded is genuine, simulated, or something else entirely.

Video streams are from insecam.org. Raw sound data is from the ESC-50 dataset.

A/V: Projector or LCD screen, speakers (sound can also be performed live in an extended version of what's on loop)

Link: https://drive.google.com/open?id=1KmtFub-6ECfrr7c9C9Z4KMnnHu4sdTzQ
(Sharing as a video for ease of access; the real installation would be hosted on a live website).
Artwork 1 Image:

2
3
Artwork 2 Title: The Ease of Desire
Artwork 2 Dimensions: 140cm x 250cm x 1cm
Artwork 2 Medium: Video
Artwork 2 Commentary: Products are marketed as desirable, complete, and self-contained. The extractive processes,
labor, and supply chains required to deliver consumer objects are conversely invisible by design. This project renders
commercials—particularly those with a personalized, emotional affect, marketing a feeling moreso than the object
itself—in video mosaics composed of industrial imagery and confrontational footage. The sample provided uses
frames from the documentary "The Biggest Factory in the World" to recall a Victoria's Secret commercial.

A/V: Projector or LCD screen

Link: https://drive.google.com/open?id=1KqWX-PnTgiYky6YHQ_khJ4LHO52N860O
Artwork 2 Image:

4
5
Artwork 3 Title: Eternal Face (Self Portrait)
Artwork 3 Dimensions: 25cm x 25cm x 1cm
Artwork 3 Medium: Digital image
Artwork 3 Commentary: Eternal Face is an algorithmic self portrait. The original photo is processed to identify facial
feature points and subset the image into divided facial regions — a nose, the corner of an eye, a crinkled lip. Each
region is then passed into an algorithm that attempts to reconstruct the face based on visual continuity, interpreting
the human based on the limited information provided.
Artwork 3 Image:

6
Catalogue3 ID0631
Artist ID: 0631

Artist Name: Liangwei Huang


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

Artist Statement: Liangwei (Jerry) Huang (b.1993) is a New York City- and Shanghai-based artist. Originally from
China, he often focused on storytelling in his early paintings. Since 2017, he has been creating multimedia pieces by
extracting moments from their contexts and manifesting their glamour constantly.
Jerry has participated in several group shows, including Transformations, Bridge Art Gallery Juried Exhibition, Best in
The Show Award Winner (2016), University of Rochester Senior Art Exhibition (2016), When You Got It You Got It
New York City Gallery House Juried Exhibition (2015), University of Rochester Tunnel Gallery Juried Exhibition (2014-
2015), Undergraduate Juried Exhibition in Hartnett Gallery(2014), Art Awake Juried Exhibition(2014). Jerry was NYC-
based artist Greg Drasler’s assistant in 2016 and benefited tremendously from that experience. In the year of
2018, Jerry had his first solo exhibition, Moments Before Consciousness, in NYC.

Notes:

1
Artwork 1 Title: Whispering
Artwork 1 Dimensions: 60x80x2 CM
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: This work was inspired by a Hydrangea I saw on a busy street in NYC. The flower was dead
with brownish yellow color, floated on the gathered water at the sidewalk. When I squatted to see the beauty up-
close, it feels like the flower was floating in between the surrounding constructions. Painting allows the flower to
transform to a new form of existence in the new space and time.

Artwork 1 Image:

2
Artwork 2 Title: Cigarettes
Artwork 2 Dimensions: 27x39 CM
Artwork 2 Medium: Pen on Paper
Artwork 2 Commentary: On a dark night, a cigarette light caught my eyes. I was wondering what that smoker feels.
Looking a bit further, I saw another one, and another one. As if the darkness of the night swallowed everything but
the cigarettes light.
Artwork 2 Image:

3
Artwork 3 Title: Islands
Artwork 3 Dimensions: 25x37 CM
Artwork 3 Medium: Pen on Paper
Artwork 3 Commentary: From one’s perspective, everyone is an isolated island.
Form the perspective of the universe, all the islands are one.

Artwork 3 Image:

4
Catalogue3 ID0632
Artist ID: 0632

Artist Name: Alice Fletcher


Website:
IG: Als_art2017

Artist Statement: I am a passionate young artist who is willing and budding to get my name known and form a life
style out of what I love and enjoy doing . My inspirations mainly come from my dreams , the last image that is in my
head when I wake up and I put it down on paper- or canvas bedpending on what media I think the idea will suit. I
would like to gain confident in my ways and with what I do because I am in able to share it, so I am hoping this
opportunity will help me spread my wings!

Notes:

1
Artwork 1 Title: The glowing highlands
Artwork 1 Dimensions: 40x30 cm
Artwork 1 Medium: Oil paint n
Artwork 1 Commentary: Far off in a desert
Surrounded by a lake
Are the beautiful glowing highlands of my dreams
The last lingering image I saw and it was too beautiful not to paint
I have used oil paint with a fan brush, a 2 inch brush and a straight pallet knife
It took me about 4 hours to make
Artwork 1 Image:

2
Artwork 2 Title: Serene off shore
Artwork 2 Dimensions: 36x30 cm
Artwork 2 Medium: Watercolour
Artwork 2 Commentary: The mountains off shore are lead to be interpreted however you want as I know some
would say they look like clouds
This is meant to paint a soft picture with endearing warm colours to make people feel at home and take them to a
happy mind space when they see it.
This took me about 3 hours
Using the fan brush- 2,1,3/4,1/2,1/4 inch and 1/4,1/2,1,2,3 cm brushes as well

Artwork 2 Image:

3
4
Artwork 3 Title: City under the sea
Artwork 3 Dimensions: 40x30 cm
Artwork 3 Medium: Oil paint
Artwork 3 Commentary: This story was thought about long and hard
The American city is under water and all the buildings are meant to represent a coral reef and sea weed
The lamp poasts are representing the light stinging throught the water and all the colours round the outside are
representing more coral and the magic of the sea and sea life.
It took me about 5 hours to creat this
I used the 2,1,3/4,1/2,1/4, inch brushes and the 1/2,1,2 cm brushes as well
Artwork 3 Image:

5
Catalogue3 ID0633
Artist ID: 0633

Artist Name: Natalie Franklin


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

Artist Statement: For as long as I can remember, I have been making art. My work explores my experiences and
struggles with life complicated by mental illness. Whilst primarily a sculptor, my exploratory drawings and paintings
are hard to separate from my sculptures. They have a sort of symbiotic relationship, feeding into each other and
working as a team to convey my ideas.

I was drawn to glass because of its perceived fragility and secret strength. Glass cracks if the temperature changes
too quickly or if it’s accidentally knocked over, but if you’ve ever deliberately tried to smash glass, it takes a
lot of effort! I feel this is also true for sufferers of mental illness- we have a perceived weakness with our illness but
our continued survival shows our strength.

Notes:

1
Artwork 1 Title: Through the Drinking glass IV
Artwork 1 Dimensions: 9cmx10cmx9cm
Artwork 1 Medium: Bullseye Glass
Artwork 1 Commentary: The series "Through the Drinking Glass" explores the loss of identity and psychosis
symptoms of Borderline Personality Disorder as experienced by myself. Using reference photos taken by my partner
through drinking glasses on nights out, I look to represent visually the struggles of this illness. I lost my identity as an
artist after graduation working dead-end jobs which took up time and energy and only recently found myself again. I
have drawn on those feelings, as well as my visual hallucinations to create this series of art works.
Artwork 1 Image:

2
Artwork 2 Title: Through the Drinking Glass V
Artwork 2 Dimensions: 12cmx8cmx7cm
Artwork 2 Medium: Bullseye Glass
Artwork 2 Commentary: The series "Through the Drinking Glass" explores the loss of identity and psychosis
symptoms of Borderline Personality Disorder as experienced by myself. Using reference photos taken by my partner
through drinking glasses on nights out, I look to represent visually the struggles of this illness. I lost my identity as an
artist after graduation working dead-end jobs which took up time and energy and only recently found myself again. I
have drawn on those feelings, as well as my visual hallucinations to create this series of art works. These paintings
also have sculptural counterparts which are not included in this submission.
Artwork 2 Image:

3
4
Artwork 3 Title: Through the Drinking Glass I
Artwork 3 Dimensions: 84.1cm x 59.4cm (framed)
Artwork 3 Medium: Acrylic on Paper
Artwork 3 Commentary: The series "Through the Drinking Glass" explores the loss of identity and psychosis
symptoms of Borderline Personality Disorder as experienced by myself. Using reference photos taken by my partner
through drinking glasses on nights out, I look to represent visually the struggles of this illness. I lost my identity as an
artist after graduation working dead-end jobs which took up time and energy and only recently found myself again. I
have drawn on those feelings, as well as my visual hallucinations to create this series of art works. These paintings
also have sculptural counterparts which are not included in this submission.
Artwork 3 Image:

5
Catalogue3 ID0634
Artist ID: 0634

Artist Name: Tobias Doeberl


Website: https://www.behance.net/Doeberl
IG: https://www.instagram.com/tobiasdoeberl/?hl=de

Artist Statement: I have always been fascinated by the idea of ​​presenting something that can not be
presented, and in order to transform these unformable thoughts into a medium, I move in so many ways of
expression. That is why I am not working on one topic but on 10 different topics at the same time so I don´t get
bored. I find ice spots on the street, cracks in walls and unidentified graffitis interesting, these things flow into my
work as form constructions. I try new concepts to create an inner and outer effect on the observer. And what is left
when you omit things that make up an image. I think that art should be more experience and fun again.

Notes:

1
Artwork 1 Title: Friends
Artwork 1 Dimensions: 70x50cm
Artwork 1 Medium: Painting: acryl on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: 1005
Artwork 2 Dimensions: 30x21cm
Artwork 2 Medium: Pen on paper
Artwork 2 Commentary: There was a spot on the street I deemed interesting. I drew it by pencil, adapting it into my
1005, took a picture and slightly edited it.
Artwork 2 Image:

3
Artwork 3 Title: Ice, Ice, Baby
Artwork 3 Dimensions: 70x82cm
Artwork 3 Medium: Photograph Painting
Artwork 3 Commentary: A detail shot was photographed and printed, overpainted and reprinted and then painted
over again.
The picture blurs photography and painting.

You do not notice which part is painted and which is photographed anymore.
Artwork 3 Image:

4
Catalogue3 ID0635
Artist ID: 0635

Artist Name: Viviana Troya


Website: VIVIANTROYA.COM
IG: @VIVIANABTROYA

Artist Statement:

Notes:
Vimeo: artwork 2 = https://vimeo.com/319532452, 3 = http://vimeo.com/252038934

1
Artwork 1 Title: Hatchery
Artwork 1 Dimensions: 180x92x35 CM
Artwork 1 Medium: Sculpture
Artwork 1 Commentary: Medium: Metal, ceramic and acrylic paint.
"Hatchery" is an installation made with ceramic representations of the Virgin Mary’s head that resemble an egg.
The pieces are put in a metallic structure that takes the form of an incubator. The work speaks about mass
production of both culture and goods, exploring the forces, intrinsic and entrenched, that glue society together:
food, religion, humor, and reproduction.
Artwork 1 Image:

2
Artwork 2 Title: Waiting Time
Artwork 2 Dimensions: Live video
Artwork 2 Medium: Moving Image
Artwork 2 Commentary: Medium: Security camera live streamings of waiting rooms.
"Waiting Time" is a live stream featuring numerous security cameras from all around the world, showing spaces in
which people are expected to "wait".

Artwork 2 Image:

3
Artwork 3 Title: Scrolling
Artwork 3 Dimensions: Variable
Artwork 3 Medium: Multichannel video without sound
Artwork 3 Commentary: A hand missinteracitng with raw objects by scrolling. In each scenario, the action takes place
until the hand is physically impaired to continue with the movement.

Excerpt: http://vimeo.com/252038934

Artwork 3 Image:

4
Catalogue3 ID0639
Artist ID: 0639

Artist Name: Flora Alexander


Website:
IG: alexander_flora

Artist Statement: I’m an Iranian Female; who grew up at a time of extreme political and social change in my
country, it is this change and the effect it has had on me, and the world in general that inspires my art…
I have lived in the UK, Glasgow since 2004, the comfort and safety this country has given me and has inspired my
work: on comparisons of my childhood home and my home at present, the differences between my childhood and
adopted homes are a theme which I’m exploring fully, i.e. safety and security and the lack of both in my original
home, compared to the safety and freedom afforded me in my adopted home, as well as the freedom to express
ones self fully are aspect of myself that I have never had the opportunity to explore artistically before.
Researching new ideas and creating works, which speak loudly and clearly on the subject of security and freedom,
and the concept of home is something I’m passionate about in art. It is my desire to bring both the disturbing and
joyful things I have witnessed into my work.
It is my goal to create works which move people, and introduce them to a way of thinking about the world in a new
way, by taking abstract notions they may have gained from TV news and compare these with the familiar aspects of
their lives as seen through the eyes of a foreigner.

Notes:

1
Artwork 1 Title: Unconditional Love
Artwork 1 Dimensions: 59.4cmx42cm
Artwork 1 Medium: Mixed Media
Artwork 1 Commentary: Ink, pen, watercolour, acrylics and bleach on heavy paper.
In this piece a father and daughter are the yin and yang, walking through five elements which represents nature
surrounded by love in a very dark world full of disharmony and negative things that we are facing today.
Unconditional love to each other and the nature will bring peace and harmony into the world.

Artwork 1 Image:

2
Artwork 2 Title: Wholeness
Artwork 2 Dimensions: 59.4cmx42cm
Artwork 2 Medium: Mixed Media
Artwork 2 Commentary: Ink, pen, acrylics, watercolour and pencil on heavy paperl
The Wholeness is about myself and how I felt incomplete and lost, I never felt that I belonged where I was which was
my homeland, was completely a stranger to that government and the culture, which I left and still couldn't find
where I belonged:
I was lucky to have a fantastic and very open minded father as a kid, until he died when I was just 11. Then my
dogmatic mother put me into an arranged marriage when I was 18, also the pressure and fanatic controlling
government wasn't helping which made me feel if I was imprisoned. I was very much mentally and physically
damaged until I had my own breakthrough, which was leaving my family and the government behind and start a new
life on my own which wasn’t an easy journey but absolutely was worth it.

This peace represents me age 7, when life was wonderful; I am within a red rose, happy and free of any trouble.
Second one I am 18, miserable and completely controlled and jailed by my mother and the government, and finally
the third one which is me the way I should be.

My name is Flora and I am whole again...


