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Catalogue 1B

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
Catalogue5 ID0001
Artist ID: 0001

Artist Name: Noemi Safir


Website: http://www.noemisafir.com/
IG: https://www.instagram.com/noemi.safir.artist/

Artist Statement: Sometimes, in the mornings, when I sit in my balcony enjoying the rays of the sun, I feel that I live
in a dream. I realize that I am doing now what I love, what I have always loved, that I live at my own pace and
according to my own worldview, that I am happy and full, at last.

Once, in another life, I did not even dare to dream. I became 'practical' very quickly in order to survive and to please
others. No one supported me, no one believed in me.

I was born in Uruguay in January 1971 and at the age of two I immigrated with my parents to Israel. I grew up in a
strict, rigid house. I assume that the absorption process in Israel was not simple for my parents and the desire to
protect my little sister and me and create a good life for us was stronger than anything. I always knew that I want to
paint, that I want to fly high and not compromise. I did not understand why I wasn’t allowed to pursue my
dream. Over time I simply gave up and even made some huge steps in the opposite direction. I completed two
degrees at Tel Aviv University in mathematics and computer science & business admin. I served 5 years in the army. I
married and had two daughters. I worked as a project manager for high-tech companies. I completed interior design
studies and worked in architectural firms. I was a disciplined daughter, a spouse, a full-time mother and a
professional in everything I did. I searched for others confirmation and I did not realize yet that this should come
from within. When I finally dared to look inside, the change began.
Around the age of 40 I turned back to paint. I found myself excited and radiating when I was talking to people about
my art. I became impatient with anything that had nothing to do with painting. No one around me understood. I was
again in that place where everyone thought I was an irresponsible dreamer who thinks only of herself. But this time
there was a very big difference. This time I did not give up. Something in me changed forever.I chose to part almost
completely from the life I knew and fulfill my dream of a long time ago, to paint.

The beginning was challenging, I had to find ways that were right for me and for my daughters while raising my new
and exciting baby. I fought for my identity as a painter. I didn’t let any obstacle stand up in my way. I never
looked back again.

Today, the ability to inspire someone else through my art, to feel excitement and bring joyful colors to their home
and heart (literally) gives me great happiness and satisfaction. Looking back, I suppose that the desire to be seen and
understood as I am had a great influence on my way.

I love to paint urban landscapes and figures, especially women, in the form of large scale paintings. Most of the
women figures are a reflection of myself that depict scenes from my life that led me to where I am today, conveying
power and desire and having a wide range of emotions. They embody my struggle to accept my own independence
as a woman, as an artist, without any apologies or doubts.
My great vision is to touch people's heart with my art and my story. Everything that I create is a reflection of myself
and my long road of knowing and learning more about who we really are

Notes:

1
Artwork 1 Title: Long time ago
Artwork 1 Dimensions: 160X110X3
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: New passion series, describing scenes of life
based on my life story

Artwork 1 Image:

2
Artwork 2 Title: Tamarind
Artwork 2 Dimensions: 140X120X3
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: New passion series, describing scenes of life
based on my life story
Artwork 2 Image:

3
Artwork 3 Title: Frames
Artwork 3 Dimensions: 140X120X3
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: New passion series, describing scenes of life
based on my life story
Artwork 3 Image:

4
Artwork 4 Title: The princess chair
Artwork 4 Dimensions: 160X140X3
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: New passion series, describing scenes of life
based on my life story
Artwork 4 Image:

5
Artwork 5 Title: Butterfly
Artwork 5 Dimensions: 120X180X3
Artwork 5 Medium: Acrylic on canvas
Artwork 5 Commentary: New passion series, describing scenes of life
based on my life story
Artwork 5 Image:

6
Catalogue5 ID0002
Artist ID: 0002

Artist Name: Gia Strauss


Website: giart.co.uk
IG: Gia Strauss

Artist Statement: ‘We have art so we don’t die of truth’ (Friedrich Nietzsche)

The nature of my work has sometimes been described as ‘Illuministic’, the genre of illuminism. It is perhaps an
appropriate label in that the consummate objective of my work is to illuminate the important issues of today
through the spectrum of creative insight. In this way I hope to portray from a surrealistic view point an evocative
perspective of our times—an indelible portrayal of life during the second decade of the twenty-first century.
I portray different facets of myself in my films and paintings.

My artistic abilities predominantly reside with films, art performance, paintings and piano compositions.

Notes:

1
Artwork 1 Title: 'Adulterous Intent'
Artwork 1 Dimensions: 27cm X 37cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: This painting is an experimental way of expressing one’s emotion by a sensual display of
the desire in oneself.
(2018).
Artwork 1 Image:

2
Artwork 2 Title: 'Melancholic Despair'
Artwork 2 Dimensions: 36cm X 46cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: The painting is again an experimental demonstration of pure expression through aspects of
realistic cubism. The emotive and mesmeric faces of melancholy and despair are juxtaposed.
(2018).
Artwork 2 Image:

3
Artwork 3 Title: 'Factured Soul'
Artwork 3 Dimensions: 40cm X 40cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: An expression of a fractured soul presented in a myriad of colours coupled with realistic
cubism.
(2018).
Artwork 3 Image:

4
Artwork 4 Title: 'Beauty is in the eye of the Beholder'
Artwork 4 Dimensions: 27cm X 33cm
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: A provocative twist with the eye, a self portrait that conveys one of my many facets, a
realistic insight into my surrealistic world.
(2018).
Artwork 4 Image:

5
Artwork 5 Title: 'The Scream of the First Decades of the 21st Century'
Artwork 5 Dimensions: 62cm X 77cm
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: The scream of Munch moved from the 20th century to the 21st century, the screaming
figure is now on a modern bridge where a river of blood flows conveying the horrors of present day life.
(2017).
Artwork 5 Image:

6
Catalogue5 ID0003
Artist ID: 0003

Artist Name: Juliette Pearce


Website: www.juliettepearce.com
IG: juliette.pearce

Artist Statement: Juliette Pearce uses oil paint to reflect upon places that she has visited; places that, though
seemingly lifeless, have got as much to do with life as life itself. Based on photographs, these paintings bring forth an
outlandish realness which instantly draws the viewer into the scene. Pearce's work creates contrasts on various
different levels. The chosen perspectives turn the visitor from a 'viewer' into a 'voyeur', observing a scene which
bizarrely depicts no living being to be observed. Built by humans for humans, these places create an atmosphere
that goes way beyond desertion. Though Pearce mostly applies bold, sometimes even acidic colours to her paintings,
these do not as expected turn the paintings into lively reproductions of the original photographs. If anything, these
eye-catching colours genuinely increase the contrast between lively and lifeless, involvement and exclusion, absence
and presence. Pearce’s paintings and her use of colour are a perfect example of how colours can communicate
an idea or atmosphere which in its original form would not be connected to them.

Notes:

1
Artwork 1 Title: 'Gazometro'
Artwork 1 Dimensions: 160 x 120 x 5 cm
Artwork 1 Medium: Oil paint on wood panel
Artwork 1 Commentary:
The artwork is divided into 48 detachable panels of 20 x 20 cm each. It can be displayed as it is on the original
composition representing a gas meter structure. It can also be displayed as an interactive piece where the viewers
can rearrange the individual panels to allow for new compositions to appear.

The painting is based on a photograph taken by the artist in Rome.


Artwork 1 Image:

2
Artwork 2 Title: 'Bridge'
Artwork 2 Dimensions: 60 x 40 x 5 cm
Artwork 2 Medium: Oil on wood panel
Artwork 2 Commentary:
The artwork is divided into 6 panels of 20 x20 cm each. It can be displayed as it is on the original composition of a
bridge. It can also be displayed as an interactive piece where the viewers can rearrange the individual panels to allow
for new compositions to appear.