Artwork 2 Image:

3
4
Artwork 3 Title: West Minister
Artwork 3 Dimensions: 121cmx92cm
Artwork 3 Medium: Mixed Media
Artwork 3 Commentary: Gesso, acrylics, ink and bleach on canvas.
The original idea for this piece is rooted in brexit. The decay in parliamentary democracy is brought about by brexit.
Decay within parliament is represented by the jungle appearance depicted. Parliament itself is being bright but all
else surrounding is darkness.
Artwork 3 Image:

5
Catalogue3 ID0642
Artist ID: 0642

Artist Name: Georgina Nicolou


Website: www.georgina-nicolaou.com
IG: georgie.london.com

Artist Statement: Artist Statement

My work is influenced by photographs of films, documentaries, photographic imagery and nature. These initiate
drawings which develop into ceramic sculptures that become installations. Through these installations further
drawings are made which then develop into paintings.

My practice is concerned with the materiality of paint and disrupting the surface of the work. I am interested in
moving paint across the canvas and stopping it at a certain point. During my process I rotate and shift the painting
disturbing the flow of paint. Part of the surface is densely covered while thin washes of transparent colour lay over,
through and beneath the painting. In my works on aluminium layers of paint are applied and then sanded back to
reveal a smooth surface.

I am interested in how painting has evolved through history; my initial engagement with traditional paintings has
influenced my use of colour and continues to inspire my work. Understanding their place within my practice allows
me to explore the depth of colour and their place historically. This underpins and supports the contemporary themes
that are present in my work.

Notes:

1
Artwork 1 Title: Awaken
Artwork 1 Dimensions: 59cmx44cm
Artwork 1 Medium: oil and resin on glass
Artwork 1 Commentary: This process involves layering paint in reverse order.
Artwork 1 Image:

2
Artwork 2 Title: Equanimity
Artwork 2 Dimensions: 150cmx120cm
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Echo
Artwork 3 Dimensions: 49cmx38cm
Artwork 3 Medium: Oil and resin on glass
Artwork 3 Commentary: This process involves layering paint in reverse order.
Artwork 3 Image:

4
Catalogue3 ID0644
Artist ID: 0644

Artist Name: Clare Beattie


Website: artradar.co.uk
IG:

Artist Statement: The many different compounds and chemicals which go into the production of forms composed of
ceramic material present to me an exploration of particle formation, growth, mutation and the mechanics of
systemic production, complex frameworks of perception, and material vitality. My experimentation with bone china
and porcelain invoke an alchemy which throws light on the nature of immanence and potentiality in physical and
conceptual networks. These describe the nature of possibility curves within genesis and becoming which illuminate
the nature of immanence and potentiality in physical and conceptual networks, presenting new ways of thinking
about the world through the productive process. My experimental research practice explores the immanence of the
object as it pertains to possibility and failure. In order to understand this material and conceptual genesis it is
necessary to understand how ontogenesis has changed from a question involving biological systems to one
concerning the interrelations of biological and non-biological systems and non-living systems alone. A ceramics
practice is uniquely positioned to investigate such questions - being a practice with multiple delineations of agency -
most notably the artist, the kiln, the chemicals - which work in collaboration but which also work independently.That
is, it produces a mutational subjectivity or an autopoeisis. In this way my practice establishes itself as a mutant
nucleus by establishing for itself molecular ruptures capable of overthrowing already classified strata, enunciations
which operate as shifters of subjectivation.
All complex systems exhibit this distinctive property called emergence.

I am a ceramic artist having studied and exhibited for over 10 years. Shortlisted for the Jerwood Makers Prize in
2018, I am currently approaching the conclusion of a 4 year PhD project in experimental practice. I have contributed
as guest speaker at many symposia both in this country and abroad, and will be presenting my work at the Royal
College Research Symposium in March 2019.

Notes:

1
Artwork 1 Title: Bizarre Instrument 1
Artwork 1 Dimensions: 40cmx50cmx40cm
Artwork 1 Medium: bone china, wood
Artwork 1 Commentary: This is part of a series of works called Bizarre Instruments, The name of this series is taken
from a Tim Murphy quote in which he describes a theory as a toolbox “filled not with instruments designed for
given functions but with bizarre instruments that make possible unprecedented functions.― (Murphy 1998 211).
Here Murphy points to the chasm between the intangible nature of theory and the material nature of practice, the
gap between thought and praxis, and the interdependence of both. These works seek to establish this
interdependence as being grasped through the process of becoming which takes place in experimental ceramics
practice in terms of possibility and loss.
In this piece there are at least four separate but related processes each involving a mutational element observed
through the art object. That is, there are several layers of shifting of form referenced in the ceramic object: The
recipes, the kiln, the construction, and the viewing. The chemistry within the recipes effect morphogenesis of the
ceramic forms in the kiln. Then, in the assemblage of fired forms another transformation, based on the visual and
the instinctive, takes over and speaks in terms of brokenness and mutability. By taking the material to the edge of
its capabilities the processes at play within my experimental ceramics practice draw out the poetics of the material,
its ethereal nature, and its fragility, its willingness to be shaped from mud to delicacy and everywhere in between.
It’s a different relationship to the traditional relationship artists have with clay - a love of ceramics because the
material is forgiving and malleable – you can do anything you want to it, I’m letting it talk, letting it articulate
its own becoming, enacting its potential, making it say something else, something at the edge of its nature. These
objects are talking of clay in terms of its fragility and brokenness, they incorporate the risk that ceramic material has
obscured through the ages. It’s risk is what makes it so valuable, both philosophically and materially. With the
folded structure of the fabric as it is draped and arranged over the clock case, there is a different process again. The
fabric creates a very porous and open structure, the fibres burn away giving it a spongey structure internally once
fired, it’s less dense with lots of air bubbles letting light through, making the form fragile and transclucent. On
the outside the porcelain slip is thicker and stronger so that you get this play with these different visual effects, the
textures and the breakage, and its allowing light to pass through it in some places where it’s very thin in between
the folds. I’m entering into a dialogue with breakage and fragility. The pieces go in the kiln, they warp and move
in the firing, as well as the changes in the material – the vitrification, different things happen and then I have to
work with what comes out. It’s a collaboration between me the material, the kiln, the process. I am then
assembling around the found object. making more and assembling, making more and assembling. Building up a
form. It’s a process of growth and it’s a partnership between the forms I’m making, and the forms that
the kiln is making. It becomes a dialogue between the nature of the materials crated by the recipes I’m using and
what they will morph into in the kiln, and then this continual growth that goes on between me and the thing, me and
process. I’m constantly having to change my idea of what is going to happen to this piece. The piece then starts
to dictate things or suggest things, so you let it talk, let it be what it wants to be.

Please note: Further images of each work is available on my website: www.artradar.co.uk


and facebook page: clarebeattieceramics
Artwork 1 Image:

2
3
Artwork 2 Title: Bizarre Instruments 11
Artwork 2 Dimensions: 30cmx30cmx20cm
Artwork 2 Medium: Porcelain, wood/leather box, bird skull
Artwork 2 Commentary: This is part of a series of works called Bizarre Instruments, The name of this series is taken
from a Tim Murphy quote in which he describes a theory as a toolbox “filled not with instruments designed for
given functions but with bizarre instruments that make possible unprecedented functions.― (Murphy 1998 211).
Here Murphy points to the chasm between the intangible nature of theory and the material nature of practice, the
gap between thought and praxis, and the interdependence of both. These works seek to establish this
interdependence as being grasped through the process of becoming which takes place in experimental ceramics
practice in terms of possibility and loss.
In this piece there are at least four separate but related processes each involving a mutational element observed
through the art object. That is, there are several layers of shifting of form referenced in the ceramic object: The
recipes, the kiln, the construction, and the viewing. The chemistry within the recipes effect morphogenesis of the
ceramic forms in the kiln. Then, in the assemblage of fired forms another transformation, based on the visual and
the instinctive, takes over and speaks in terms of brokenness and mutability. By taking the material to the edge of
its capabilities the processes at play within my experimental ceramics practice draw out the poetics of the material,
its ethereal nature, and its fragility, its willingness to be shaped from mud to delicacy and everywhere in between.
It’s a different relationship to the traditional relationship artists have with clay - a love of ceramics because the
material is forgiving and malleable – you can do anything you want to it, I’m letting it talk, letting it articulate
its own becoming, enacting its potential, making it say something else, something at the edge of its nature. These
objects are talking of clay in terms of its fragility and brokenness, they incorporate the risk that ceramic material has
obscured through the ages. It’s risk is what makes it so valuable, both philosophically and materially. With the
folded structure of the fabric as it is draped and arranged over the clock case, there is a different process again. The
fabric creates a very porous and open structure, the fibres burn away giving it a spongey structure internally once
fired, it’s less dense with lots of air bubbles letting light through, making the form fragile and transclucent. On
the outside the porcelain slip is thicker and stronger so that you get this play with these different visual effects, the
textures and the breakage, and its allowing light to pass through it in some places where it’s very thin in between
the folds. I’m entering into a dialogue with breakage and fragility. The pieces go in the kiln, they warp and move
in the firing, as well as the changes in the material – the vitrification, different things happen and then I have to
work with what comes out. It’s a collaboration between me the material, the kiln, the process. I am then
assembling around the found object. making more and assembling, making more and assembling. Building up a
form. It’s a process of growth and it’s a partnership between the forms I’m making, and the forms that
the kiln is making. It becomes a dialogue between the nature of the materials crated by the recipes I’m using and
what they will morph into in the kiln, and then this continual growth that goes on between me and the thing, me and
process. I’m constantly having to change my idea of what is going to happen to this piece. The piece then starts
to dictate things or suggest things, so you let it talk, let it be what it wants to be.

Please note: Further images of each work is available on my website: www.artradar.co.uk


and facebook page: clarebeattieceramics
Artwork 2 Image:

4
5
Artwork 3 Title: Bizarre Instruments 10
Artwork 3 Dimensions: 25cmx 25cm x15cm
Artwork 3 Medium: Porcelain, wood/glass clock case
Artwork 3 Commentary: This is part of a series of works called Bizarre Instruments, The name of this series is taken
from a Tim Murphy quote in which he describes a theory as a toolbox “filled not with instruments designed for
given functions but with bizarre instruments that make possible unprecedented functions.― (Murphy 1998 211).
Here Murphy points to the chasm between the intangible nature of theory and the material nature of practice, the
gap between thought and praxis, and the interdependence of both. These works seek to establish this
interdependence as being grasped through the process of becoming which takes place in experimental ceramics
practice in terms of possibility and loss.
In this piece there are at least four separate but related processes each involving a mutational element observed
through the art object. That is, there are several layers of shifting of form referenced in the ceramic object: The
recipes, the kiln, the construction, and the viewing. The chemistry within the recipes effect morphogenesis of the
ceramic forms in the kiln. Then, in the assemblage of fired forms another transformation, based on the visual and
the instinctive, takes over and speaks in terms of brokenness and mutability. By taking the material to the edge of
its capabilities the processes at play within my experimental ceramics practice draw out the poetics of the material,
its ethereal nature, and its fragility, its willingness to be shaped from mud to delicacy and everywhere in between.
It’s a different relationship to the traditional relationship artists have with clay - a love of ceramics because the
material is forgiving and malleable – you can do anything you want to it, I’m letting it talk, letting it articulate
its own becoming, enacting its potential, making it say something else, something at the edge of its nature. These
objects are talking of clay in terms of its fragility and brokenness, they incorporate the risk that ceramic material has
obscured through the ages. It’s risk is what makes it so valuable, both philosophically and materially. With the
folded structure of the fabric as it is draped and arranged over the clock case, there is a different process again. The
fabric creates a very porous and open structure, the fibres burn away giving it a spongey structure internally once
fired, it’s less dense with lots of air bubbles letting light through, making the form fragile and transclucent. On
the outside the porcelain slip is thicker and stronger so that you get this play with these different visual effects, the
textures and the breakage, and its allowing light to pass through it in some places where it’s very thin in between
the folds. I’m entering into a dialogue with breakage and fragility. The pieces go in the kiln, they warp and move
in the firing, as well as the changes in the material – the vitrification, different things happen and then I have to
work with what comes out. It’s a collaboration between me the material, the kiln, the process. I am then
assembling around the found object. making more and assembling, making more and assembling. Building up a
form. It’s a process of growth and it’s a partnership between the forms I’m making, and the forms that
the kiln is making. It becomes a dialogue between the nature of the materials crated by the recipes I’m using and
what they will morph into in the kiln, and then this continual growth that goes on between me and the thing, me and
process. I’m constantly having to change my idea of what is going to happen to this piece. The piece then starts
to dictate things or suggest things, so you let it talk, let it be what it wants to be.

Please note: Further images of each work is available on my website: www.artradar.co.uk


and facebook page: clarebeattieceramics
Artwork 3 Image:

6
7
Catalogue3 ID0645
Artist ID: 0645

Artist Name: Charlotte Brisland


Website: www.charlottebrisland.com
IG: www.instagram.com/charlotte.brisland

Artist Statement: Throughout her career Brisland has used the snapshot to record the landscapes she has lived in,
often for months and years, yet sometimes they are made within a fraction of a second on a train or in a car.
Fragments of these snapshots are collaged in the studio to retain an essential element of fiction. At once part of the
displacement the Artist feels in the world, the spaces become overlapped by past and present. There is a sense of
performative story-telling within the painterly description of the image as broad brushwork structures scenes that
echo genres within the painting tradition and create a majestic tension which transcends the figurative content. A
single building in space, lit from without and concealing what is within is no literal object in this work. What is
hidden, remains so, nothing and nobody emerges, the scenes promise human presence and permanently banishes it.
Familiarity is omnipresent while the absence of so many possible elements is comparable to a stage, paused and
vacant.

Notes:

1
Artwork 1 Title: Static
Artwork 1 Dimensions: 150x120x2cm
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: Static was composed of parts and evolved on the canvas. I was considering the current
political climate and the sense of something ominous and imminent unfolding. I didn't want to paint something
direct and obvious, just a space where something might happen or might have happened off screen.
Artwork 1 Image:

2
Artwork 2 Title: Hideaway
Artwork 2 Dimensions: 100x120x2cm
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: I found this building in east London and then exaggerated parts of it. I wanted it to join up
with 'Static' as a possible other place in some kind of journey. I was considering the interior space and the things
which might happen there. The light was really important to get right and to suggest yet block the interior space.
Artwork 2 Image:

3
Artwork 3 Title: White and red tent
Artwork 3 Dimensions: 120x150x2cm
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0646
Artist ID: 0646

Artist Name: Mandi Stewart


Website:
IG: GardeningMS

Artist Statement: Mandi is an artist who works in a range of media from Sculpture to Painting, Photography and
Installation. She describes herself as an Artist Printmaker as most of her ideas start or end in this medium. She is a
graduate of the St Ives School of Art and works regularly in the Porthmeor Printmakers studio in St Ives. Her work is
often influenced by memories of significant life or world events but she is also creates images in response to the
beautiful landscapes she has experienced.