The painting is based on a photograph taken by the artist in New York city.
Artwork 2 Image:

3
Artwork 3 Title: 'Windows'
Artwork 3 Dimensions: 80 x 100 x 3 cm
Artwork 3 Medium: Oil paint on canvas
Artwork 3 Commentary: The painting is based on a photograph taken by the artist of a Roman Palazzo's facade at
night.
Artwork 3 Image:

4
Artwork 4 Title: 'Stairs'
Artwork 4 Dimensions: 0
Artwork 4 Medium: 0
Artwork 4 Commentary: The painting is based on a photograph taken by the artist of a staircase inside a lighthouse
in North Carolina.
Artwork 4 Image:

5
Artwork 5 Title: 'Gazometro II'
Artwork 5 Dimensions: 150 x 115 cm
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: This painting has the same subject as the painting 'Gazometro', except that it is painted on a
single canvas and captures the Roman gas meter structure in a different light and time of day.
Artwork 5 Image:

6
Catalogue5 ID0004
Artist ID: 0004

Artist Name: Zivile Kasparaviciute


Website: https://www.zivilekasparaviciute.com/
IG: artbyzivile

Artist Statement: Please allow me to express my admiration for grumpy cats and those cute doggies with their
tongues hanging out. Isn't this world an amusing place to live in? A wonderland, bursting with distractions and
illusions.

Admittedly, I have a habit of tripping on the spectrum of attitudes and feelings of my fellow millennials... I can't help
but share them through the fusion of abstract and figurative art. As much as it's fun to dive into the nuances of
traditional and social media, the starting point of my inspiration is self-reflection and personal relationships.

Having no formal art education I do not refer to academic art standards but am rather led by intuition – stylistically
and thematically. My artworks aim to explore human temporality and passage of time, companionship and solitude
as well as expose inner demons. They may often draw attention to self-consciousness and relentless quest for inner
fulfilment. To me, creative living is more than a practice of visual arts. It's the courage to live according to your own
imagination, not someone else's norms and standards.

I'm a philologist by degree. In 2011, whilst in my last year of Lithuanian Philology and Advertising studies at Vilnius
University, I moved to London to have a swim in unknown waters. Right after graduation, I immersed myself in visual
art. Life experience has proven that creative potential is a substantial part of my personal identity, which brings
meaning into my life, empowers and keeps me sane in perplexing situations as well as enables to build bridges
between the inner and outer worlds.

Notes:

1
Artwork 1 Title: America’s #SelfMade
Artwork 1 Dimensions: 120x100
Artwork 1 Medium: acrylic on canvas
Artwork 1 Commentary: Inspired by Forbes story “America’s Richest Self-Made Women― and their cover
woman Kylie Jenner. How did she make it?? ??
Artwork 1 Image:

2
Artwork 2 Title: #LOVEMYLIFE
Artwork 2 Dimensions: 90x75
Artwork 2 Medium: acrylic and glitter on canvas
Artwork 2 Commentary: Inspired by Snapchat :-P
Artwork 2 Image:

3
Artwork 3 Title: I Will Die Happy And Beautiful
Artwork 3 Dimensions: 90x75
Artwork 3 Medium: acrylic on canvas
Artwork 3 Commentary: The quest for happiness: plastic surgery.

Inspired by a former Versace model, plastic surgery addict J.P. who supposedly said: 'My doctors have asked me if I
am scared to die from the surgeries, but, in my opinion, if it happens I will die happy and beautiful.'
Artwork 3 Image:

4
Artwork 4 Title: Over-Thinker Playing His Concertina
Artwork 4 Dimensions: 80x60
Artwork 4 Medium: acrylic on canvas
Artwork 4 Commentary: Trapped in his mind, playing the same melody over and over again... Time's ticking, isn't he
about to lose in this fast-paced world?
Artwork 4 Image:

5
Artwork 5 Title: Thoughts
Artwork 5 Dimensions: 100x50
Artwork 5 Medium: acrylic and glitter on canvas
Artwork 5 Commentary: Just added more colours to what I quickly doodled on a scrap of paper years ago when I
found myself in a bleak tunnel buried in dark thoughts. Now this piece is a reminder that it's worth walking in the
dark...?
Artwork 5 Image:

6
Catalogue5 ID0005
Artist ID: 0005

Artist Name: Elva Mulchrone


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

Artist Statement:
Conceptually driven, my practice examines the role of mathematics, game theory and abstraction in contextualising
and recontextualising an understanding of who and where we are, repeat pattern and of aesthetics.
My practice to date has been informed by my first primary degree in Economics, analysis of data and is continually
inspired by lectures in TCD’s Department of Economics and the Hamilton Mathematics Institute and LSE. I am
inspired by research undertaken at WZB Berlin, Columbia University NYC and studio experimentation at the RCA,
where I am completing my MA in painting.
Analysis of numbers/ data increasingly determines the manner in which many aspects of our life is structured,
managed and understood - not only at a macro/organisational level but also in a private domain. Numbers succinctly
represent a synopsis of our understanding of events, time, emotion and history- the years 1945, 9/11,
“feeling― 100%.
My work reflects on the notion of balance as an ideal, from a personal and socio economic perspective. I present
layers of information, and through paint, colour, movement and video question what information is pertinent,
accurate or real. In a world where we are presented with an abundance of information in a multiplicity of contexts,
personal, professional, written, digital...I invite the viewer to ask themselves what really matters.
I seek to operate within a time-lag between argument and interpretation, between the objective and the subjective
so that another sort of meaning, and another sort of understanding can arise.
Elva Mulchrone

Notes:
Youtube = https://youtu.be/xt0XuL4YmaY

1
Artwork 1 Title: Game on (agbadja)
Artwork 1 Dimensions: 04.26 min
Artwork 1 Medium: HD video
Artwork 1 Commentary:

Link to video: https://youtu.be/xt0XuL4YmaY


Game on (agbadja) is a video piece. I created a pure correlation game which described a symmetrical movement.
The piece is a reflection and presentation on game theory and examines the notion of balance and symmetry as an
ideal.
The equation which is seen overlaying the video was developed in conjunction with Dr Tara Mitchell of Trinity
college Dublin.
Plaza Haloumi, choreographer and performer assisted in the choreography and performs the game with me in the
video
Artwork 1 Image:

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3
Artwork 2 Title: In the Thick of it
Artwork 2 Dimensions: Dimensions variable(image shown 220cm Length x 150cm Height x 150 Width)
Artwork 2 Medium: Steel and fish wire
Artwork 2 Commentary: In the Thick of it is a steel and wish wire installation.

It represents an abstraction and extension of my research on the data of the Paris School of Economics and it
particular Thomas Piketty and his landmark work Capital in the Twenty-First Century.

I analysed the inequality in income patterns on 12 countries and created drawings and then created the steel pieces
to represent the pattern in 3 D form, with the dips and curves in the steel reflective of the graphs which inspired the
work.
Artwork 2 Image:

4
5
Artwork 3 Title: Those who gave up and became the police, 2016
Artwork 3 Dimensions: 178cm x 115cm
Artwork 3 Medium: Oil and acrylic on canvas
Artwork 3 Commentary: Those who gave up and became the police is an abstract reflection of the functioning of
structures in society and the nature of cyclical pattern within those structures and within our own lives.

It examines the multiplicity of information we are presented with on a daily basis and presents a reflection of this,
utilising data which is correct and additional data which is simply superfluous
Artwork 3 Image:

6
Artwork 4 Title: Continuum IV
Artwork 4 Dimensions: 87 x 94 cm
Artwork 4 Medium: Oil, acrylic and ink on linen
Artwork 4 Commentary: Continuum IV is an abstract reflection on the movement in information and the confusion in
information presentation.

It is informed by the income inequality analysis of Thomas Piketty in economies where there are extremes.

What is true and real and what is there for aesthetic reflection...
Artwork 4 Image:

7
Artwork 5 Title: Continuum Triptych
Artwork 5 Dimensions: 46 x 61cm (x3)
Artwork 5 Medium: Oil, oilstick, ink and acrylic on canvas
Artwork 5 Commentary:
Continuum Triptych is an examination of cyclical movement and repeat pattern in an aesthetic context.

It is inspired by economic data but essentially takes on the form of almost a landscape painting. However the
landscape depicted is an economic landscape and the background is the grounding data, juxtaposed and re
configured in different ways
Artwork 5 Image:

8
Catalogue5 ID0006
Artist ID: 0006

Artist Name: Lisa Jenkin


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

Artist Statement: Lisa Sara Jenkin is a mixed media artist from London, currently living and working in East London.
Lisa studied for a BA in Illustration at Camberwell and achieved a Masters in Art Psychotherapy at Roehampton in
2015. Lisa's art is a celebration of Life, Nature and the Human Spirit. Lisa draws creative inspiration from a broad
range of subject matters, including; Jungian Psychology, Western Alchemy, Art History, Winnicottian Theory,
Abstract Expressionism, Symbolism, Archaeology and World Music.

"In my art practice I am honoring my Ancestors. I associate the experience of using my full body, making broad, bold,
wild, unconscious brushstrokes, with my mother's Sea Ferring Cornish lineage. The wild, raw, rugged landscape and
the powerful, fierce, elemental sea are deeply imprinted in my soul.

The other side of my practice involves refinement, deep concentration, stillness, meditation, deep breathing. I can
become lost in pattern, repetition, using a fluid delicate dark line, I am more controlled. I associate this with my
fathers Indian lineage and the decorative arts of India. With the combination of these two opposing styles I find
myself dancing between Chaos and Order."

Notes:

1
Artwork 1 Title: Nuvo Network
Artwork 1 Dimensions: 152cmX122cmX3.6cm
Artwork 1 Medium: Acrylic Paint & Collage on Canvas
Artwork 1 Commentary: This large scale painting made in 2016 was the first image I made after having my daughter
Alma. Our first year together was challenging as she had a stomach condition that prevented her from eating and
sleeping properly. This left me pushed to my limit, exhausted and somewhat disconnected from myself.

Making this piece was therapeutic in many ways. It involved taking artwork that I had previously discarded during my
training in Art Psychotherapy, and recycling it into cut out disks. These were then collaged and connected together
using broad brush strokes of white paint. Further detail was added with the graphic black lines. These lines grew
organically and were used as a method to self sooth.

Finishing the piece gave me great satisfaction and signaled a new chapter in my obsessive art making career.
Artwork 1 Image:

2
3
Artwork 2 Title: Kundalini
Artwork 2 Dimensions: 225cmX50cmX1.2
Artwork 2 Medium: Mosaic - glass, ceramic, shell, mirror & Grout on hardboard
Artwork 2 Commentary: This large scale Mosaic was made using recycled found objects. I am an obsessive hoarder
and collect seemingly random objects. Here I have used mirror, tiles, ceramics and glass found whilst mud-larking on
the Thames, buttons, clay pipes and precious stones and shells found on various beaches around the world.

I work in a very intuitive / unconscious manner in which I let the materials I am using guide me. I very rarely have a
plan or an image in mind to start. This piece slowly revealed itself to be loosely based on the Chakra system. This
reflects my interest and practice in Kundalini Yoga which I found very beneficial in helping me draw up energy and
cope with sleep deprivation.
Artwork 2 Image:

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5
Artwork 3 Title: Conjunctio
Artwork 3 Dimensions: 120cmX120cmX1.7cm
Artwork 3 Medium: Collage, Mixed Media: Paint, Marker, Cutouts, Oils, Plaster & Copper Leaf
Artwork 3 Commentary: This is my most recent piece and is a true labor of love. In fact I could draw quite a few
comparisons between the process of making this and giving birth. It took a long time, it took fierce determination. At
times I lost all sense of time and space in a concentrated cosmic flow state, and, at other times I had to consciously
push myself through the pain barrier to keep going. It was a true test of my will power and strength.

This collage on canvas was created using a backlog of art works on paper, cut up and redefined into something new
and dynamic. The center piece involved late night sessions at my studio looking slightly unhinged as I set fire to
copious amounts of expensive watercolor paper. In my experimentation's with different mediums and methods I
often feel like an alchemist working diligently and obsessively.

I think this piece reflects wholeness, and includes the sun and the moon, masculine and feminine. It holds a lot of
energy for me.

Artwork 3 Image:

6
7
Artwork 4 Title: Serpentine Calligraphic
Artwork 4 Dimensions: 60cmX42cmX1.7cm
Artwork 4 Medium: Acrylic on Canvas
Artwork 4 Commentary: This smaller painting is from a series of 6 images. I painted it during an obsessive period in
which all my images and sculptures seemed to incorporate snakes, snake like energy or movements.

The serpent is such a potent symbol with manifold meanings, but to me it is a symbol of life and death. The serpent
contains both poison and remedy, a connection to one’s ancient animal instincts. Cold blooded, reptilian,
unconsciousness, emerging from the underworld, the black, the nigredo. She is also life force, energy, libido,
Kundalini, sexuality, renewal & transcendence. I have been summoning, integrating and expressing this energy for
myself through art making.

Since making this piece I have become very interested in Calligraphy, in particular, modern middle eastern
Calligraphy. This is an area I would like to study further.

Artwork 4 Image:

8
9
Artwork 5 Title: Raw
Artwork 5 Dimensions: 120cmX120cmX1.7cm
Artwork 5 Medium: Acrylic and Marker on Canvas
Artwork 5 Commentary: I made this piece during a particularly bad stretch of sleep deprivation. In fact I made it lying
down on my studio floor with it pulled over me like a comfort blanket. I have found making repetitive patterns to be
very soothing and relaxing. I have amassed a huge quantity of works on paper and canvas that chronicle my various
mental states. Although I had little energy whilst making this painting I am aware that it is full of energy and
movement and life and hope.

'May what I do flow from me like a river,


no forcing and no holding back,
the way it is with children.

Then in these swelling and ebbing currents,


these deepening tides moving out, returning,
I will sing you as no one ever has,

streaming through widening channels


into the open sea.'

p.58 Rilke's Book of Hours


Artwork 5 Image:

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11
Catalogue5 ID0007
Artist ID: 0007

Artist Name: Emma Lilly


Website: see instagram
IG: emma_lilly100

Artist Statement: I am a painter based in east London, working in acrylics on canvas and paper. I'm interested in
exploring ideas of the 'intelligent hand' and 'embodied thinking' in relation to painting, how a mix of intuition and a
more considered approach can help me work out what a painting can be and do. I use a collage-like technique in
paint: I obsessively layer, erase, repaint and juxtapose a variety of styles and tropes of modern art alongside a freer,
low-art or doodling kind of mark-making. I wonder how a painting could trigger an embodied response in the viewer
and access new connections between the psychological and the physical, the conscious and the unconscious. In part
the work is my response to the visual overload of contemporary life – how does the excess of information
bombarding us affect us, how do we process and deal with it, can a painting be an antidote or does it just add to the
cacophony?

Notes:

1
Artwork 1 Title: Untitled 01C (2018)
Artwork 1 Dimensions: 100cm x80 cm
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: See statement above. These works are all part of the same series.
Artwork 1 Image:

2
Artwork 2 Title: Untitled 03C (2018)
Artwork 2 Dimensions: 95x75cm
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: See statement above.
Artwork 2 Image:

3
Artwork 3 Title: Untitled 06SC (2018)
Artwork 3 Dimensions: 46x36cm
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: See statement above.
Artwork 3 Image:

4
Artwork 4 Title: Untitled 05SC (2018)
Artwork 4 Dimensions: 46x36cm
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: As above
Artwork 4 Image:

5
Artwork 5 Title: Untitled 02C (2018)
Artwork 5 Dimensions: 100x80cm
Artwork 5 Medium: Acrylic on canvas
Artwork 5 Commentary: As above
Artwork 5 Image:

6
Catalogue5 ID0008
Artist ID: 0008

Artist Name: Matthew Mifsud


Website: 7935978802
IG: m_mifs_art

Artist Statement: I work in advertising - which is a crazy, chaotic industry. Images and messages are continually
bombarding us. It can be overwhelming. Then there is London. I love this city, but sometimes the busyness and the
crowds of people, noises and emotions can get a bit too much and drain you of your energy. So I set out to create
these worlds. Buildings, spaces, where my mind would go to have a moment of solace and quiet. The bright colours,
because of their nature, re-energise me. In a way, they are like an oasis for the mind. The other aspect of my work is
also rooted in what my background is. I always wondered what it would look like if someone painted graphic design
pieces. So I did it - and created this series of work.