Notes:

1
Artwork 1 Title: Breathe in Hold Breathe out
Artwork 1 Dimensions: 80 x40x2
Artwork 1 Medium: Monoprint with hand painting
Artwork 1 Commentary: This work speaks to the importance to breathing. Breathing is essential for life and mental
wellbeing. If we forget to breathe properly the impact on life is elemental. This work is also a tribute to a relative
whose breaths were a goodbye.
Artwork 1 Image:

2
Artwork 2 Title: Sunrise Sunset
Artwork 2 Dimensions: 25x25x1
Artwork 2 Medium: Mixed media
Artwork 2 Commentary: A small work inspired by the drama of sunrise and sunsets
Artwork 2 Image:

3
Artwork 3 Title: The Red Roads of West Penwith
Artwork 3 Dimensions: Triptych 20x40x2 (3)
Artwork 3 Medium: 0
Artwork 3 Commentary: A set of paintings inspired by the ancient roads of West Penwith and the wonder of a
landscape that has scarcely changed for centuries.
Artwork 3 Image:

4
Catalogue3 ID0647
Artist ID: 0647

Artist Name: Bo Aakerstrom


Website: boaakerstrom.com
IG:

Artist Statement: I am a graphic designer who left university with a BA(Hons.) in "Graphic Design with an Art Focus".

While commercial design is one of my services - both for print and web publishing, I have a fascination with surface
pattern design - in particular repeating patterns, which have a multitude of applications in the real world, as well as
in art.

My belief is that art has many roles in our society - it can challenge and entertain, be a catalyst for change as well as
creating an atmosphere in out environment.

Notes:

1
Artwork 1 Title: Cross
Artwork 1 Dimensions: 59.4x42
Artwork 1 Medium: Digital print
Artwork 1 Commentary: An A2 poster with a repeating pattern in the form of a cross.

The design is inspired by Celtic art, but not in an original Celtic style.

The three layers suggest body, soul, and spirit.


Artwork 1 Image:

2
Artwork 2 Title: Hashtag
Artwork 2 Dimensions: 59.4x42
Artwork 2 Medium: Digital print
Artwork 2 Commentary: The humble hash symbol is having a renaissance currently, with usage far beyond its original
meaning.

Depicted here on an A2 poster which is a play with white space as the symbol is not actually there, only the coloured
gradient which adds depth to the design.
Artwork 2 Image:

3
Artwork 3 Title: Summertime
Artwork 3 Dimensions: 59.4x42
Artwork 3 Medium: Digital print
Artwork 3 Commentary: Waiting for the summer sun to arrive, to give us warmth and life, however, our suns surface
is a volatile place and here the chaos is represented by a pattern moving outwards to fuel the rays we crave.

This is an A2 digitally printed poster.


Artwork 3 Image:

4
Catalogue3 ID0648
Artist ID: 0648

Artist Name: Julia Robinson


Website:
IG: julia.r_paints

Artist Statement: I have had a love for painting and drawing since I can remember and am now painting again after a
10-year hiatus from making art. I obtained a Bachelor of Fine Art (BFA) degree in 2009, specialising in oil painting.
Afterward I obtained an MA in History of Art and ended up working in the non-profit sector, awarding artists and
craftspeople grants to pursue their artistic careers. Whilst this was incredibly rewarding work, it inspired me to be on
the receiving ends of these grants, and I became a graphic designer in order to kick-start a creative career. I now
work full time as a designer and spend my evenings and weekends painting, as well as attending life drawing classes.
I focused on portraiture for my final BFA portfolio and am currently picking up where I left of ten years ago, working
to push my artistic boundaries. Having been trained at a liberal arts university at one of the oldest art schools in
North America, I was taught that I needed to learn the rules before breaking them. Whilst I learnt a great deal about
risk taking toward the end of my fine art degree, I am now challenging myself to break the rules even further in my
painting practice.

Notes:

1
Artwork 1 Title: Bearded man
Artwork 1 Dimensions: 35.5 x 25.5 x 1.5
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: This portrait is to showcase light and shadow in unconventional colour combinations.
Drawing on traditional techniques learned through art school, I used a bold colour palette for a more contemporary
take on traditional portraiture.
Artwork 1 Image:

2
Artwork 2 Title: Valentine still life
Artwork 2 Dimensions: 35.5 x 25.5 x 1.5
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: I am building a still life body of work in addition to my portraiture series. This is the first
depiction I've made of flowers in paint and I aim to incorporate more contemporary colour palettes into these
works.
Artwork 2 Image:

3
Artwork 3 Title: Old masters study
Artwork 3 Dimensions: 21 x 15
Artwork 3 Medium: Oil on board
Artwork 3 Commentary: This is an example of the traditional painting techniques learned in art school. Using oil
paints, I produced this oil sketch after an old masters painting in a book. This exercise was to achieve realistic light,
shadow and expression, without going in to a great amount of detail.
Artwork 3 Image:

4
Catalogue3 ID0649
Artist ID: 0649

Artist Name: Geo Cameron


Website: setting things up but not up yet
IG:

Artist Statement: I've been doing art for aeons. My first degree was at the Corcoran School of Art in Washington DC
where my Mum worked at the time. (She and I are both Brits/Scottish and Irish.) In the 80's I did spectacular interior
art for nightclubs in Washington, and went on to film and music as well. I even wrote a story for Star Trek: Sacred
Ground for Star Trek Voyager. I have also taught Celtic spiritual shamanic work around the world, My PhD at the
University of Edinburgh was the first to prove the existence of shamanism in Celtic culture. (Though that's not what
we called it.) Anyway, I was super successful until I sought a soul mate and got soul freight: weighing me down, it
was not great. He trashed my life and work for over a decade, and distressed our children. It is over now, and I am
trying to get all of my work that people have loved back out again. My art is something super important to me. Both
my grandmas were artists too. My father's Mum was the last court photographer of the Habsburgs in Budapest in
the way back. I love doing portraiture too, and include a portrait. Anyway, thank you for the competitions. Hope I get
in, LOL!

Notes:

1
Artwork 1 Title: Mermaid
Artwork 1 Dimensions: 133cm wide, 225cm height
Artwork 1 Medium: acrylic, charcoal, various art pencils
Artwork 1 Commentary: It's a painting of a Mermaid with a baby fish and a baby human with a Celtic Stone Circle
behind her. I like the feeling that we're all in this together!
(Date 2017)
Artwork 1 Image:

2
Artwork 2 Title: Beltane Delight
Artwork 2 Dimensions: 87cm wide 67 cm high
Artwork 2 Medium: 0
Artwork 2 Commentary: A woman by the sea with a bird dancing at Beltane
(Date 2018)
Artwork 2 Image:

3
Artwork 3 Title: Happy Couple by Edinburgh Castle
Artwork 3 Dimensions: 62 cm by 68 cm
Artwork 3 Medium: 0
Artwork 3 Commentary: A nice portrait of a jolly couple at a delightful place in Edinburgh (date 2019)
Artwork 3 Image:

4
Catalogue3 ID0651
Artist ID: 0651

Artist Name: Jack Azagury-Slattery


Website:
IG: azagury_jackitoart

Artist Statement: Our son Jack is 8 years old and was diagnosed with moderate to severe Autism 4 years ago. He has
many social and developmental struggles but has found a love in art and particularly drawing. He spends hours at
home and at school concentrating on his drawings. He has a special interest in urban landscapes but from time to
time surprises us with a few changes. His attention and the amount of details he can include on an A4 page with his
markers always astonished us!

He was a finalist at the National Open Art Exhibition in November 2017, having 2 of his drawings selected and was
awarded "The Seaward Properties" Chichester award at the Chichester Art Fair. We couldn't be more proud of him.
He thoroughly enjoys when his work is reckonised and this has helped him express himself tremendously.

Notes:

1
Artwork 1 Title: A train story
Artwork 1 Dimensions: 21x29.7
Artwork 1 Medium: Pencil and markers
Artwork 1 Commentary: Jack has recently started to draw in back and white and only include a touch of colour. His
has also started to express himself through the use of stories and the amount of detail he includes is quite wonderful
Artwork 1 Image:

2
Artwork 2 Title: Behind the lines
Artwork 2 Dimensions: 21x29.7
Artwork 2 Medium: markers
Artwork 2 Commentary: Jack was recently invited but TFL to visit an out of service underground trains in South
London.

He took his pad and sat looking out onto the lines and just drew the scenery.

The tracks faced another station with a large industrial building behind.

He was fascinated
Artwork 2 Image:

3
4
Artwork 3 Title: 0
Artwork 3 Dimensions: 0
Artwork 3 Medium: 0
Artwork 3 Commentary:
Artwork 3 Image:

5
Catalogue3 ID0652
Artist ID: 0652

Artist Name: Kirill Ahmedzanov


Website:
IG:

Artist Statement: I am an a mateur artist and have been practicing drawing and painting continuously since 2007
when I relocated to London from my native Estonia.

I have worked in a variety of mediums, namely oil, acrylic, pastel. My recent techniques incorporate abstract motifs,
geometric patterns and figurative representation alike. Also, mixing different media creates a flux, a blur epitomising
our ever-changing and multifaceted existence.

Several themes occupy my imagination. In my latest works I am trying to convey the feeling of desperation and
helplessness that are so symptomatic of our times. Working within post- and metamodernist paradigm I am
assessing failures of modern society and civilisation in general translated through human experience into concrete
works of art.

I see the human being as complex machine and investigate what makes up our human nature. Here a number of
topics draw my attention: loss and regain of authenticity, quest for identity and existential angst rendered in
paralysing fear. I am fascinated by our obscure desires, dark secrets and sexual fetishes, I believe them to be the best
insights into our subconscious.

More esoteric aspects of our existence are also present in my work. Using distorted point of view and destroying
forms allows me to reveal hidden meanings of and connections between places and objects and people. I want the
viewer to see things differently as if they are looking at the reflection of the world in a false mirror where colours
and perspective are ‘wrong’, objects have no texture and are two-dimensional. With that I profess the
absence of end meaning, reign of absurd and multiplication of truths.

Notes:

1
Artwork 1 Title: Scene 01
Artwork 1 Dimensions: 27x34
Artwork 1 Medium: Oli, canvas paper
Artwork 1 Commentary: Body as a platform for experimentation. Ruthless invasion and cold irony.
Artwork 1 Image:

2
Artwork 2 Title: Interrupted
Artwork 2 Dimensions: 20x26.5
Artwork 2 Medium: Paper, ink, pastel, pencil
Artwork 2 Commentary: Despair and feeling of being held up. Banging head against the wall
Artwork 2 Image:

3
Artwork 3 Title: Piano player
Artwork 3 Dimensions: 22x21
Artwork 3 Medium: Paper, ink, pastel, pencil
Artwork 3 Commentary: Theatre of the Absurd, momentary sensation split/slit into film stills and presented to the
public.
Artwork 3 Image:

4
Catalogue3 ID0653
Artist ID: 0653

Artist Name: Georg Heider


Website:
IG:

Artist Statement: Artistic Statement


I don’t have any art degree. I am self-taught, 100%.

My way to art

A few years before my retirement I visited Barcelona with my wife. The works of the Art Noveau artists inspired me
immensely. I started to get interested in architecture and art. bought a book about Hundertwasser and visited an
exhibition of reverse painting on glass. I was so excited about it, that I got acrylic paints, brushes and a glass plate
afterwards. I started to paint. What I had been looking for all my life, now I had found it

Wy reverse painting on glass?

1) No other painting surface makes the colors shine like glass. This brilliance and depth of colors make me
addicted.
2) Reverse painting on glass is not an academic subject, and there are very few painters in this field. So I am
free from patronage and good advice.
3) The difficulties of this technique stimulate me: few correction possibilities, reverse image construction as
with other techniques, no view of the front at the moment of painting

My credo how I paint

1)My pictures have to show people.


2)My imagination is the main source of my motives. Nature has only service function
3)I feel no obligation to any art style. There is currently an affinity to Expressionism (without war paint) and
Surrealism.

My central message

Life is beautiful, even on rainy days, that signals my color choice.

Notes:

1
Artwork 1 Title: Balancing Act Future
Artwork 1 Dimensions: 70 x 61 x 2 ( without frame )
Artwork 1 Medium: Acryl / Glass
Artwork 1 Commentary: Technique: Acrylic reverse painting on glass
Description: Balancing act future

The players have left the Monopoly game. With a common effort they lift the planet earth. To get level balance they
put the game money under their feet and with spread legs they reconcile the gorges of contrasts. Future can not
succeed wearing out each other like Monopoly intentions. The future of our blue planet is a balancing act of all
players at eye level without separating ditchs.

Artwork 1 Image:

2
3
Artwork 2 Title: O when The Saints Go Marching In
Artwork 2 Dimensions: 70 x 61 x 2 (without frame)
Artwork 2 Medium: Acryl / Glass
Artwork 2 Commentary: Technique: Acrylic reverse painting on glass
Description: O when the saints go marching in

Everyone knows this song. In my ears Fats Domino brought it to perfection. Anyone, who hears his version, has to
rethink his image of God. There is no room for the vengeful being of the Old Testament, nor for the fussy world
judge of the New Testament. The Last Day’s fanal simply turns into a joyful return to the realm of the waiting
Trinity. God Father yoy see as a kind senior boss with the world computer on his knees. Notice his big hands! Once
he created the world with them. Behind him stands Jesus as a dynamic junior boss. They are surrounded by St. Gost.
A flock of angels underscores the importance of the moment.

Artwork 2 Image:

4
5
Artwork 3 Title: Power Woman In Charging Mode
Artwork 3 Dimensions: 70 x 61 x 2 (without frame)
Artwork 3 Medium: Acryl / Glass
Artwork 3 Commentary: Technique: Acrylic reverse painting on glass
Description: Power woman in charging mode

In the glow of the setting sun a woman sits on the beach facing the sun. She had a busy day. Now she enjoys the
silence and charges her batteries for the next day. She is a power woman like most of her sex. Let us be honest, not
us men are the strong sex, our women do much more than we do. In order to stand firm in work, household,
bringing up of children and marital bed, a real power woman needs more than 2 legs. And what legs! Wow! They are
some of the most beautiful that God ever created.

Artwork 3 Image:

6
7
Catalogue3 ID0654
Artist ID: 0654

Artist Name: Ines De Poligny


Website: www.inesdepoligny.com.uy
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: New Age
Artwork 1 Dimensions: 160 x 100 x 1.5
Artwork 1 Medium: Photography of own Painting under Acrylic.
Artwork 1 Commentary:
Threw this painting, I tried to express a complete reaction of nature, against human abuse. A new start, where by an
explosive, abundant, yet beautifull water, overflows un kidness to bring a new start.,
Artwork 1 Image:

2
Artwork 2 Title: Temple
Artwork 2 Dimensions: 120 x 80 x 1.5
Artwork 2 Medium: Under Acrylic Photography of own Painting
Artwork 2 Commentary:

Temple, brings simple elements of earth, to express a strong force, pasive by its determination.,
Artwork 2 Image:

3
Artwork 3 Title: Vivaldi II
Artwork 3 Dimensions: 103 x 57 x 1.5
Artwork 3 Medium: Acrylic and Oil
Artwork 3 Commentary: I tried to express different sensations, of joyfulness, fragility, freshness, sometimes
femeninity, and complexity music composition, of the Spring Season of Vivaldi.
Artwork 3 Image:

4
Catalogue3 ID0656
Artist ID: 0656

Artist Name: Jonathan Collins


Website:
IG:

Artist Statement: My paintings are generally painted quickly, I like to use energy to convey a brief moment in nature,
the marks and scratches are an all important measures of the value of the scene and my emotional response to it. I
apply this same technique to whichever subject I chose.