Notes:

1
Artwork 1 Title: Blue Looming (shade)
Artwork 1 Dimensions: 76 x 60 x 1
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: I wanted to create a piece where the colour palette was very complimentary and then use
reflective copper streaks to break that. The darker tones and the angels help give this building size and magnitude as
if it's looming over you.

There are so many sharp edges to this piece. Whereas usually, I paint large flat coloured surface, this time I broke it
up, with different shades. All of the colours moving towards a strong point.

Artwork 1 Image:

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3
Artwork 2 Title: Lamp Post 2.5
Artwork 2 Dimensions: 113 x 65 x 1
Artwork 2 Medium: 113 x 65 x 1
Artwork 2 Commentary: This is part of my Lamp post series. There was a previous version to this piece which I had
sold (it was the first painting I sold), so I decided to create a bit of a homage to it.

As with any from this series, these paintings represent a bit of an oasis for me. They allow me to transform the world
around me, from grey, dirty concrete into colourful spaces. The flash of fluorescent red helps give it a slight sci-fi feel
too. The teal is often my go-to colour in these paintings as it further creates a world different from my reality.

Artwork 2 Image:

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5
Artwork 3 Title: Copper Edge
Artwork 3 Dimensions: 60 x 80 x 1
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: This was inspired by a friend of mine who sent me a pictu re last week while he was
travelling. What I find compelling about this piece is the copper strip that creates a sharp angle, as does the shiny
metallic surface in contrast with the matte black. The black also signifies darkness that lurks under a polished surface
and contrasts with the lighter colours in the image.
Artwork 3 Image:

6
Artwork 4 Title: Looming 2
Artwork 4 Dimensions: 80 x 30 x 1
Artwork 4 Medium: Acrylic on Canvas
Artwork 4 Commentary: This piece came to me when I was having a stroll at Canary Wharf as the sun was setting. It
was am azing how the colour of the sky turned into this vanilla like the colour, and the building just reflected this
fantastic light blue hue.

It's about creating another version of the cold city. This version of the colours makes me feel less stressed about the
looming financial buildings over me.

Artwork 4 Image:

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Artwork 5 Title: Balconies ( At Gran Canaria)
Artwork 5 Dimensions: 70 x 110 x 1
Artwork 5 Medium: Acrylic on Canvas
Artwork 5 Commentary: The inspiration for this piece happened on a trip to the Canary Islands. I was having a wine,
and a cigarette on my balcony (of the hotel I was staying at) and just was amazed at the architectural landscape of
Maspalomas.

It seemed like the entire town was stuck in the 70s. Their choices of colours, when it came to the buildings, felt
representative of the vibe of the place and the city. Made me appreciate the effect a splash of colour can do on an
otherwise functional building style.

Artwork 5 Image:

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10
Catalogue5 ID0009
Artist ID: 0009

Artist Name: Francesca Busca


Website: www.francescabusca.com
IG: @francesca_busca

Artist Statement: To Francesca, the purpose of Art is to provoke critical thinking in the viewer.

She defines herself as an EnvironmentARTist. Torn between optimism and surrender, she is haunted by the idea of
mankind’s imminent self-destruction. Yet, she believes in a future for humanity of resourceful innovation through
re-thinking, repurposing and reducing. Her aim is to prove how rubbish is a relative definition and how it can be
turned into something useful, fun and even beautiful. This shows particularly in her installations, which are created
entirely from "found" material. She thoroughly enjoys working within both the ethical and the material limitations
which this choice entails.

She has a true passion for mosaic, eagerly crisscrossing the boundary between Mosaic and Mixed Media. She is on a
mission to show the incredible - yet still lesser known and appreciated - potential of modern mosaic, as a fine art in
its own right.

Francesca has also recently resumed her fondness for photography, working on layered artwork, where she uses
photography to create multi-layered messages which develop around her 3D artworks.

She has participated in over 60 art exhibitions internationally in the last 3 years alone, received over 30 awards and
appeared on a dozen publications. She recently launched the Payment in Kind(ness) initiative, whereby she accepts
eco-friendly gestures (LiThs = “Little Things―) as payment in kind toward her artwork.
Ironically, her Little Things exhibition was censored within the first week of opening, as it was found to be “too
controversial― by some of the estate residents.

She is part of the BAMM Committee in the role of Exhibition Officer (organizing and curating mosaic exhibitions
across the country) and of the Governing Body of the London School of Mosaic.

Finally, Francesca is working on various pro bono collaborations with cultural, educational and environmental
organisations (with Fernando Montaño on plastic pollution, with LIGCA on air pollution, with The Italian Cultural
Institute on sustainability…). Making the world a better place through art, in all possible ways, is her biggest hope.

Notes:

1
Artwork 1 Title: “Beehivis―
Artwork 1 Dimensions: 45x36x15
Artwork 1 Medium: Mixed Media: plastic, metal and mother-of-pearl on wooden board. 90% reused material
Artwork 1 Commentary: 2017. An artificial beehive: the more we advance in every field, the more we imitate
Nature’s perfection…but rather that recreating it artificially, should we not safeguard the real thing instead?
Artwork 1 Image:

2
Artwork 2 Title: "They're coming outta the walls! / The invasion of the coRkroaches"
Artwork 2 Dimensions: 54x44x20
Artwork 2 Medium: Mosaic and mixed media: cork, plastic and metal on wooden board, direct method. 100%
repurposed material.
Artwork 2 Commentary: 2018. More plastic! Call Synthetic Pest Control
Artwork 2 Image:

3
Artwork 3 Title: "Just because You don't See it... "
Artwork 3 Dimensions: 35x18x5
Artwork 3 Medium: Mixed Media: metal, fabric and pollution dust on wooden board (35x18cm).
Artwork 3 Commentary: 2018. Braille writing. Revolving around my collaboration on the LIGCA project on air
pollution "A Breath of Fresh Air" with schools in London and Delhi. Contour darkened with pollution dust collected
from my window sill after 6 months of exposure to street traffic.
Artwork 3 Image:

4
Artwork 4 Title: "Inheritance"
Artwork 4 Dimensions: 30.5x40.5x2
Artwork 4 Medium: Staged Photography (layered artwork)
Artwork 4 Commentary: 2018. Innocence carrying the burden of our disposable living
Artwork 4 Image:

5
Artwork 5 Title: "Hybrid Cactus (...and then it wasn't)"
Artwork 5 Dimensions: 43x25x15
Artwork 5 Medium: Mosaic and Mixed Media: plastic, bone, marble and smalti on marine ply. 100% reused material.
Artwork 5 Commentary: 2018. A year worth's supply of the same medicine vial, fruit nets and used plastic cutlery.
Not only I wonder how long humans will be able to eat other creatures sustainably, but also how long before plastic
replaces organic material substantially - either through conscious human intervention or through hormonal
assimilation...
Artwork 5 Image:

6
Catalogue5 ID0010
Artist ID: 0010

Artist Name: Poli Churba


Website: www,polichurbanatan.wixsite.com/poli churba
IG: poli_churba

Artist Statement: She worked in design and art for over 30 years, and was curator of the exhibitions of Natan
“Vanguardia y Clasisismo―. She is part of a well known family of designers and fine art artists, for this she
received an education marked by esthetics.

She started creating pieces of art in 2011, and since then she has exhibited in important exhibitions and fairs in
Argentina and the world.

The most important ones are:

2018. MoMA, New York. Paint selected for digital exhibition from Jan 5th to Jan 22nd.

2018. Galeria Norma Duek, Punta del Este, Uruguay.

2018. Galeria Settemari, Punta del Este, Uruguay.

2017. Lago Di Garda, Verona, Italy


2017. Centro Cultural Coreano, Buenos Aires, Argentina
2017. Art Fusion Galleries, Miami.
2017. Exposición en BahÃ-a del Sol, San Fernando, Argentina
2017. Galeria Settemari, Punta del Este, Uruguay.