Notes:

1
Artwork 1 Title: Como Evening Sun
Artwork 1 Dimensions: 71 x91 x 1cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: The contrast between a weather beaten tree rooted within the water of Lake Como, almost
struggling against the elements, and a pair of ducks gliding gracefully across, struck me as a very balanced metaphor
for the natural World.
Artwork 1 Image:

2
Artwork 2 Title: Bough over the pond
Artwork 2 Dimensions: 61 x 61 x 2cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: I was fascinated how a tree branch in the foreground seemed to entwine itself with the
trees and foliage on the opposite side of the pond. For a moment something so close became unattainable.
Artwork 2 Image:

3
Artwork 3 Title: A Willow beside the Slipway
Artwork 3 Dimensions: 76 x 76 x 1cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: Tranquil corner of an English river, a bit twee but there is a busy road next to it, I felt
obliged to capture the calm and ignore the noise.
Artwork 3 Image:

4
Catalogue3 ID0657
Artist ID: 0657

Artist Name: Kimberley Cynthia Jane Rumary


Website:
IG:

Artist Statement: Kimberley is a self taught artist who has been exploring different mediums of art, from drawing,
watercolour and acrylic, over the past two years.

The style of art that she creates visually demonstrates living and breathing themes that people can connect to, that
also speak from the page to the heart of the imagination and the spirit within. There is a whimsical style emerging
with bright colour to captivate the viewers.

Kimberley’s heart as an artist is to create pieces of art that provoke thought, and the imagination whilst speaking
to each individual that sees them. Her faith and passion for people inspires her to be curious and take risks in sharing
the Love of God through creativity.

Notes:

1
Artwork 1 Title: Hope in is eyes
Artwork 1 Dimensions: 22.9x30.5cm
Artwork 1 Medium: Watercolour and Acrylic
Artwork 1 Commentary: Through looking in the eyes of the Lion there is hope, there is pain, there is love, sacrificial
love for you, for all.

The ideas of power and strength of what a Lion represents and vulnerability and humility of being a sacrifice led to
death to bring new life to others.

The process of making this piece was outlining the image in pencil and being led by the colours of purples, yellows,
blues in watercolour and metallic acrylics.
Artwork 1 Image:

2
3
Artwork 2 Title: Soaring high as I jump into the sky
Artwork 2 Dimensions: 22.9x30.5cm
Artwork 2 Medium: Pencil, black ink, Watercolour
Artwork 2 Commentary: I leap in the air, without a care. As I lift my gaze from all of the haze from the worlds maze, I
am met with grace with an inviting face and offer my praise

The ideas explored were movement in the human body and how to capture a moment of grace and elegance of a
whimsical like creature leaping into the unknown.

The process of making this piece was outlining the form of the person in pencil and black ink. The rest of the image is
in watercolour to create movement that is leaving a trail behind.
Artwork 2 Image:

4
5
Artwork 3 Title: The overflow cascaded down, nested and rested.
Artwork 3 Dimensions: 22.9x30.5cm
Artwork 3 Medium: Pencil, black ink, watercolour
Artwork 3 Commentary: The dove descended upon the delight, to dwell and shine the light.

The ideas explored were themes of the feminine form having an encounter. There is a transformation taking place
into a beautiful new creation.

The process of making this piece was outlining the form of the person in pencil and black ink. The rest of the image is
in watercolour to create a colourful divide and contrast between the form and the background.
Artwork 3 Image:

6
7
Catalogue3 ID0658
Artist ID: 0658

Artist Name: Anthony Carey


Website:
IG:

Artist Statement: My current work explores the inevitable connections made by people within their environment. It
is a way of celebrating the marks people have made and recording this through the randomness of connection.

Notes:

1
Artwork 1 Title: Connection
Artwork 1 Dimensions: 183cm x 183cm x
Artwork 1 Medium: digital print on diabond
Artwork 1 Commentary: ‘Connection’ shows a visual correlation of the interaction between people. These
connections are not always obvious.
One hundred and sixty-nine people were asked to make their mark, joining dots by means of line using basic tools of
mark-making; pen and paper.
The individual pieces were laid down at random on a 13 x 13 grid based on the Fibonacci number sequence. Each
piece was allowed to overlap showing connection and fragmentation, where boundaries are both recognized and
ignored simultaneously.
Artwork 1 Image:

2
3
Artwork 2 Title: Connection 120
Artwork 2 Dimensions: 19.5 x 78.5mm x 16
Artwork 2 Medium: acrylic and oiled walnut
Artwork 2 Commentary:
CONNECTION 120 is about connection and fragmentation through mark-making in a three-dimensional space. One
hundred and twenty original grid-based marks were repeatedly redrawn to allow me to connect myself to the mark-
making process. The interaction of light and layering shows a web of connection and fragmentation, order and
chaos simultaneously.
Artwork 2 Image:

4
Artwork 3 Title: Church
Artwork 3 Dimensions: 45.7x60
Artwork 3 Medium: acrylic ink and metal foil on card
Artwork 3 Commentary: Church is connected to memories of my father taking me to inner city churches with large
stained glass windows. The memories evoked are of paying more attention to the colours and dust dancing in the
light than of what the priest was saying.
Artwork 3 Image:

5
Catalogue3 ID0659
Artist ID: 0659

Artist Name: Millie Lewin


Website:
IG:

Artist Statement: Hello


I am a young artist of 16 who is inspired and have a passion to create art using topics that tell a story about
experiences. I have recently been inspired by my fathers experiences during his time in Afghanistan, serving as a
frontline doctor also the Killing Fields after my visit to Cambodia and the Black Death. I enjoy using mixed media,
photography, painting, drawing and sculpture, using textiles is another area I enjoy. Right now my dream job for the
future would be to be an artist who could capture events such as war or conflicts around the word or to be able to
portray topical events and be able to show the world what is going on through my art.
I hope you enjoy and find my artwork interesting. Thank you for your time.

Notes:

1
Artwork 1 Title: Afghanistan conflict
Artwork 1 Dimensions: 102 cm x 82cm
Artwork 1 Medium: On wood Mixed media: acrylic paint, mod roc, hand made barbed wire, ink, tracing paper with
articles from the conflict at the time, medical notes from the conflict, newspaper clippings about my father from the
conflict, maps from the area, charcoal and pe
Artwork 1 Commentary: This piece of artwork portrays he horrors of the Afghanistan conflict through my fathers
eyes who was a front line medial officer at the time.
It shows the pain and suffering of all involved; from the children who were injured to the soldiers and people of the
county and with its stunning backdrops of the mountains. The images can be portrayed differently depending how
you see them. The artwork shows evidence of real life casualties and the blood and devastation that took place.

Artwork 1 Image:

2
3
Artwork 2 Title: The Killing Fields In Cambodia
Artwork 2 Dimensions: 70cm x 70cm approx
Artwork 2 Medium: On wood Mixed media: photography, charcoal, chalk, pencils, acrylic paint gold and black, poster
paints
Artwork 2 Commentary: This picture portrays the horrors that took place during the Cambodian genocide in 1975.
I visited the country in 2016 with my family. Our tour guide was a child at the time but witnessed his parents being
taken away, he told us mantra stories. As I toured the country and visited the Killing Fields and a prison camp, that
was once as school, I decided I wanted to somehow tell this story through my art. My artwork shows the images of
the horrors that took place in the prison camp and the findings at the Killing Fields. The painting of the young monk
is of a photograph of took at Angkor Wat, I thought this showed the light at the end of a very dark and gloomy
tunnel, he is apart of the generation of survivors after the Khmer Rouge tried to wipe them all out. My art also
shows golds and architecture of the beautiful culture that depicts this country.

Artwork 2 Image:

4
5
Artwork 3 Title: Ring a Ring a Roses
Artwork 3 Dimensions: Circumference approx 50cm x 50cm
Artwork 3 Medium: Acrylic paint on round canvas.
Artwork 3 Commentary:
I was inspired when learning about the Black Death and the children’s nursery rhyme “Ring a Ring a Roses―.
Within these dark images you can find different elements that show the sufferings of the people during the time of
the plague that hit and devastated parts of our country. I felt the images needed to be meaningful to the time,
portraying evil and devilish fiery colours
Artwork 3 Image:

6
Catalogue3 ID0660
Artist ID: 0660

Artist Name: Jane Francis


Website:
IG:

Artist Statement: After completing a degree in fine art in Exeter (many years ago) and an Animal Management and
Conservation degree more recently I feel it is time to bring these elements of my life together and create works that
highlight issues that our natural world faces.

I have had a varied career path that has gradually led me away from art but the discovery of ceramics is bringing me
back to doing something I love, manipulating clay and transforming thoughts into creative reality.

Notes:

1
Artwork 1 Title: Poles Apart #1
Artwork 1 Dimensions: 18x26x13
Artwork 1 Medium: Ceramic
Artwork 1 Commentary: As mankind continues to violate the planet many species; even those 'Poles Apart' in
physical location, are united by their fight for survival. Undoubtedly people will question the combination but the
title should help clarify the message. I want my work to be thought provoking rather than merely representational, I
want it to both say and ask something.
After completing a degree in fine art in Exeter (many years ago) and an Animal Management and Conservation
degree more recently I feel it is time to bring these elements of my life together and create works that highlight
issues that our natural world faces.

Artwork 1 Image:

2
3
Artwork 2 Title: Poles Apart #2
Artwork 2 Dimensions: 13x26x12
Artwork 2 Medium: Ceramic
Artwork 2 Commentary: As mankind continues to violate the planet many species; even those 'Poles Apart' in
physical location, are united by their fight for survival. Undoubtedly people will question the combination but the
title should help clarify the message. I want my work to be thought provoking rather than merely representational, I
want it to both say and ask something.
After completing a degree in fine art in Exeter (many years ago) and an Animal Management and Conservation
degree more recently I feel it is time to bring these elements of my life together and create works that highlight
issues that our natural world faces.

Artwork 2 Image:

4
5
Artwork 3 Title: Poles Apart #3
Artwork 3 Dimensions: 14x28x10
Artwork 3 Medium: Ceramic
Artwork 3 Commentary: As mankind continues to violate the planet many species; even those 'Poles Apart' in
physical location, are united by their fight for survival. Undoubtedly people will question the combination but the
title should help clarify the message. I want my work to be thought provoking rather than merely representational, I
want it to both say and ask something.
After completing a degree in fine art in Exeter (many years ago) and an Animal Management and Conservation
degree more recently I feel it is time to bring these elements of my life together and create works that highlight
issues that our natural world faces.

Artwork 3 Image:

6
7
Catalogue3 ID0661
Artist ID: 0661

Artist Name: Shawanda Schiefer


Website:
IG:

Artist Statement: I am a visual digital artist currently living in Las Vegas, Nevada. My passion for art was first
established through my love for fashion design, sketching and creating clothing at the age of 6 and gathered
inspiration from famous fashion designers of my generation. I draw my inspiration from the shape and form of the
female physique. I consider myself a pinup artist or sexual empowerment artist. I use sex as a medium reference to
show, to invoke and to influence women to take control of their sexual desires through suggestive positions, sexual
dominance and physical manipulation. I incorporate those themes and messages in each art piece as a reminder
that women are in full control of their desires and sexual freedom. My goal is to create art that is striking and
beautiful, with an homage to fashion and illustration. I start my process of visual art by incorporating images of
seductive women that are edgy. I collect pictures from magazines and stock photos as inspiration. I work in a semi-
realistic manner depicting portraits and figures of females. I want the women to be strong; to be in control and to
exhibit femininity with a focus on feminism that speaks to all genders regardless of sexual preference and gender
identification.―

Education:
Graduated from the University of Las Vegas Nevada, with a Bachelor’s degree in Accounting and MBA in Finance.
Today, I regard myself as self-taught artist, having developed my style and expression from non-traditional mediums.

Notes:

1
Artwork 1 Title: Becoming
Artwork 1 Dimensions: 40.64 X 40.64
Artwork 1 Medium: This piece was illustrated, painted and airbrushed digitally on canvas.
Artwork 1 Commentary: Becoming is the process of passing into a state of being more or greater than who you
currently are. The process of evolving or changing your current state of mind and realizing your full potential as a
person. The backdrop is painted in layers of color bursting with energy, while blending beauty and light- indicating
the mental and personal state of awakening as one becomes.
Artwork 1 Image:

2
Artwork 2 Title: Dietrich
Artwork 2 Dimensions: 40.64 X 40.64
Artwork 2 Medium: This piece was illustrated, painted and airbrushed digitally on canvas.
Artwork 2 Commentary: Dietrich was inspired based on several classic movies and posters including Marlene Dietrich
and how technology has changed from smoking cigarettes to trading it in for another similar vice– vaping (E-
cigarettes) using sexuality in the forefront. The words in the background indicates the mixed messages and
communication we hear in the news and the world around us.
Artwork 2 Image:

3
Artwork 3 Title: Exhibitionist
Artwork 3 Dimensions: 40.64 X 40.64
Artwork 3 Medium: This piece was illustrated, painted and airbrushed digitally on canvas.
Artwork 3 Commentary: The Exhibitionist explores the lines of sexual liberation and sexual display. Asking the
question, is exhibitionism the new normal in sexual behavior, since society is infatuated with constructing and
disseminating provocative images to seduce the eye?
Artwork 3 Image:

4
Catalogue3 ID0662
Artist ID: 0662

Artist Name: Theadora Ballantyne-Way


Website: www.tbway.co.uk
IG: www.instagram.com/theadora_ballantyne_way/

Artist Statement: The work of Theadora Ballantyne-Way distorts and questions viewers’ sense of perception.
Lying somewhere between the immateriality of the imagination and the materiality of the handmade, her misleading
depictions of reality force us to question what it is we might really be seeing.

Her enlargement of diminutive everyday objects is not a critique of consumer habits but a celebration of the surreal,
and a playful challenge to the rich history of English pastoral.

In her work, mundane utensils become monumental industrial components, a transformation that elevates them
into both objects of aesthetic consideration and bizarre emblems of middle-class terror.

With the textures, marks and antiquated processes of screenprint and etching, she produces a false sense of
legitimacy, one that is at odds with most forms of contemporary image production.

Notes:

1
Artwork 1 Title: Filton Bypass
Artwork 1 Dimensions: (H) 115cm (W) 82cm (D) 7cm
Artwork 1 Medium: Screenprint
Artwork 1 Commentary: I’m attracted to the endless possibilities, dimensions and worlds that digital collage can
offer. The power of the image means that anything can happen. When the object becomes a layer in the digital
collage the concept, design or said function can change entirely. The object has the potential to have several
different functions, change colour and take on a totally new structural identity.

The digital world combined with traditional printmaking techniques bring us textures and marks that are only
distinguishable through print, the unique massaging of ink to plate and pull from screen to paper create surprises
and authentic imagery. The careful dictation of process in traditional printing methods create a legitimacy that is
familiar and recognisable. I thoroughly enjoy the play between these two worlds.
Artwork 1 Image:

2
3
Artwork 2 Title: Harry Stoke Road
Artwork 2 Dimensions: (H) 74.6cm (W) 87.6cm (D) 7cm
Artwork 2 Medium: Screenprint
Artwork 2 Commentary:
Artwork 2 Image:

4
Artwork 3 Title: Purdown Takeover
Artwork 3 Dimensions: (H) 84 cm (W) 74 cm (D) 7cm
Artwork 3 Medium: Screenprint
Artwork 3 Commentary:
Artwork 3 Image:

5
Catalogue3 ID0664
Artist ID: 0664

Artist Name: Nadia Boulaich


Website:
IG:

Artist Statement: Estimado señor,


Soy Nadia pintora marroqui vivo en granada España,
estudie en facultad de bellas artes de Barcelona he participado en muchas exposiciones.
actialmente mis obras estan expuestas en la galeria Aurea de madrid en una exposicion colectiva bajo el titulo Hola
Mundo
me gustaria exponer con vosotros
Atentamente
Nadia

Notes:

1
Artwork 1 Title: Miradas diversas
Artwork 1 Dimensions: 82 cm x 70 cm
Artwork 1 Medium: 2 cm
Artwork 1 Commentary: En esta obra intento captar la reflexion y el simbolismo en las miradas de los rostros
plasmados en un espacio pictorico realizada con una composición de luz y de sombras
Artwork 1 Image:

2
Artwork 2 Title: reflexion
Artwork 2 Dimensions: 121 cm x 80 cm
Artwork 2 Medium: 3 cm
Artwork 2 Commentary: En este trabajo busco la textura y el volumen y
la profundidad de las expresiones y los sintimientos humanos representadas dentro de un espacio pictórico
realizadas con una composicion de colores
vivos
Artwork 2 Image:

3
Artwork 3 Title: El jardin de la infancia
Artwork 3 Dimensions: 89 cm x 69 cm
Artwork 3 Medium: 2 cm
Artwork 3 Commentary: En esta obra quiero plasmar la expresion de la inocencia del niño con diversas calidades
de colores simples y compuestos
Artwork 3 Image:

4
Catalogue3 ID0665
Artist ID: 0665

Artist Name: Raquel Palis


Website: www.forevermoreac.ca
IG: https://www.instagram.com/raquelpalis/

Artist Statement: Based in Toronto, Canada, Raquel Palis and Paulo Ramos are the Forevermore. Their work
combines paintings, augmented objects and sounds, expanding the static bi-dimensional physical state of lines,
colours, and shades to a tri-dimensional kinetic representation, exploring unforeseen movements and sounds with
augmented reality practice. Sometimes minimalist and hypnotic, sometimes a shocking extravaganza of textures and
sounds, the computer graphics generated images resembles a surreal world.

INSPIRATION & VISION:

Paulo absorbs the essence of Raquel's mosaic of events-based in social questions as a Brazilian immigrant point of
view, expressed in the paintings, and drift himself through contemplation and reflection, then builds his own
imagetic interpretation of Raquel's artworks. They do it exhaustively, exploiting the digital inevitability, creating
connections between each one’s analyses through art and technology. They're motivated to improve the viewer's
outlook on a questionable and dystopic and surreal world, beyond the existence of the virtual object. The works
expose the discrepancy between the analog and the virtual by fusing these divergent universes on art expression
form. The forevermore artworks immediately arouse the viewer's interests and surprisingly turns into an explosion
of sublime-emotions once these worlds are displayed to the viewer The Artmented app, used to display the
augmented reality artworks, is under constant evolution once new artworks are finished. Pushing the boundaries of
contemporary art, engaging demographics for innovative use of technology and its invention of a new word
aesthetics, empowering the public in order to get them closely of the narrative beyond the digital.
We also investigated the individual contemporary digital routine, influenced by the mass communication platforms
and how we can make this everyday journey meaningful. The 3D computer graphics activated through Augmented
Reality as a medium, empowers the public sensations and stimulates them to reach personal perceptions

Notes:

1
Artwork 1 Title: Mozinerine
Artwork 1 Dimensions: 45.7 cm x 61 cm
Artwork 1 Medium: Augmented reality Sculpture over Acrylic on canvas
Artwork 1 Commentary: Acrylic on canvas artwork suggests cooperative arrangements, and how these individuals
unique in form, effect and variation are at the same time intentionally co-related among each other aiming to be
complimentary even when sometimes raises an illusionary sensation of repetitiveness. Leading the audience to a
central composition which it is the syntax of collectives or organizations in a contemporary context, influenced by
the industrial shift.
The Augmented reality in Mozinerine can be manipulated by the audience drifting the finger on the screen, creating
unique patterns, lead the audience a constantly co-create of our work.
We create digital and analog assets in one context fusion of two discrepant worlds. We truly believe that our art will
be displayed without a mobile device or an awkward headset, just with elegant regular glasses in a common reality.
Please download Artmented and to activate it.
Artwork 1 Image:

2
3
Artwork 2 Title: Orgramica
Artwork 2 Dimensions: 45.7cm x 61 cm
Artwork 2 Medium: Augmented reality Sculpture over Acrylic on canvas
Artwork 2 Commentary:
Artwork 2 Image:

4
Artwork 3 Title: 0
Artwork 3 Dimensions: 0
Artwork 3 Medium: 0
Artwork 3 Commentary:
Artwork 3 Image:

5
Catalogue3 ID0666
Artist ID: 0666

Artist Name: Camille Pinkerton


Website:
IG:

Artist Statement: I am a 19-year-old student/artist pursuing a career in fashion design. I believe fashion design - if
done correctly - can be an art form, elevating many things including the conversation, the human experience, the
mood. Today I am entering a few different of my works, two of which have nothing to do with fashion design.

Notes:
See USB Stick for Video 1

1
Artwork 1 Title: Drone Dream
Artwork 1 Dimensions: Video
Artwork 1 Medium: Video
Artwork 1 Commentary: I set out to create a magical, dreamlike short film to remind us how small and insignificant
we humans are.
Artwork 1 Image:

2
Artwork 2 Title: Blueface
Artwork 2 Dimensions: 53 cm x 43 cm
Artwork 2 Medium: Acrylic
Artwork 2 Commentary: This is a self-portrait, painted during a time in my life of great transition and anxiety.
Artwork 2 Image:

3
Artwork 3 Title: The Girls
Artwork 3 Dimensions: 24 cm x 19 cm
Artwork 3 Medium: Pen and watercolor
Artwork 3 Commentary: These are a few of the designs I hope will be part of my collection someday.
Artwork 3 Image:

4
Catalogue3 ID0667
Artist ID: 0667

Artist Name: Jacqueline Ennis-Cole


Website:
IG:

Artist Statement: Throughout the creative process there was a profound and intimate sense of engagement with
these primal objects along with the reflective questions that the work raised. In particular, what do we of African
descent risk in cultural and psycho-spiritual terms when we migrate for the potential of an 'improved' way of life? In
this respect, the traditional photographic studio acted as a contemplative space. Studio art photography enabled a
unique meditation on African cultural heritage in contrast to the stereotypical and negative representations of the
African continent in mainstream news.

Notes:

1
Artwork 1 Title: Kinship
Artwork 1 Dimensions: 10 X 15 CM
Artwork 1 Medium: Photography
Artwork 1 Commentary: The Memento Mori and Still Life Photograph invites the viewer to reflect on the existential
concerns of the contemporary life of a migrant and the cultural and psycho - spiritual risks involved in the journey
from one place to another.
Artwork 1 Image:

2
Artwork 2 Title: Invocation
Artwork 2 Dimensions: 10 X 15 CM
Artwork 2 Medium: Photography
Artwork 2 Commentary: The Memento Mori and Still Life Photograph invites the viewer to reflect on the existential
concerns of the contemporary life of a migrant and the cultural and psycho - spiritual risks involved in the journey
from one place to another.
Artwork 2 Image:

3
Artwork 3 Title: Orator
Artwork 3 Dimensions: 10 x 15 CM
Artwork 3 Medium: Photography
Artwork 3 Commentary: The Memento Mori and Still Life Photograph invites the viewer to reflect on the existential
concerns of the contemporary life of a migrant and the cultural and psycho - spiritual risks involved in the journey
from one place to another.
Artwork 3 Image:

4
Catalogue3 ID0668
Artist ID: 0668

Artist Name: ReGis Oliveira


Website:
IG:

Artist Statement: Professor of Visual Arts at the Federal Institute of Maranhão - Brazil. Researcher on digital art,
focusing on virtual and augmented realities. Doctorate of the program in Performative Arts and the Moving Image of
the University of Lisbon.

Notes:

1
Artwork 1 Title: Self-portrait nº 1 or "Abaeté"
Artwork 1 Dimensions: 59,4 x 42 x 0,5
Artwork 1 Medium: giclee on acrylic
Artwork 1 Commentary: Selfie-portrait nº 1 or "Abaeté" is the result of the recent research that I do in the
doctorate to merge traditional genres of painting, such as self-portrait, with digital technologies. In my research I am
influenced by Frida Kahlo and the phenomenon of selfie. Abaeté (which in the Tupi Brazilian indigenous dialect
means true man) is a self-portrait that brings together the cultural and historical traits common to my reality. The
artist's image acts as a kind of dividing line between a violated nature and the expansion of progress.
Artwork 1 Image:

2
Artwork 2 Title: Self-portrait nº 2 or Wanted
Artwork 2 Dimensions: 42 x 59,4 x 0,5
Artwork 2 Medium: giclee on acrylic
Artwork 2 Commentary: Self-portrait nº 2 or Wanted is the result of the recent research that I do in the doctorate
to merge traditional genres of painting, such as self-portrait, with digital technologies. In my research I am
influenced by Frida Kahlo and the phenomenon of selfie. In this self-portrait, I try to reflect on the phenomenon of
intolerance in relation to differences of identities.
Artwork 2 Image:

3
Artwork 3 Title: Selfie-portrait nº 3 or My Real Appearence
Artwork 3 Dimensions: 59,4 x 42 x 0,5
Artwork 3 Medium: giclee on acrylic
Artwork 3 Commentary: Selfie-portrait nº 3 or My Real Appearence is the result of the recent research that I do in
the doctorate to merge traditional genres of painting, such as self-portrait, with digital technologies. In my research I
am influenced by Frida Kahlo and the phenomenon of selfie. In this self-portrait, I discuss how society can be
manipulated, especially by the media and social networks, to adopt a pattern of behavior that leads to social
acceptance. Regional identities are replaced by standards imposed by the media.
Artwork 3 Image:

4
Catalogue3 ID0670
Artist ID: 0670

Artist Name: Amanda Knight


Website:
IG:

Artist Statement: I live on The Isle of Portland in Dorset and have been teaching art to prisoners for many years. I am
currently teaching in a sex offenders jail.
My artwork is my way of distressing and helps me make sense of the world around me.
Generally when walking around the Island I discover my subject matter.The environment I live in is very important to
me and I believe is reflected in my work.
Portland has a lot of deprived areas,wonderful buildings and landmarks which have been left to deteriorate. The
prison I work in is actually located within the historic Verne Citadel. This is where my interest lies, the layers of the
old. When looking closely you can see and imagine a life before.
I work in many mediums but am currently interested in cold wax medium and plaster.

Notes:

1
Artwork 1 Title: The Palace Dance Hall
Artwork 1 Dimensions: 30cm x 30cm
Artwork 1 Medium: Oil, cold wax medium and plaster.
Artwork 1 Commentary: This piece of work is inspired by many grand buildings that have been left to deteriorate yet
still have an elegant beauty.
There are many layers and each layer tells a story.
The local Palace Club was once a cinema, then a shabby bingo hall. Today two houses are built in its place.
Artwork 1 Image:

2
Artwork 2 Title: The Sailors Return
Artwork 2 Dimensions: 30cm x 30cm
Artwork 2 Medium: Oil,cold wax medium and plaster
Artwork 2 Commentary: My inspiration came from my memories of when Portland was a Naval Port and the Island
had many foreign national visiting sailors.
As a child I would go with my father down to the port area and I have vivid memories of how different this area felt
from the rest of The Island.
There was a long strip of pubs, most of them shut down now and converted into flats or left for the elements to eat
away at them. I remember the feeling of the hustle and bustle of this place and how grand these pubs looked with
their beautifully tiled fronts.
Artwork 2 Image:

3
4
Artwork 3 Title: Portland Harbour
Artwork 3 Dimensions: 40cm x 120cm
Artwork 3 Medium: Plaster,paper,copper wire and paint
Artwork 3 Commentary: My family had a background in fishing as most old Portland families did and I remember the
fisherman's sheds dotted around the Island near the shoreline. It seemed that where ever you went you would find a
fisherman's shed and outside these sheds were always piles of "useful" bits and bobs. Parts of boats, fishing pots and
lines were stacked carefully, with big blocks of Portland stone thrown into the mix. Often the items were covered in
a salty residue and would sparkle in the sunlight. I still remember the feeling of how beautiful these areas were.
For me this summarises The Islands History as fishing and quarrying were its main industries. Sadly both have nearly
gone.
Artwork 3 Image:

5
6
Catalogue3 ID0671
Artist ID: 0671

Artist Name: Janet Sugden


Website:
IG:

Artist Statement: Starting with a feeling and using colours that resonate with me I build up layers of paint not
knowing what the finished outcome will be. Sometimes it can be a story on the news such as a refugee fleeing war
that could be a starting point.