2017. Centro Cultural Parada 3, Punta del Este, Uruguay

2015. Miami River Fair, Florida.

2015. GalerÃ-a Matilde Besignor, Buenos Aires.

2015. The Brick Lane Gallery, London.

2014. Liga de Fomento, Norma Duek, Punta del Este.

2014. Fundación Mundo Nuevo, Buenos Aires

polichurbanatan@gmail.com

www.polichurbanatan.wixsite.com/polichurba

Notes:

1
Artwork 1 Title: Crazy about you
Artwork 1 Dimensions: 90 x 90
Artwork 1 Medium: Digital art
Artwork 1 Commentary: It transmits a feeling of craziness.
Artwork 1 Image:

2
Artwork 2 Title: Surrounding shapes
Artwork 2 Dimensions: 100 x 100
Artwork 2 Medium: Digital art
Artwork 2 Commentary: Minimalist modern design representing surrounding
shapes.
Artwork 2 Image:

3
Artwork 3 Title: Future and Growth
Artwork 3 Dimensions: 90 x 90 cms
Artwork 3 Medium: Digital art
Artwork 3 Commentary: It represents the digital future ahead.
Artwork 3 Image:

4
Artwork 4 Title: Serie My Ancestors
Artwork 4 Dimensions: 99 x 140cms
Artwork 4 Medium: Digital art
Artwork 4 Commentary: It reminds me, to most of the colors used by my ancestor.
Artwork 4 Image:

5
Artwork 5 Title: DEL MoMA al MET
Artwork 5 Dimensions: 90 x 90 cm
Artwork 5 Medium: DIgital art
Artwork 5 Commentary: It inspires to a tour from abstract to geometric.
Artwork 5 Image:

6
Catalogue5 ID0012
Artist ID: 0012

Artist Name: Robert Van De Graaf


Website: www.robertvandegraaf.com
IG: @robertvandegraaf

Artist Statement: Robert van de Graaf is interested in the connection between the mystic of this world, and all its
elements (the sea, the sky, nature, fire, light and darkness), and the sense and the dimension of the other world.

Myths, mystical places or stories, from history and present days are the source for inspiration for his artworks.
In his recent series of artworks he delves deeply into passages of the bible, combining the inspiration of the passages
with the beauty and forces of the elements on earth.

In his recent series of artworks he is questioning human destiny and how we can relate to the great mystical and
religious texts. How they can provide 'food’ for the soul.
He wishes his artworks to be a (re)discovery for the viewer and wishes to encourage deepening. This is his reaction
on the superficiality of modern society and the lack of ‘soul food’ for younger generations.

Robert transforms the inspiration of the texts into symbolic modern interpretations while referring to paintings of
the Old Masters as Rembrandt’s ‘The Storm on the Sea of Galilee’ (1632).
The starting point for his artworks is his imagination inspired by passages of stories or places. Most of the paintings
are painted directly on the canvas, sometimes he makes a quick composition sketch first.

Robert considers his artworks and the process of creating as a (spiritual) journey of freedom, devotion, (inner)
peace, inner battles and faith.

Notes:

1
Artwork 1 Title: The Seven Angels and The Plagues
Artwork 1 Dimensions: 140 x 200 x 2,5
Artwork 1 Medium: Oil on linen
Artwork 1 Commentary: The series ‘Visions of St. John the Divine’ are inspired by passages of the Revelations
from the Bible. In this series he tries to blend together his imagination and passages from the Revelations while
keeping some freedom of interpretation for the viewer. Every painting is inspired by different passages of the
Revelations.
This painting is inspired by Revelations 15.5 - 8
While St. John was banned to the island Patmos (Greece) his spirit was touched by the Spirit of God to write down
the Revelations. St. John dictated his visions to his pupil Prochoros who wrote down the visions. The pictures are
seen through the eyes of Prochoros, who was the spectator of St. John and his visions. In this perspective the viewer
really becomes part of the vision as the viewer looks itself through the eyes of Prochoros.
Robert interprets the revelation as a comment on modern society and a warning towards the fragility of the earth
and mankind.

Artwork 1 Image:

2
3
Artwork 2 Title: Falling Star Opening the Bottomless Pit
Artwork 2 Dimensions: 180 x 120 x 2,5
Artwork 2 Medium: Oil on linen
Artwork 2 Commentary: The series ‘Visions of St. John the Divine’ are inspired by passages of the Revelations
from the Bible. In this series he tries to blend together his imagination and passages from the Revelations while
keeping some freedom of interpretation for the viewer. Every painting is inspired by different passages of the
Revelations.
This painting is inspired by Revelations 9.1
While St. John was banned to the island Patmos (Greece) his spirit was touched by the Spirit of God to write down
the Revelations. St. John dictated his visions to his pupil Prochoros who wrote down the visions. The pictures are
seen through the eyes of Prochoros, who was the spectator of St. John and his visions. In this perspective the viewer
really becomes part of the vision as the viewer looks itself through the eyes of Prochoros.
Robert interprets the revelation as a comment on modern society and a warning towards the fragility of the earth
and mankind.

Artwork 2 Image:

4
5
Artwork 3 Title: St. John's Heavens and Stars_2
Artwork 3 Dimensions: 180 x 120 x 2,5
Artwork 3 Medium: Oil on linen
Artwork 3 Commentary: In the series ‘St. John’s Heavens and Stars’ Robert enlarges the situation of the
Apostle St. John receiving his visions looking to the skies, the sea, the moonlight and the stars. The paintings reveal
the information of the Heavens St. John is receiving in his visions. This is the source of inspiration for the 14 paintings
of this series.
In these paintings he is working towards a bit more abstraction for this series while keeping the recognition of a
nightscape at the seaside. The viewer is now looking directly through the eyes of St. John without an additional
narrating element in the paintings (as in ‘Visions of St. John the Divine’).

Artwork 3 Image:

6
7
Artwork 4 Title: St. John's Heavens and Stars_5
Artwork 4 Dimensions: 160 x 230 x 2,5
Artwork 4 Medium: Oil on linen
Artwork 4 Commentary: In the series ‘St. John’s Heavens and Stars’ Robert enlarges the situation of the
Apostle St. John receiving his visions looking to the skies, the sea, the moonlight and the stars. The paintings reveal
the information of the Heavens St. John is receiving in his visions. This is the source of inspiration for the 14 paintings
of this series.
In these paintings he is working towards a bit more abstraction for this series while keeping the recognition of a
nightscape at the seaside. The viewer is now looking directly through the eyes of St. John without an additional
narrating element in the paintings (as in ‘Visions of St. John the Divine’).

Artwork 4 Image:

8
9
Artwork 5 Title: St. John's Heavens and Stars_9
Artwork 5 Dimensions: 80 x 110 x 2,5
Artwork 5 Medium: Oil on linen
Artwork 5 Commentary: In the series ‘St. John’s Heavens and Stars’ Robert enlarges the situation of the
Apostle St. John receiving his visions looking to the skies, the sea, the moonlight and the stars. The paintings reveal
the information of the Heavens St. John is receiving in his visions. This is the source of inspiration for the 14 paintings
of this series.
In these paintings he is working towards a bit more abstraction for this series while keeping the recognition of a
nightscape at the seaside. The viewer is now looking directly through the eyes of St. John without an additional
narrating element in the paintings (as in ‘Visions of St. John the Divine’).

Artwork 5 Image:

10
11
Catalogue5 ID0014
Artist ID: 0014

Artist Name: Valerio Villani


Website: http://villaniv.wixsite.com/valeriovillani
IG: @villani.contemporaryartist

Artist Statement: The human figure, both men and women, continues to be for me an important inspiration source .
The restlessness that drives the human soul in its existence and be on earth for me to become an ideal
communication with the ground he that keepeth my works. The deep feelings and anxieties of the human being to
inspire these surreal and evocative images that belong to my pictorial language. artwork invites the spectator to the
modern mental and physical condition of contemporary man. My artworks invites the observer into the modern
mental and physical condition of contemporary man. Man's fragility and its progressive condition of possible
obsolescence seems to have no escape or solution. The physical and mental fragility of contemporary man continues
to be present, as well as the uncertainty of the present and the future.