Notes:

1
Artwork 1 Title: Mother with dead child
Artwork 1 Dimensions: 70cm 40cm 5cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Inspired by a sad story in the news.
Artwork 1 Image:

2
Artwork 2 Title: Mother and child
Artwork 2 Dimensions: 60 cm 60 cm 5 cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: Inspired by story on the news.
Artwork 2 Image:

3
Artwork 3 Title: Pond
Artwork 3 Dimensions: 90cm 90cm 5cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: Inspired by a siting of a dragonfly.
Artwork 3 Image:

4
Catalogue3 ID0673
Artist ID: 0673

Artist Name: Federico Putzulu Sini


Website:
IG:

Artist Statement: Federico Putzulu Sini, born in Sassari on January 14th 1985.
Address Studio: via Pescara 31, Olbia (IT).
Member of Adagp, Society of Authors in the Graphic and Plastic Arts, since 2016.
Mainly self-taught training until year 2008.
Graduated in 2013 at the Art painting school, Association Filomati of Olbia.
After school he implemented the studies with different training art courses, like “History of Modern Art― and
“Contemporary Painting―, from Accademia di Belle Arti ’Mario Sironi, airbrush & affresco technique and
sice 2016 he is attending the Studio of the Master engraver/Art painter Prof. Enrico Piras, learning ancient technique
of etching-drypoint.
My approach to Art painting is always very natural. My way of expressing myself goes through drawing and then
adopts various techniques of colors, features and forms that allow me to better tell my emotions. My last works are
born of certain ideas which, unlike others, remain immutable in the mind and for which I understood the essence of
what I will have to paint, while keeping the form that I will build at course of the work. As for the technique of
painting, it changes constantly, the more I learn and the more the choice is wide, the more I have to use them at
leisure.
I work between Sardinia and Paris.

*Selected Group Exhibitions*

2018
Art Actuel France-Japan, Museum -The National Art Centre-, Tokyo (JP);

2017
SNBA Salon des Beaux Arts, Carrousel du Louvre, Paris (FR);
Salon d'Automne, Champs-Élysée, Paris (FR);

2016
Salon d’Automne, Champs-Élysée, Paris (FR);

2015
Associazione culturale Olbiapulse, Budoni (IT);

2014
Associazione culturale Olbiapulse, Olbia (IT);
2nd edition “Fiera d’Arte Piccolo Formato― Fondazione Logudoro Meilogu, Museo d’Arte
Contemporanea FLM, Banari (IT);
Spazio Comunale, Lanusei (IT);

2013
Spazio Comunale, Padru (IT);

2012
Sala ExBi, Santa Teresa di Gallura (IT);

Notes:

1
Artwork 1 Title: Maia
Artwork 1 Dimensions: 40x50
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: The work has two paintings one in the other. The main figurative image of the woman, has
to her interior another abstract painting (acrylic on canvases) that comes out by three cracks, while the big crack in
the upper right corner you can see the underlying table.
Artwork 1 Image:

2
Artwork 2 Title: No title
Artwork 2 Dimensions: 50x70
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: The Clown
Artwork 3 Dimensions: 60x80
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: The oil painting on canvas is composed of two canvases measuring 80x60 of 4 cm thickness,
attached to each other for a total of 8cm of thickness. In the main canvas on the surface is depicted a Clown holding
a gift box that give towards the spectator. The canvas at the point of the gift package is cut, thus opening a slot from
which you can see what is inside.
From the slot will be possible see the canvas below and read the word "play" in most of the world's languages, with
the sketchy design of a child in the background. All illuminated by a series of lights bulbs installed on the edges of the
canvas.

Artwork 3 Image:

4
5
Catalogue3 ID0676
Artist ID: 0676

Artist Name: Paula Rae Gibson


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

Artist Statement: i use photography and music and word mainly to express myself. I'm not so interested in the world
as it is but as it could be.the way people feel more than how they look, portraying something that is beneath it
all.....and what words fail to explain.

Notes:

1
Artwork 1 Title: love that led nowhere
Artwork 1 Dimensions: 20 16
Artwork 1 Medium: photography,
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: what you left behind
Artwork 2 Dimensions: 20 16
Artwork 2 Medium: photography, paint, chemicals
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: what you left behind , 2
Artwork 3 Dimensions: 20 16
Artwork 3 Medium: photography, paint, chemicals
Artwork 3 Commentary: im interested in how people feel,more than how they look
Artwork 3 Image:

4
Catalogue3 ID0679
Artist ID: 0679

Artist Name: Ionel Aungurenci


Website: https://ionelaungurenci.com
IG: https://www.instagram.com/ionel.aungurenci

Artist Statement: I am an modern impressionistic artist who working mainly with a palette knife and oils. Born in
Romania in 1981, I studied painting under the guidance of Magda Vacariu.

Notes:

1
Artwork 1 Title: Old man drawing
Artwork 1 Dimensions: 60X80X2
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: The squirell
Artwork 2 Dimensions: 60X80X2
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Reading
Artwork 3 Dimensions: 60X80X2
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0683
Artist ID: 0683

Artist Name: Lydia Pettit


Website: http://www.lydiapettit.com
IG: @lydiapettit

Artist Statement: Since moving to London, I have found my reflection everywhere around me. To start somewhere
new makes one very conscious of your environment, and most intensely, yourself. In my current paintings I examine
the moments in which I catch myself in the middle of a PTSD flashback, the moments in which my body is set on
autopilot while my brain is sent to the past. Color and perspective distort the living room, bathroom, the
underground; my hands and gaze invite the viewer to understand the fractured experience of returning to the real
world after a dissociative episode from my own eyes. The work also explores the circumstance of being the other,
being alone in a new city - focusing on the elevated importance of typically mundane actions. Rituals like making
breakfast and bathing become an act of self-care rather than a forgettable moment, and locking eyes in the mirror
becomes a confrontation of self. Through these paintings I explore the ebb and flow of recovery, of new beginnings,
and what it means to see yourself as you are.

Notes:

1
Artwork 1 Title: Interruption
Artwork 1 Dimensions: 140 x 170 cm
Artwork 1 Medium: Oil and Oil Pastel on Canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: But I Do This Every Day
Artwork 2 Dimensions: 110 x 140 cm
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: 3am
Artwork 3 Dimensions: 55 x 70 x 8
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0684
Artist ID: 0684

Artist Name: Dave Nelson


Website: www.davenelsonart.com
IG: @davenelsonart

Artist Statement: Contrast harmonised. Blue orange; rough smooth; striped plain; in out. These small, square,
wooden panels, the antithesis of the majestic trees from which they must have been hewn, are layered with
material. Using any instrument or none, marks, scrapings, symbols, colour and collage build on these tablets. Strata
upon strata, each independent of the last despite relating to it, a geology of painting. Each layer is applied fresh on a
new day, working instinctively. A new feeling responding to what has been expressed before. Each coat very
different, as well as responding, communicating. Sometimes parts of the previous expression remain exposed. As
time goes by this becomes more widespread, until each day’s change merely focusses the emotion. And so, in
art terms an abstract image, in spite of being highly personal. Finished when I am in harmony with it, and it is at
peace with itself.
These works are complex despite remaining uncomplicated. With inspection it is possible to see how every mark is
made, every piece assembled. Making art should not be a mystery.
The joy of these works is in the contrast. Natural and organic overlaying structure and form. Precise perspective
cutting into random simplicity. The more complex the world becomes, the more dogmatically we wish to simplify it.
Yet in these pictures opposing feelings with complex histories live playfully side by side, wonderful in their
expression nevertheless attuned with their neighbours.

Notes:

1
Artwork 1 Title: Overwhelming
Artwork 1 Dimensions: 30 x 30 x 2
Artwork 1 Medium: Mixed Media
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Satellite
Artwork 2 Dimensions: 30 x 30 x 2
Artwork 2 Medium: Mixed Media
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Hot Houses
Artwork 3 Dimensions: 30 x 30 x 2
Artwork 3 Medium: Mixed Media
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0686
Artist ID: 0686

Artist Name: Gareth Bunting


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

Artist Statement: Gareth Bunting is an artist and keen traveler. He is interested in how places exist in the mind, and
painstakingly draws dreamlike and sprawling landscapes from memory, with a kind of dry brush ink technique. His
existential and personal 'landscape portraits' are his own world, which is used tell stories along lines, paths and
roads and investigate his identity as a westerner abroad, as well as current social political and environmental issues.
The lines are blurred between the real and the unreal putting into question many human-made concepts we live our
lives by every day. His play on narrative, scale and perspective, and love of fractal patterns express the place of
humanity among the fragile landscapes, and the responsibilities we have living on them. His work seems to highlight
the age of the Anthropocene, and depicts the impact of humanity on the natural landscape, and our constant battle
to try to go against the grain of nature, to our own failure. The landscapes seem dystopian at first, but they are fluid
and constantly in flux, ever changing being destroyed and rebuilt, and offer hope for the future.

He has recently started working in VR, creating vast surreal 3D worlds, which he can use to immersive the viewer
into 3D worlds of his artworks, to add more meaning, narrative and a sense of space into his work, and question the
nature of reality itself.

Notes:

1
Artwork 1 Title: The Simulacrum Unfolds
Artwork 1 Dimensions: 150x170cm
Artwork 1 Medium: indian ink on fabriano paper
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: The Long Wait
Artwork 2 Dimensions: 80x110cm
Artwork 2 Medium: indian ink on fabriano paper
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: The Other side
Artwork 3 Dimensions: 170x300
Artwork 3 Medium: indian ink on fabriano paper
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0687
Artist ID: 0687

Artist Name: Hemprabha Kumar


Website: www.hemprabhakumar.com
IG: www.instagram.com/hemprabhakumar

Artist Statement: UNIVERSE IS GROWING, IT IS EXPANDING AND BRINGING HUMAN MADE SCI-FI MOVIES INTO
REALITY. THERE IS LIFE AND EXISTENCE OF COMPLETELY DIFFERENT KIND OF CREATURES FAR FROM EARTH. THERE
IS A DIRECT CONNECTION OF HUMAN EMOTIONS WITH UNIVERSE.

WHAT I SEE IN OUTER SPACE IS WHAT I PAINT ON CANVAS. GEOMETRICAL LINES ARE INTEGRAL PART OF MY
ARTWORK. FOR ME THEY REPRESENT GROWTH, MOMENTUM AND EXISTENCE OF LIFE IN UNIVERSE. THERE IS
CONTINUOUS GROWTH AND DEVELOPMENT IN OUTER SPACE. AND TO MY FAITH THERE IS LIFE IN UNIVERSE OTHER
THAN ON OUR PLANET. EVERY SECOND SOMETHING IS BEING CREATED IN SPACE. GASES AND MATERIALS FORM
THEIR OWN ART.
THE LINES SHOWS EXISTENCE OF LIFE IN UNIVERSE AND EXPANSION. WE ARE PART OF UNIVERSE AND
ACCORDINGLY I LET MY MIND PLAY WITH COLORS. THE PAINTS AND BRUSH STROKES RUNS INTO EACH OTHER
CRAZILY CREATING MAGICAL ESSENCE OF ULTIMATE EXISTENCE OF EVERYTHING

Notes:

1
Artwork 1 Title: CONNECTING WITH OTHER PLANET,2019
Artwork 1 Dimensions: 76 cm X 76 cm x 6 cm
Artwork 1 Medium: SOFT PASTELS, ACRYLIC, ENAMEL AND SPRAY PAINTS
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: DUMBBELL NEBULA,2019
Artwork 2 Dimensions: 71 cm X 46 cm X 5 cm
Artwork 2 Medium: SOFT PASTELS, ACRYLIC, ENAMEL AND SPRAY PAINTS
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: TEMPERATURE OF MILLIONS OF KELVINS,2018
Artwork 3 Dimensions: 55 cm X 41 cm X 5 cm
Artwork 3 Medium: SOFT PASTELS, ACRYLIC, ENAMEL AND SPRAY PAINTS
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0688
Artist ID: 0688

Artist Name: Elena Gileva


Website: elena-gileva.com
IG: elena_gilev_ceramics

Artist Statement: Fascination with history and culture contained in objects is expressed throughout my work.
Observing and studying formal aspects of artifacts as well as learning their meanings and histories drives me to
create their contemporary renderings. I am interested in the material culture, in its expression and interpretation.
Decoration and surface are my main basis for the transmission of a concept. Abandoning current trends of minimal,
modern/postmodern and purely conceptual, I take ORNAMENTAL as a subject and symbol of the old and new - the
spiral movement of history.
Acting as a ‘collector’ of surfaces, ideas and shapes I seek to assemble an eternal universe of my own.

Notes:

1
Artwork 1 Title: Drenched
Artwork 1 Dimensions: 50x40x40
Artwork 1 Medium: Sculpture
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: After Jomon N2
Artwork 2 Dimensions: 25x50x7
Artwork 2 Medium: Painting, sculpture
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Playing House
Artwork 3 Dimensions: 75x60x40
Artwork 3 Medium: Sculpture
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0690
Artist ID: 0690

Artist Name: Mark Lloyd


Website: https://lloyd-fineart.com/
IG: @LLOYDFINEART

Artist Statement: Mark David Lloyd is a British contemporary artist who exhibits internationally. He works
predominantly in painting but also in other disciplines. His work has been described as; meta-modernist, post post-
modernist, and nascent.

1971 born Birmingham England


1984-1994 graffiti artist
1992 graduated Falmouth School of art BA fine art
2009 graduated Southampton University DTTLS Cert. Ed
2012 graduated Winchester School of art MA fine art

H.E. lecturer in art and academic research

Notes:

1
Artwork 1 Title: American graces
Artwork 1 Dimensions: 80 x 80 x 3
Artwork 1 Medium: oil and ash on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Sotheby's May 2017
Artwork 2 Dimensions: 30 x 30 x 3
Artwork 2 Medium: 0
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: I am not broken
Artwork 3 Dimensions: 200 x 150 x 4
Artwork 3 Medium: oil and ash on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0691
Artist ID: 0691

Artist Name: Hans Ortiz


Website: hansortiz.camera
IG: hansortizstudio

Artist Statement: My work explores the boundaries between painting, installation, sculpture and photography,
emphasising the material nature of the photographic medium.
I specialise in photographic processes such as wet plate collodion, cyanotype, platinum palladium, photographic
liquid emulsion, carbon print, photo etching, blended with contemporary, digital media.
The recurrent themes in my work are time, history, religion and spirituality, classical painting and nature.
My work often suggests that the photography medium hasn’t yet been fully discovered. I oscillate between past
and present in order to create a unique language.

Notes:

1
Artwork 1 Title: Dark Matter
Artwork 1 Dimensions: 86x66x5cm
Artwork 1 Medium: liquid emulsion, paper, wood and glass
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Tenbu Horin
Artwork 2 Dimensions: 35x100x5cm
Artwork 2 Medium: 56 ambrotypes 5"x7", metal
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: 0
Artwork 3 Dimensions: 45x30
Artwork 3 Medium: liquid emulsion and bunkoshi paper
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0694
Artist ID: 0694

Artist Name: David Micheaud


Website: davidmicheaud.com
IG: @davidmicheaud

Artist Statement: David Micheaud continues his exploration of space and the in-between, real or imagined, with
paintings whose numinous surfaces go further into the unknown than any manned spacecraft. Near imperceptible
shifts in colour or tone hold time at bay, space in abeyance. Fundamentally it's a question of de-stabilisation – of
scale, of tone, of subject. What subject? The horizon line where the bedroom wall meets the ceiling? Nothing is
certain except the act of looking, seek and you will not be any the wiser but more profoundly aware of the search.

There's trompe-l'oeil going on, that's for certain; but the eye that's deceived still isn't seeing what's plainly in front of
it. Paranoia seethes as electrical objects are painstakingly rendered. The unobserved and ugly becomes sublime. The
titles hint at the truth, for once not making the tiniest effort to obfuscate. The opposite of the fictitious depth of the
2-D surface. This horizon we're looking at: that's 'Bedroom Wall Meets Ceiling'. Couldn't be more exactly what it says
on the tin. Couldn't take you more by surprise. In these scrupulous, mysterious, glowing paintings there's a
conjurer's hand at work.

Notes:

1
Artwork 1 Title: 'Bedroom Wall Meets Ceiling (Morning)' 2017
Artwork 1 Dimensions: 76x102x2.5
Artwork 1 Medium: Oil on linen
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: 'S&S Thermostat' 2018
Artwork 2 Dimensions: 76x56x2.5
Artwork 2 Medium: Oil on linen
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: 'Urinal' 2017
Artwork 3 Dimensions: 76x56x2.5
Artwork 3 Medium: Oil on linen
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0695
Artist ID: 0695

Artist Name: Ewa Matyja


Website: www.ewamatyja.com
IG: www.instagram.com/ewamatyja

Artist Statement: As a self-taught artist with only two years experience I paint to challange myself. The amount of
creativity that was storaged inside me, creates unexpected pieces that are abstract visualisation of all my previous
expeirences. As an artist I create work that reflects emotions and chaos in life that we are living. I capture movement
and life.
I use traditional materials, acrylic paint, charcoal, pastels, ink. I experiment with them to find what suprising final
effect can be achieved.
My proces involves working on several pieces at the time to create dialogue between them, moving from one to
another allows me develop the ideas and pushing the boundries. This is no going back or correcting proces.
My goal is to inspire those, who see my work to look more carefully at the world around them, to discover beauty in
unusual.

Notes:

1
Artwork 1 Title: Untitled, No 3702
Artwork 1 Dimensions: 70x50x2
Artwork 1 Medium: Acrylic, charcoal, pastels on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Untitled, No 3613
Artwork 2 Dimensions: 40x30x2
Artwork 2 Medium: Acrylic, charcoal, pastels on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Untitled, No 3502
Artwork 3 Dimensions: 100x120x2 cm
Artwork 3 Medium: Acrylic, charcoal, pastels on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0696
Artist ID: 0696

Artist Name: Jo-Anne Mc Allister


Website: https://jomcallister.co.uk/
IG: https://www.instagram.com/jomcallister_art/

Artist Statement: Industrial Avonmouth by the Severn estuary [UK] has been the recent focus of my artistic research.
These edgelands have a unique liminal quality in neither being urban or rural. This sense of place, in particular the
sense of human impact on a place is something I am exploring in my work as an emerging artist.

My main area of development is in the collograph printing process that allows me to explore post-humanism ideas
about contemporary material culture.

Artist who influence my work are Peter Doig, John Virtue, Simon Read and George Shaw.

Notes:

1
Artwork 1 Title: Edgeland I
Artwork 1 Dimensions: 45 x 45 [FRAMED]
Artwork 1 Medium: Collograph Print
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Edgeland 2
Artwork 2 Dimensions: 45 x 45 [FRAMED]
Artwork 2 Medium: Collograph Print
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Edgeland III
Artwork 3 Dimensions: 45 x 45 [FRAMED]
Artwork 3 Medium: Collograph Print
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0697
Artist ID: 0697

Artist Name: Karolina Maciejak


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

Artist Statement: Karolina Maciejak


Born in 1995, I live and study in Brighton. I started studying (2017) in Academy of Fine Arts in Wroclaw, but after a
year of studying I decided to transfer for 2nd year to England.
My paintings are mainly based on my imagination and memory. I am interested how human/ artist is able to
remember image/event etc. and process it with her/his ‘mind’. In my paintings – I operates on the surface
of the canvas as the source of layers, by applying and removing paint. I use shortcuts, graphic characters; in my
works I try to get the effect of fading, trembling, distortion. I draw inspiration from surrealism, expressionism,
abstraction and Dadaism.

Notes:

1
Artwork 1 Title: unknown I
Artwork 1 Dimensions: 30x30
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: Through series of these paintings, I want create some kind of journal of 'memories', by
showing human faces in close up, distorted, blurring flashbacks.I am looking for my own and other identities behind
hidden masks or distortions.
Artwork 1 Image:

2
Artwork 2 Title: unknown II
Artwork 2 Dimensions: 30x30
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: unknown III
Artwork 3 Dimensions: 30x30
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0698
Artist ID: 0698

Artist Name: Haerri Kim


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

Artist Statement: Based on Seoul, Republic of Korea, I am currently completing my degree in Fine Art and
Printmaking at Hongik University. My artworks primarily focus on exploring the perspectives on diverse social
relationships. As I was able to experiment with various printmaking techniques, I have adopted some visual traits
from screen printing and intaglio methods. Although most of my artworks contain a narrative, the results are
portrayed as a single connotative scene.
The purpose of my art is to suggest a proof that it is possible to have a diverse perspective on relationships.
Moreover, they are meant to encourage people that the relationships between one and the other don’t have to
be labeled and identified for society.

Notes:

1
Artwork 1 Title: Cardboard Palace
Artwork 1 Dimensions: 80 x 100 cm
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: When I ran away from my house in my teenage years, I always hid inside the palace. It was
mainly because the entering fee only cost a few pounds, but I also found myself feeling secure and confident as if I
was the ruler of the palace.
One day, when I once again ran away from my family, I had to hide myself even deeper.
I finally found a secluded place where no other visitors could reach.
I discovered that I was sitting aside a shabby gate. With it’s muted colors and the bricks, which appeared to have
gradually eroded, showed stark contrast with the gates surrounded with lavish decorations.
It seemed that nobody would ever notice the existence of this worn out gait, because the facade would probably
blind them. This contradictory situation was symbolism for a fabricated relationship, a corruption beneath the
tranquil surface.
I decided to design a palace made out of paper that appears realistic in a short glance.
However, it is only viable when it is viewed from the front, as it is built with the continuous layers of sheets.
Artwork 1 Image:

2
3
Artwork 2 Title: 0
Artwork 2 Dimensions: 72.7 x 72.7 cm
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary:
Artwork 2 Image:

4
Artwork 3 Title: Taint-Paint
Artwork 3 Dimensions: 60.6 x 60.6 cm
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary:
Artwork 3 Image:

5
Catalogue3 ID0699
Artist ID: 0699

Artist Name: Bryan Reedy


Website: http://bryanreedy.com/artworks
IG: https://www.instagram.com/bryanreedy/

Artist Statement: There is an energy; a place where a thing breaks. Here — an unseen locus, a knot, a pooling of the
most essential qualities of a thing — lies desire.

The burden of meaning borne by my paintings is shared between the physical space of the painting ground and the
perceptual space rendered on that ground. Through carefully constructed distortions the structural members are
brought into dialogue with the picture plane. Each of these elements, the physical and the pictorial, is attended to
with a deep respect for their separate mechanisms. Lines are laid down as mediators. Boundaries exist as the tension
between two forms. There is a degree of quiet or sterility in the surface of the paintings that on first approach
rebuffs the viewer, but it is a precision tempered by emotion. Mimesis not for the sake of illusion, but as a vehicle to
explore the ongoing interaction between process and form, structure and content, the conflation of being and
becoming.

Producing paintings, sculptural works, and installations, my practice is rooted in a concern for our greater psycho-
corporeal existence and draws on my personal engagement with the embodiment of identity (socio-political, sexual,
philosophical), the making of place, and the desire for transcendence within the growth and decay of the everyday.

Notes:

1
Artwork 1 Title: Untitled (morphological prototype project — multi-channel derivative 1 [green])
Artwork 1 Dimensions: 213.4 x 152.4 x 2 cm
Artwork 1 Medium: Linen, hand-woven cotton, dye, rabbit skin glue
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Untitled (seme 1)
Artwork 2 Dimensions: 86.1 x 71.3 x 2 cm
Artwork 2 Medium: Oil on pieced canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Untitled (morphological prototype project — derivative composition 5)
Artwork 3 Dimensions: 213.4 x 152.4 x 2 cm
Artwork 3 Medium: Linen, hand-woven cotton, rabbit skin glue
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0700
Artist ID: 0700

Artist Name: Katharine Earle


Website: www.katearle.com
IG: @earlekat1

Artist Statement: My work is on a large scale which allows for generous unimpeded gesture. Preparing the surface is
as much a part of the work as the mark making. I often start with a loose charcoal line or a diluted paint mixture.
These initial marks activate the canvas and from this moment I am in a dialogue and have a relationship with the
artwork.

This series of paintings are a response to the environment I had been working in. A homage to a magnificent
building that I came to know intimately over several months last year. The work takes its cues from the physical
environment. I am inspired by its peculiarities, spaciousness and light-filled rooms.

I work in layers and often leave areas of unpainted space which allows the gesture to take centre stage. There is
also a very physical energy which comes from the vigorous action it takes to apply the paint. For this series I have
used a variety of household brushes, mops and other domestic and DIY tools. Their often unwieldy nature allows for
chance accidental marks as they drip and spill and are difficult to control while another device will enable a more
controlled and harder edge. Whilst I appreciate the resonance these tools have in the feminist debate, I am focused
on what it feels like to be a female, feminine artist.

Notes:

1
Artwork 1 Title: Atmos155/01
Artwork 1 Dimensions: 240cm x 170cm x 2.5cm
Artwork 1 Medium: Acrylic, charcoal and chalk
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Atmos155/B
Artwork 2 Dimensions: 240cm x 180cm x 2.5cm
Artwork 2 Medium: Acrylic and spray paint
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Atmos155/05
Artwork 3 Dimensions: 165cm x 275cm x 2.5cm
Artwork 3 Medium: Oil, acrylic, chalk and spray paint
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0703
Artist ID: 0703

Artist Name: Beverley Duckworth


Website:
IG:

Artist Statement:

Notes:
Vimeo: https://vimeo.com/260771429

1
Artwork 1 Title: Remains (Hair)
Artwork 1 Dimensions: 50 x 50 x 3cm
Artwork 1 Medium: Photography
Artwork 1 Commentary: When it forms part of our bodies, hair is seen and cared for as an item of beauty, but
separated from us it becomes an object of disgust. Using hair tangles collected from my comb, I created this
kaleidoscope or mandala (which on closer inspection contains bodily references).

Artwork 1 Image:

2
Artwork 2 Title: Hollow
Artwork 2 Dimensions: 29.7 x 42 x 3cm
Artwork 2 Medium: Photography
Artwork 2 Commentary: The female pelvis is a channel where life begins, but for some it can also be a reminder of
loss, absence and aging. I took this photograph of a life size sculpture that I made of a female pelvis, with a light box
placed behind it. The sculpture is made from a mix of flax and milk protein fibres individually layered and
interweaved.

Artwork 2 Image:

3
Artwork 3 Title: Capsula
Artwork 3 Dimensions: 3m 4 sec
Artwork 3 Medium: Moving image
Artwork 3 Commentary: https://vimeo.com/260771429 (link to my video)

Vacuum cleaners are repositories of DNA. Fragments of our bodies – dead skin and hair - are regularly sucked into
the stomach of the machine. I performed an endoscopy on my vacuum cleaner to explore the traces of my body held
within it. This resulted in a video which takes the viewer on a fictional journey into the hoover personified as my
body.

(My video would require a monitor or could be projected onto a wall)

Artwork 3 Image:

4
5
Catalogue3 ID0704
Artist ID: 0704

Artist Name: Maisa Champalimaud


Website: www.maisachampalimaud.com
IG: maisao

Artist Statement: MaÃ-sa tends to be very impulsive; everything inspires her - travels, exhibitions, a new artist. All
these perceptions stimulate a desire to create new series. Sometimes the proposals received for a space
intervention encourages her to think from other angles. Recently she was challenged to participate in a project in
which she had to immerse herself into Brazilian roots, evoking the memories still remaining when she lived there as
a child. As she tried to move on from this project, she realizes that it was not enough. Therefore she kept exercising
herself to let the creativity behind all those mixed feelings hided in the past flows.

Therefore emerged this collection entitled "Pau Brasil" - the precious tree that the Portuguese exported when they
arrived there in the 15th century - , bringing together works that blend MaÃ-sa from yesterday with MaÃ-sa in the
present.

Notes:

1
Artwork 1 Title: Palrador
Artwork 1 Dimensions: 150 x 140 cm
Artwork 1 Medium: collages and oil pastels on paper in white frame
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Sarará
Artwork 2 Dimensions: 150 x 130 cm
Artwork 2 Medium: acrylic on paper in white frame
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Verde e amarelo
Artwork 3 Dimensions: 150 x 130 cm
Artwork 3 Medium: acrylic on paper in white frame
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0707
Artist ID: 0707

Artist Name: Laura Beard


Website: www.laurabeard.website
IG:

Artist Statement: My recent paintings are inspired by the acoustic shadow phenomenon that was first noticed during
the Civil War. Acoustic shadow is where sound goes to die. It is in reference to areas where sounds, from a certain
direction and on a given day will not penetrate. The acoustic phenomena occur either because the sound waves are
absorbed, refracted or simply blown in a different direction. The acoustic shadow experience is generally relatively
unnoticed in our modern world as we are surrounded by sounds.

The acoustic shadow phenomenon has always existed. In the 19th century, people would go and picnic and watch
the battle. They experienced acoustical shadows as they could see the soldiers in the front lines but they couldn’t
hear them and they could see the soldiers in the back lines but they could hear them. The irony is we are still doing
the same thing when we sit down in front of the TV to watch “Apocalypse Now― while we eat dinner. Perhaps
part of being human is our voyeuristic needs of watching war and violence. The mass shooting in Las Vegas is
another example of acoustic shadow. The first responders couldn’t tell where the shots were coming from.

My research is nonobjective paintings, so I am not doing an illustration of acoustic shadows. It is fascinating and
challenging to conceptualize the intangible in the silent language of visual form. The body of work in acoustic
shadow is my conceptual imagery of this phenomenon.