Notes:

1
Artwork 1 Title: MIRROR
Artwork 1 Dimensions: 30X40X0
Artwork 1 Medium: watercolour on paper
Artwork 1 Commentary: The “mirror― art work invites the spectator to reflect on himself as in front of a mirror.
The mirror is represented only by a line, in fact, there is an optic chiasm of the two figures and their arrangement
psychologically recalls the presence of a deforming mirror. But is the mirror to alter the shape the figure or do we
think of ourselves in a different way from what actually appears?
Artwork 1 Image:

2
Artwork 2 Title: COMPOSITION#17
Artwork 2 Dimensions: 24X30X0
Artwork 2 Medium: watercolour on paper
Artwork 2 Commentary: The artwork invokes an evocative metaphysical atmosphere.The figure comes out to the
strong light from a dark abyss represented by a rectangle.
Artwork 2 Image:

3
Artwork 3 Title: COMPOSITION#18
Artwork 3 Dimensions: 24x30x0
Artwork 3 Medium: watercolour on paper
Artwork 3 Commentary: The artwork invokes an evocative metaphysical atmosphere.The figure comes out to the
strong light from a dark abyss represented by a rectangle. The physical and mental fragility of contemporary man
continues to be present, as well as the uncertainty of the present and the future.
Artwork 3 Image:

4
Artwork 4 Title: COMPOSITION#14
Artwork 4 Dimensions: 24x30x0
Artwork 4 Medium: watercolour on paper
Artwork 4 Commentary: This artwork invites the observer to the modern mental and physical condition of
contemporary man. Man's fragility and its progressive condition of possible obsolescence seems to have no escape
or solution.
Artwork 4 Image:

5
Artwork 5 Title: COMPOSITION#15
Artwork 5 Dimensions: 24x30x0
Artwork 5 Medium: watercolour on paper
Artwork 5 Commentary: This artwork invites the observer to the modern mental and physical condition of
contemporary man. Man's fragility and its progressive condition of possible obsolescence seems to have no escape
or solution. The figure appears as a fusion of several bodies.
Artwork 5 Image:

6
Catalogue5 ID0015
Artist ID: 0015

Artist Name: Cemalettin Cinkilic


Website: https://cemo-art.tumblr.com/
IG: Cemo Wenekar

Artist Statement:
I am a Kurdish origin-British artist. I came from Kurdistan to the UK as a political refugee at December 2006.
I am currently studying my 3rd year BA Fine Art course at Middlesex University.

My ambitions during my studying are experiment new techniques and styles to develop my artistic ability.
I attempt to discover new brushstrokes, new ways and
forms to create a new visual language to become a unique, professional and complete artist to create new
artworks, have exhibitions across the world to be
able to join the artworld to realise my dream.

In my art, I would like to create a bridge between history, politics and aesthetic to create documentary
artworks as evidence of nowadays situations
to transfer the future generations.

I prefer to work both with oil and acrylic mediums on canvas as figurative, narrative,realistic, semi-surrealist,
symbolistic and expressionist manners.

I am creating forms of painting which address the political situation in Kurdistan and Middle-East.
As a secular artist and political refugee, because of my artistic, ethic and ethnic responsibility, I cannot ignore
this situation because it affects me deeply and it
highlights general systemic problems in the whole world.
I believe that, interpreting political events
through visual art is not propaganda, but a way of making art as a radical tool for questioning
the current and unjust system.
My approach is to take my audiences’ attention to
raise awareness about the ongoing political situations which highly charged with lies, fake news,
disinformation and limited communication.

Notes:

1
Artwork 1 Title: Mules Massacre
Artwork 1 Dimensions: 152 cm x 122 cm
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: The date: 2017, Middlesex University, London

Mules Massacre is based on a true story. The massacre was carried out by colonialist Turkey and Iran in 2011 and in
2017.

Kurdistan was occupied by the Arabic Empire for 1400 years; by the Ottoman Empire for 1000 years; and for the last
500 years by the Persian Empire.

Kurdistan is a country with a population of approximately 50 million.

In 1536, the Kasr-ı Şirin agreement divided Kurdistan into two parts between the Ottoman Empire and the
Persian Empire. Then, after WWI, the British Empire and France implemented the Sykes-Picot agreement in secret at
1916, which divided the country into four parts within Turkey, Iran, Iraq and Syria. The colonialist countries drew
artificial borders between the four parts of Kurdistan and cut off the relationships among them.

Still until now the rebellion and resistance of the Kurds persist and so their massacre and genocide.

Despite being a land rich in natural resources with many mines, especially oil and gas, and rivers, lakes and
farmlands, it remains poor, due to occupation and exploitation.

Because of the colonialist politics and inconvenient economical situations, in order to survive, the Kurds who live in
villages close to the borders, especially in the difficult winter season, set up small businesses that use mules to carry
goods from one side of the border to another. However, the colonialists want the Kurds to lack provisions; they want
them poor, as desperate as slave, so to subdue them, to squash them down.

There is a fight against occupation in all the parts of Kurdistan: between Kurdish guerrillas and colonialist troops.
Kurds’ enemies always lose their soldiers and police. Therefore, the colonialists, to take revenge, are killing the
civilians, their animals, besides destroying and burning their villages.

The aforementioned massacre was carried out by the Turkish air force near Roboski village on the border between
the northern part of Kurdistan (Turkey Kurdistan) and the southern part of Kurdistan (Iraq Kurdistan) on the 28th of
December 2011 between 9:37 and 22:24. 38 people were marching with 50 mules. At end of the air strike 34 people
were killed and one was injured. 17 of them were under 18-years-old and 11 of them were relatives.

The mules were carrying diesel, sugar, tobacco and food. Because of the bombs, humans and mules were broken
into pieces, their bodies charred and mixed; as an horrific consequence, family members could not identify the
bodies of their children.

Second massacre happened in the eastern part of Kurdistan (Iran Kurdistan), around Secoman village in April 2017.
The mules were not carrying anything, but the Persian army fusilladed them just because they belonged to the
Kurds.

Because of the regional war in the Middle East, recently, there has been unrest, ferment, mayhem and changes in
Kurdistan, in the Kurdish society and regarding the colonial status -quo as well.

I always wonder how I can find an artistic way or style to transfer the recent situation of Kurds and Kurdistan, to re-
create that unrest in my artworks. I have been thinking of such techniques as shaking, moving brushstrokes; rioting,
rebelling colours; effusive figures; earthquake, war and fight.

Also, if possible, I would like to get a visual experience of beauty mingled with a disaster, a contrast in the same
frame, so to create a sense of spiritual harmony or complexity.

2
I have used a metaphor. I have tried to create empathy, to feel the pain, the helplessness, the scream, the cry. I have
tried to perceive and to communicate the smell of gunpowder, its burning smell, the approaching footsteps of death,
the blood that every second pours out from their veins.

And I have found it unbearable. Therefore, I have decided to close the eyes of the mules with bandages to avoid
seeing the terrible scene of the massacre which was perpetrated by so called “humans―, who are the most
wild animals in the world
Artwork 1 Image:

3
Artwork 2 Title: Protest
Artwork 2 Dimensions: 152 cm x 122 cm
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary:

The date: 2017, Middlesex University, London, the UK

My country has been occupied and oppressed for all of my life. My artistic development occurred in difficult
situations: without a country, school, home, nation and freedom. Art was and is still the answer to all my problems.
It was my voice of expression. I use art to express my ideas, my culture and create the dream of a future. As humans
we are part of communities in a social system. Our political ideas, beliefs, and status quo are all dependent and
decided by the social class we are born into. I call this the ‘system’. Because of this reality, I believe there is a
direct link between our artistic expression and the social system, culture and nation you experience and live in. Art is
very personal to the individual. Everything is ready to be a subject matter and be interpreted in a whole new light.
Everything from what we see, read, watch, listen, to historical events and possible futures can inspire to create art.
An artist feeds off everything around him or her with the constant changes and history as it is made. Art is life;
politics forces life and art gives a response.
Artwork 2 Image:

4
5
Artwork 3 Title: 73rd Edict
Artwork 3 Dimensions: 152 cm x 122 cm
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: The date: 2017, Middlesex University, London

The subject of the 73rd Edict is based on a true story of an ethnic genocide at Shangal, Southern of Kurdistan which
continued by Arabic Empire’s occupation and colonisation for 1400 years to present, and by Ottoman
Empire’s occupation and colonisation for 1000 years to present. So far, 72 edicts made against Ezidi Kurds at
Kurdistan who refused Islamic ideology and didn’t accept to be Muslim in the last 1400 years.

The 73rd Edict made by ISIS at 3rd of August 2014 and started at 02:00 am. During occupation of Shangal: According
to the news, approximately 200 000 Ezidi were exiled, 2000 of them were killed,38 mass grave were found,5000 of
Ezidi women and children kidnapped, tortured, raped, got pregnant -including 9 years old children - and have been
sold to rich Arabic sheiks, emirs as war booty. Ezidi women’s babies and children have been taken by force to
brainwash to train them as a sunni militant to be an executioner and suicide bomber.

In my opinion, art is life; politics forces the life and art gives response. I intend to create a link between art and the
recent history to transfer an aesthetic evidence to generations of the future.
Artwork 3 Image:

6
7
Artwork 4 Title: The Volunteers of Hell
Artwork 4 Dimensions: 152 cm x 122 cm
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary: The date : 2015, London Metropolitan University, London

The teheme of this work is my imagination base on a true story,the heroic resitance of a Kurdish city Kobani and
Kurdish women against ISIS which happened at Rojava Kurdistan(part of Syria Kurdistan) between 15 August 2014
and 26 January 2015.

ISIS was captured 350 villages of Kobani and the centre of city was surrounded by ISIS with heawy weapons to
occupy.
All the buildings were destroyed, they gave a heavy loss but Kurds never surrender and with support of all humanity
around the world they defeated the ISIS and it wast the first defeat of ISIS.

The painting especially depicted the role of Kurdish girls in the war at Syria and at Kurdistan, their resistance,bravery
and sacrifice against ISIS.
Four girls are representing the four parts of Kurdistan and the four colours of the Kurdish flag as red,yellow,green
and white coulours on their legs.

surrender

Artwork 4 Image:

8
9
Artwork 5 Title: It was Autumn when I Came
Artwork 5 Dimensions: 152 cm x 122 cm
Artwork 5 Medium: oil on canvas
Artwork 5 Commentary: The date: 2016, Middlesex University,London

This painting theme is my imagination on history of Kurdistan.


Faacism takes place on the right side of the painting with darkness,snakes,agliness and wickedness.
On the right side is colourfull, freedom and resistance.. Kurdish girls are playing,dancing and defence the Kurdistan.
On the foreground of the left side my mother is pregnant.I was born at mountain, at plato in a tent and it was
Autumn.
The book is represent the history of Kurdistan. It is half,form Spring to Autumn and going to Winter to the be end
because of colonialism,occupation,division and assimilation.

But,there is a hope because Kurds are walking on fascism on the right side.
Artwork 5 Image:

10
11
Catalogue5 ID0016
Artist ID: 0016

Artist Name: Fero Feromontana


Website: www.feromontana.art
IG: feromontana.art

Artist Statement: I consider contemporary art a special form of innovation and inventiveness. Contemporary art is
excellent, when it creates something completely new and surprising, preferably in a positive way. You don't have to
like the color or the style or the motive, but when you see a painting, a sculpture or an installation and feel like "Oh,
what a great idea, I never thought of that", than you see true and lasting contemporary art as I would define it.

Notes:

1
Artwork 1 Title: Friendly House
Artwork 1 Dimensions: 12x12m
Artwork 1 Medium: Spray paint on earth
Artwork 1 Commentary: When I was asked to create an installation for this mansion I tried to reproduce the positive
feeling I had when I entered the estate. It was my intention to capture the multiple artworks at the estate, the large
lawn and the shadows of the mansion with this 3D-installation.
Artwork 1 Image:

2
Artwork 2 Title: Friendly House detail
Artwork 2 Dimensions: 12x12m
Artwork 2 Medium: spray paint on earth and artist
Artwork 2 Commentary: To highlight the 3D-effect of the installation I involved myself into the artwork
Artwork 2 Image:

3
Artwork 3 Title: One world falling apArt
Artwork 3 Dimensions: 200x200cm
Artwork 3 Medium: Acrylic and arabic sand on canvas
Artwork 3 Commentary: I think the title in connection with the painting says all that needs to be said.
Artwork 3 Image:

4
Artwork 4 Title: Diana
Artwork 4 Dimensions: 278x85x55cm
Artwork 4 Medium: spray paint and insoluable paint on marble
Artwork 4 Commentary: Diana was exhibited at the biennale 2017 in Florence and did win a Lorenzo il magnifico-
award. In the Background you can see another work I created, "The thinker".
Artwork 4 Image:

5
Artwork 5 Title: Cubes meet David
Artwork 5 Dimensions: 160x120cm
Artwork 5 Medium: Acrylic on canvas
Artwork 5 Commentary: This is one of several different David-variations I created. I love to work with spots and
squares and tried to combine those two elements in this artwork. The realism sculpture next to the painting is an
artwork called the "security guard" created by Marc Sijan.
Artwork 5 Image:

6
Catalogue5 ID0017
Artist ID: 0017

Artist Name: Eduard Zentsik


Website: https://www.saatchiart.com/zentsik
IG: https://www.instagram.com/art_zentsik/

Artist Statement: Painter, photographer, graphic artist, designer, author of installations, performances and musical
improvisations. Organizer of youth exhibitions and projects. For over years of creativity had more than a hundred
personal exhibitions and took part in numerous joint projects. Participant and winner of international Photographic
and Art competitions. Numerous works are in private collections around the world.

Member of the Estonian Association of Artists.


Member of the Photographers Union in Estonia.
Member of the Russian Artists Union in Estonia.
Member of the Union Painters of Estonia.
1995 year – member of avant-garde artistic projects.
1996-1997 year – personal classes in art studio of I. Lukyanov.
1998 year – accepted into the closed club of artists "April".
2000-2004 year – study at the Art Academy of Estonia.
Freelance artist since 2006 year.

Notes:

1
Artwork 1 Title: Window in the antiquity 1
Artwork 1 Dimensions: 60x60 cm
Artwork 1 Medium: wood, mixed technique, assemblage
Artwork 1 Commentary: Contemporary Antiquity.
Exhibition art project.
The items that are created today using ancient materials become the actual antique art immediately. This is not an
attempt at repeating the past or imitating it. This is the conversation with the future through the prism of the
history of art of the bygone centuries.
T he time unfolds and loses its linearity. This is an exciting experiment with regularities. The piece of art that is
completed now becomes antique immediately. Due to the fact that these works of art are trying to step out of the
time parameters of their creation, they are dated with the infinity period on the time scale. In the end, we come
across ancientry, the antiquity of the future.
The present moment put at a stop crystallizes in eternity. This is not an attempt at leaving the time limits, but just a
humble dimensional conversation with the time. The structural iconic seal is a symbol of the natural time flow, just
like an imprint on the scroll of your subconsciousness. Thus at present we are observing the synthesis of the past and
the future.
The spectator can touch all of the time phases at the same time and discover his or her own eternity. The research
of time through Contemporary art is very universal. Each one of us can become involved in this phenomenon, and
the most interesting thing is that we cannot go wrong with our interpretations. Every single thought and idea will be
a part of the endless expansion. Welcome to the new dimension on the edge, timeless.
Artwork 1 Image:

2
3
Artwork 2 Title: Window in the antiquity 2
Artwork 2 Dimensions: 60x60 cm
Artwork 2 Medium: wood, mixed technique, assemblage
Artwork 2 Commentary: Contemporary Antiquity.
Exhibition art project.
The items that are created today using ancient materials become the actual antique art immediately. This is not an
attempt at repeating the past or imitating it. This is the conversation with the future through the prism of the
history of art of the bygone centuries.
T he time unfolds and loses its linearity. This is an exciting experiment with regularities. The piece of art that is
completed now becomes antique immediately. Due to the fact that these works of art are trying to step out of the
time parameters of their creation, they are dated with the infinity period on the time scale. In the end, we come
across ancientry, the antiquity of the future.
The present moment put at a stop crystallizes in eternity. This is not an attempt at leaving the time limits, but just a
humble dimensional conversation with the time. The structural iconic seal is a symbol of the natural time flow, just
like an imprint on the scroll of your subconsciousness. Thus at present we are observing the synthesis of the past and
the future.
The spectator can touch all of the time phases at the same time and discover his or her own eternity. The research
of time through Contemporary art is very universal. Each one of us can become involved in this phenomenon, and
the most interesting thing is that we cannot go wrong with our interpretations. Every single thought and idea will be
a part of the endless expansion. Welcome to the new dimension on the edge, timeless.
Artwork 2 Image:

4
5
Artwork 3 Title: Window in the antiquity 3
Artwork 3 Dimensions: 60x60 cm
Artwork 3 Medium: wood, mixed technique, assemblage
Artwork 3 Commentary: Contemporary Antiquity.
Exhibition art project.
The items that are created today using ancient materials become the actual antique art immediately. This is not an
attempt at repeating the past or imitating it. This is the conversation with the future through the prism of the
history of art of the bygone centuries.
T he time unfolds and loses its linearity. This is an exciting experiment with regularities. The piece of art that is
completed now becomes antique immediately. Due to the fact that these works of art are trying to step out of the
time parameters of their creation, they are dated with the infinity period on the time scale. In the end, we come
across ancientry, the antiquity of the future.
The present moment put at a stop crystallizes in eternity. This is not an attempt at leaving the time limits, but just a
humble dimensional conversation with the time. The structural iconic seal is a symbol of the natural time flow, just
like an imprint on the scroll of your subconsciousness. Thus at present we are observing the synthesis of the past and
the future.
The spectator can touch all of the time phases at the same time and discover his or her own eternity. The research
of time through Contemporary art is very universal. Each one of us can become involved in this phenomenon, and
the most interesting thing is that we cannot go wrong with our interpretations. Every single thought and idea will be
a part of the endless expansion. Welcome to the new dimension on the edge, timeless.
Artwork 3 Image:

6
7
Artwork 4 Title: Window in the antiquity 4
Artwork 4 Dimensions: 60x60 cm
Artwork 4 Medium: wood, mixed technique, assemblage
Artwork 4 Commentary: Contemporary Antiquity.
Exhibition art project.
The items that are created today using ancient materials become the actual antique art immediately. This is not an
attempt at repeating the past or imitating it. This is the conversation with the future through the prism of the
history of art of the bygone centuries.
T he time unfolds and loses its linearity. This is an exciting experiment with regularities. The piece of art that is
completed now becomes antique immediately. Due to the fact that these works of art are trying to step out of the
time parameters of their creation, they are dated with the infinity period on the time scale. In the end, we come
across ancientry, the antiquity of the future.
The present moment put at a stop crystallizes in eternity. This is not an attempt at leaving the time limits, but just a
humble dimensional conversation with the time. The structural iconic seal is a symbol of the natural time flow, just
like an imprint on the scroll of your subconsciousness. Thus at present we are observing the synthesis of the past and
the future.
The spectator can touch all of the time phases at the same time and discover his or her own eternity. The research
of time through Contemporary art is very universal. Each one of us can become involved in this phenomenon, and
the most interesting thing is that we cannot go wrong with our interpretations. Every single thought and idea will be
a part of the endless expansion. Welcome to the new dimension on the edge, timeless.
Artwork 4 Image:

8
9
Artwork 5 Title: Window in the antiquity 5
Artwork 5 Dimensions: 60x60 cm
Artwork 5 Medium: wood, mixed technique, assemblage
Artwork 5 Commentary: Contemporary Antiquity.
Exhibition art project.
The items that are created today using ancient materials become the actual antique art immediately. This is not an
attempt at repeating the past or imitating it. This is the conversation with the future through the prism of the
history of art of the bygone centuries.
T he time unfolds and loses its linearity. This is an exciting experiment with regularities. The piece of art that is
completed now becomes antique immediately. Due to the fact that these works of art are trying to step out of the
time parameters of their creation, they are dated with the infinity period on the time scale. In the end, we come
across ancientry, the antiquity of the future.
The present moment put at a stop crystallizes in eternity. This is not an attempt at leaving the time limits, but just a
humble dimensional conversation with the time. The structural iconic seal is a symbol of the natural time flow, just
like an imprint on the scroll of your subconsciousness. Thus at present we are observing the synthesis of the past and
the future.
The spectator can touch all of the time phases at the same time and discover his or her own eternity. The research
of time through Contemporary art is very universal. Each one of us can become involved in this phenomenon, and
the most interesting thing is that we cannot go wrong with our interpretations. Every single thought and idea will be
a part of the endless expansion. Welcome to the new dimension on the edge, timeless.
Artwork 5 Image:

10
11
Catalogue5 ID0020
Artist ID: 0020

Artist Name: Stuart Batchelor


Website: https://www.sfbatchelor.com/
IG: https://www.instagram.com/s.f.batchelor/

Artist Statement: Stuart Faromarz Batchelor (b.1992) is a fine artist and software engineer who combines oil painting
with graphics programming, showcasing a beautiful union between traditional and programmatic art techniques.

“Painting with code and coding with paint―.

Formerly an interactive developer at CG film and digital installation company Framestore, Stuart Batchelor’s
current work focuses on making programming a physical process - escaping the dulling confines of the computer
screen and rejecting its amputation of our rich senses by drawing on alla prima and abstract expressionist practices.

Rebelling against the boundaries of the technology we are so readily given, Stuart Batchelor programs his own
systems centered around this untapped human capability. His signature practice combines both the artist’s hand
and the computer’s generative simulations; working between coding and painting in the same session, utilizing
enactive, iconic and symbolic modes of understanding, uniting the painter’s observational eye and the
algorist’s design logic.

This is the drive of his work - to develop future tools that empower our human abilities of creativity and expression.

Notes:

1
Artwork 1 Title: Absence
Artwork 1 Dimensions: 23 x 43.8 inches
Artwork 1 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 1 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 1 Image:

2
Artwork 2 Title: Peace And Power
Artwork 2 Dimensions: 23 x 43.8 inches
Artwork 2 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 2 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 2 Image:

3
Artwork 3 Title: Surface Detail
Artwork 3 Dimensions: 23 x 43.8 inches
Artwork 3 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 3 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 3 Image:

4
Artwork 4 Title: Snowfall
Artwork 4 Dimensions: 20x28 inches
Artwork 4 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 4 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 4 Image:

5
Artwork 5 Title: Spire
Artwork 5 Dimensions: 20x28 inches
Artwork 5 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 5 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 5 Image:

6
Catalogue5 ID0021
Artist ID: 0021

Artist Name: Benjamin Rice


Website: benjaminrice.co.uk
IG: benjaminrice1

Artist Statement: My goal is to present nature in a fashion that few have shown it before; to challenge the
conventional approach of exhibiting landscape photography. I’m employing massive physical scale combined
with the exquisite precision of close-up detail.

I’ve been a photographic artist for fewer than three-years; the time finally came to commit economic suicide by
discarding my previous profession and embracing the holy grail of becoming an artist.

On starting this new career, I wanted to explore the idea of nature managed; the fusion of nature with anonymous,
benevolent human intervention.

My initial project was to capture the marriage between nature and human endeavour, creating a series of
monumental (2.7m. wide) prints of weathering Dry Stone Walls; portraits of walls with character and personality.

Being inspired by Japanese art, my next work was Vertical Landscapes, a series challenging the western convention
that landscape imagery has to be presented in a horizontal format.

This led me to the Wild Cherry series, a year-long study of a single tree in a municipal park. Unlike the huddled trees
behind, this tree stood defiantly alone. It was a beacon of beauty in an otherwise rather ordinary urban
environment.

I was keen to explore the antithesis of Instagram by slowly and methodically combining multiple frames together to
form a single image, one where every detail of nature’s magnificence can be scrutinised. A place where viewers
can reach out and feel - maybe imagine the fragrance of - the fresh leaves or the damp stones?

Notes:

1
Artwork 1 Title: Matlock
Artwork 1 Dimensions: 64 x 235 x 2
Artwork 1 Medium: Pigment print photograph
Artwork 1 Commentary: One of a series of Vertical Landscapes, seeking to challenge the western convention that
landscape art must be presented in a horizonal form.

It was influenced by how the Japanese have traditionally presented their Kakemono - literally 'hanging thing' -
scrolls; and also by their illusion of flattening natural perspective.

In many areas - in sleek modern cities just as much as in barren mountainous locations - the environment is all
around us, It's not enough to simply peer from side