Laura Beard, 2018

Notes:

1
Artwork 1 Title: Acoustic Shadow Blue
Artwork 1 Dimensions: 36"x48"
Artwork 1 Medium: oil, wax on canvas 2017
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Acoustic Shadow BR
Artwork 2 Dimensions: 36"x48"
Artwork 2 Medium: oil, wax on canvas 2017
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Acoustic Shadow B1
Artwork 3 Dimensions: 60"x72"
Artwork 3 Medium: oil, wax on canvas 2018
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0708
Artist ID: 0708

Artist Name: Simone Giaiacopi


Website: https://www.premioceleste.it/giaiacopi, https://www.simonegiaiacopi.com/
IG:

Artist Statement: I starter painting as self-taught in 2008, after a full graduation in industrial chemistry and a phd in
chemical science.
Painting is becoming more an more my favorite occupation.
I only use the technique of the oil painting on paper/wood. My interests include portraits, landscape and still-life.
I like to analyse the details, the essence of the things and the light that shows or hides them. It is a kind of obsession
in which I follow the objects without knowing if I reach them or not.

Notes:

1
Artwork 1 Title: bocchettoni
Artwork 1 Dimensions: 89x104
Artwork 1 Medium: oil on paper on wood
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: spatola
Artwork 2 Dimensions: 25x107
Artwork 2 Medium: oil on paper on wood
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: cattedrale olandese
Artwork 3 Dimensions: 60x
Artwork 3 Medium: oil on paper and wood
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0709
Artist ID: 0709

Artist Name: Dylan Mize


Website: dylancmize.com
IG:

Artist Statement: When i was learning to walk, there was a little wooden rocking chair in the corner of our room, and
according to my mother, I would experiment with standing up,and sitting back down. Standing half way up, sitting
back down. Then I would go half way up, think about which way I wanted to go, and then maybe I would stand up.
Then maybe I'd go half way back down, and then half way back up, and then all the way down. This sensitive process
of introspection and deliberation epitomizes my experience of reality as a conscious, rational agent. But the tools of
reason are often awkward and unwieldy in the possession of man.

My abstractions are material and temporal records of an intuitive process of observing my own decisions in real
time, and an indulgence into my infatuation of paint as a rudimentary and pliable substance. However, constantly
employing my mental faculties in order to observe and analyze my mental faculties tends to crowd and confuse
matters. A successful painting calls into question the role and necessity of human consciousness. Through its artifice
and the clutter of my hand, it embodies the discomfort of confronting that reason is the slave of the passions, and
that some level of cognitive dissonance and post-hoc rationalizations are central to excusing actions as a painter
which would otherwise appear absurd.

Notes:

1
Artwork 1 Title: Bucket List
Artwork 1 Dimensions: 190x190
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Final Embrace
Artwork 2 Dimensions: 100x150
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Straight Jacket
Artwork 3 Dimensions: 170x170
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0710
Artist ID: 0710

Artist Name: Anatoliy Yurashchuk


Website:
IG: anatoliyyurashchuk

Artist Statement: Was born in Ukraine I spen my childhood in Carpatian mountains. Was interested in art from my
early childhood ,captivated by the unique qualities of nature and its infinite colours .
I work as a builder ,working with decorative plastering ,creating landscapes using my signature techniques of
Venetian plaster. Was trying variety of techniques and materials ( oil , acrylic, mix media , modelling plaster
,Venetian plaster , pastel ) .
The nature is my soul every time inspires me. Every time I paint I tried to show you my vision of natute .
I have been participating in various online exhibitions for several years.

Notes:

1
Artwork 1 Title: Revival
Artwork 1 Dimensions: 50x40x2
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Poppy
Artwork 2 Dimensions: 25x30
Artwork 2 Medium: Venetian plaster on board
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Magic Forest
Artwork 3 Dimensions: 40x50x2
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0714
Artist ID: 0714

Artist Name: Iskra Georgieva


Website: https://www.facebook.com/SparkScintila/
IG:

Artist Statement: I am art teacher also and school director. I and my students we have many participation in art
Contest s

Notes:

1
Artwork 1 Title: Sea
Artwork 1 Dimensions: 20/30
Artwork 1 Medium: Oil and acril on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Paris
Artwork 2 Dimensions: 35/50
Artwork 2 Medium: Pastels on paper
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Together
Artwork 3 Dimensions: 35/50
Artwork 3 Medium: Pastels and aquarelle on paper
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0715
Artist ID: 0715

Artist Name: Haley Hasen


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

Artist Statement: 'I am my Muse' is a series of self-portraits and environmental portraits that depict my internal
struggle of wanting to be loved and feeling damaged, mixed with my confusion between lust and love. I only seek
men who were cruel and emotionally unavailable. Now as a young woman, I struggle to understand what a healthy
relationship with healthy boundaries appears. I have been so scared in the past, that I view every man as an evil
creature, whose goal is to hurt me. I use my body as a sensual tool to keep men physically interested in me because I
am scared of emotional connection.

Notes:

1
Artwork 1 Title: Untitled
Artwork 1 Dimensions: 24 in x 16 in
Artwork 1 Medium: Photography- Inkjet Print
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Untitled
Artwork 2 Dimensions: 24 in x 16 in
Artwork 2 Medium: Photography- Inkjet Print
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Untitled
Artwork 3 Dimensions: 24 in x 16 in
Artwork 3 Medium: Photography- Inkjet Print
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0716
Artist ID: 0716

Artist Name: Peter Newton


Website:
IG: artebeatnik

Artist Statement:

Notes:

1
Artwork 1 Title: Dream of Surfing
Artwork 1 Dimensions: 80x118x1
Artwork 1 Medium: Canvas,Oil & Acyriic
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: SkaterGirl
Artwork 2 Dimensions: 40x30x1
Artwork 2 Medium: Canvas,Oil
Artwork 2 Commentary: Taken from a photo in the Guardian Newspaper
Artwork 2 Image:

3
Artwork 3 Title: NY HardBop
Artwork 3 Dimensions: 28x35x1
Artwork 3 Medium: Canvas,Oil & Acyriic
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0717
Artist ID: 0717

Artist Name: Antonis Koukoutsis


Website:
IG: a.velmahos

Artist Statement: I am a Mathematics & Philosophy student at KCL. My degree has influenced conceptually my art to
a great extent. Some of my biggest influences are Plato, Aristotle, Nietzsche and Hume’s views on personal
identity (even if I disagree with the conclusion of the latter's argument). Additionally, mathematics and physics
(especially quantum mechanics and space-time theories) have affected greatly my compositions. In terms of
aesthetics, I draw inspiration from all aspects of life, nature in particular. Furthermore, I love architecture, ancient
Greek temples, the art in Greek Orthodox churches, Cycladic architecture, and art, as well as Bauhaus and brutalist
architecture. I have also been inspired by primitive art of Africa and Oceania, which I find the purest interpretation of
the concepts of life and death, birth, womanhood, nature and the divine (unspoiled from the analytic approach of
the West). Saying that, through art, I express my opposition to the law of excluded middle. Since I was a kid I found
that spoken language is somewhat conceptually limiting and through art, I found a medium to communicate a much
broader and diverse picture of myself and my understanding of the world, which in turn helped me get a deeper and
clearer perception of both. Ultimately two main principles define my art, balance and love.

Notes:

1
Artwork 1 Title: Untitled
Artwork 1 Dimensions: 61X91X2
Artwork 1 Medium: Painting
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Second Birth
Artwork 2 Dimensions: 40X30X2
Artwork 2 Medium: Painting
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: The Garden
Artwork 3 Dimensions: 61X91X4
Artwork 3 Medium: Painting
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0719
Artist ID: 0719

Artist Name: Caroline Elliott


Website: www.carolineelliott.co.uk
IG:

Artist Statement: I use painting to explore the patterns which emerge through movement, flux, repetition, change
and chance. These processes occur in both the natural world, and the symbolic field of art.
I am interested in the idea that matter is constantly changing through erosion, rebuilding, renewal, accumulation
and so on, and that every state is only temporary, and transient, and that new forms are constantly being created.
I welcome the role of chance, accidents and imperfection in my paintings. Generally, they are not specifically
planned or composed, but they evolve and happen in ways which I could not foresee.
Repetition is fundamental to the natural world. We see repetition in our daily routines, life cycles, circadian rhythms,
and so on. Repeated forms are found everywhere in nature, such as cells, seeds, stones, leaves, molecules, or
particles which occur billions of times over. Repetition is also found in the inner world of thoughts, memories, and
ideas.
Patterns and methods of organization are found throughout the natural world, including networks, clusters, meshes,
swarms, colonies and societies into which humans, animals and plants form themselves. I am interested in finding
patterns, and a sense of logic, amongst a multitude. By finding an underlying sense of organization, meaning can
emerge.

Notes:

1
Artwork 1 Title: Untitled (2019:2)
Artwork 1 Dimensions: 95cm x 120cm
Artwork 1 Medium: oil and beeswax on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Untitled (2018:8)
Artwork 2 Dimensions: 60 x 80cm
Artwork 2 Medium: Oil and spraypaint on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Shadow mesh
Artwork 3 Dimensions: 85 x 85cm
Artwork 3 Medium: Oil and acrylic on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0720
Artist ID: 0720

Artist Name: Khadija Khan


Website:
IG: Kkbysea

Artist Statement: When words cannot express is the strap line for my recent work. This is to honour my husband
who died in November 2017 of a heart attack at the age of 44 years old.In the last 15 years I have explored different
mediums of photography, textiles, ceramics. I used this as a vehicle to work through a trauma I experienced and it
enabled me to re-see the world again either through a lens or through ceramics and textiles.
Before 2018, I had never painted before, but had made a pact that I would create to heal. I found a paint brush and a
canvas and was guided by a close artist friend of mine on what I needed to start painting. I feel like painting was a
gift, something to enable me to heal and to feel grounded once more.
The transition was quick. I started painting in September 2018 and by November I had a collection of paintings that
enabled me to have my first exhibition in honour of my husband and the charity which helps young artist and
musicians. Out of 27 paintings, 22 were sold in one evening and all proceeds went into the charity. Painting has
enabled me to be when being is just too hard.

Notes:

1
Artwork 1 Title: A Summer Lake
Artwork 1 Dimensions: 30x42x0.5 cm
Artwork 1 Medium: Oil, Cold Wax, Gold Leaf and Copper
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: The Sea Maybe Deep the Sky is Brighton
Artwork 2 Dimensions: 30cm x 30 cn
Artwork 2 Medium: Oil, Cold Wax and Gold Leav
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Beyond Fields of Gold Lay Unknown Lands
Artwork 3 Dimensions: 21 x 29.7 x 0.5
Artwork 3 Medium: Acrylic, Oil, Cold Wax
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0721
Artist ID: 0721

Artist Name: Barbara Kroll


Website:
IG:

Artist Statement: What my work is about is the confrontation with the real world. I particularly want to consider the
role and status of women in modern culture and universal power/violence.
Women have always been the subject of art produced by male artists and have historically been idealized as muse to
invoke a particular view of beauty. I try to challenge this traditional view by looking at women's portrayals
differently.
They are all presented in snapshots of their mood and emotions. My images of women, reduced to the essentials,
give an idea of the nature of those depicted. They have a story that is reflected in their faces.
Portraits have been my focus from the beginning, but I am constantly trying to simplify and develop into an almost
minimalist style. Often I show anonymous faceless women portraits. The loss of identity, however, means a gain in
opportunities: The viewer should be confronted with their own memories and ideas and invite to fill the gaps. The
view for the creation process is thereby sharpened.
A starting point for the work is often my personal memories and experiences, as well as reflections on reality, but
also photographs that I find in newspapers and magazines. These serve as templates for drawings and paintings. I
interpret the photographically accurate representation in subjective painting. The images are rooted in the real
world but by no means pictures.
Of course I choose topics that concern me. But I'm not talking about a simple emotional reaction, that's just not
enough. A story about things that are none of our business seems boring to me.
I often do sketches as a kind of preparation in a topic. The work itself is a combination of craftsmanship and inner
mood, whereby the line, color and composition is of central importance. In most cases, I do not think about the
result when I start working. I search and follow my intuition. It's a very fast process, a kind of rage that makes me
completely exhausted.
The focus of my artistic activity is on the internet. Through the social networks, I try to introduce my art to a wider
audience.

Notes:

1
Artwork 1 Title: selfie in yellow
Artwork 1 Dimensions: 83x59cm
Artwork 1 Medium: mixtechnik pencil and acrylic on bristol
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: skizze1
Artwork 2 Dimensions: 50x32,5 cm
Artwork 2 Medium: mixtechnik pencil and acrylic on bristol
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: skizze2
Artwork 3 Dimensions: 50x32,5 cm
Artwork 3 Medium: mixtechnik pencil and acrylic on bristol
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0722
Artist ID: 0722

Artist Name: Fang Yi


Website:
IG:

Artist Statement: I am a person who draws with the mind, I use my painting style to describe life. Every creature in
the painting is like having life. I always think that painting is alive!

Notes:

1
Artwork 1 Title: Sunlight Messenger
Artwork 1 Dimensions: 40x50
Artwork 1 Medium: oil painting
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Hope
Artwork 2 Dimensions: 90x90
Artwork 2 Medium: oil painting
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Waiting
Artwork 3 Dimensions: 140x70
Artwork 3 Medium: oil painting
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0724
Artist ID: 0724

Artist Name: Luke Wintour


Website:
IG:

Artist Statement: Luke Wintour is a 21 year old photographer and film-maker based in Oxford. His photography uses
serendipity and the surreal to explore the relationship between public and personal in urban environments. His
recent work, taken in Japan, looks at the flux of privacy in the age of digital photography, where the boundaries
between public and personal identities are eroded. The photographs develop these themes by questioning the
instinctive coupling of photography and tourism; the invasiveness of the camera mirrors the exploitative position of
a tourist. Through isolating his veiled subjects, the photographs provide both intimacy and protective separation,
whilst acknowledging the inescapable relationship between tourist and subject.

Notes:

1
Artwork 1 Title: Shade in Kyoto
Artwork 1 Dimensions: 6x4
Artwork 1 Medium: 35 mm Photograph
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Visor Cyclist
Artwork 2 Dimensions: 6x4
Artwork 2 Medium: 35 mm Photograph
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Overheating Tourist
Artwork 3 Dimensions: 6x4
Artwork 3 Medium: 35 mm Photograph
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0726
Artist ID: 0726

Artist Name: Rebekah Gadea


Website:
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: hold it in
Artwork 1 Dimensions: 35.56x27.94x2.54
Artwork 1 Medium: oil
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: open wide
Artwork 2 Dimensions: 66.04x50.4x2.54
Artwork 2 Medium: Acrylic
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Friends
Artwork 3 Dimensions: 0
Artwork 3 Medium: Acrylic
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue3 ID0727
Artist ID: 0727

Artist Name: Digby Beaumont


Website:
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: Absence
Artwork 1 Dimensions: 22.5X19.5
Artwork 1 Medium: watercolour and gouache on paper
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Tony Hoagland Has Good News
Artwork 2 Dimensions: 28.5X22.5
Artwork 2 Medium: watercolour and gouache on paper
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Malcah Zeldis
Artwork 3 Dimensions: 28.5X21
Artwork 3 Medium: watercolour and gouache on paper
Artwork 3 Commentary:
Artwork 3 Image: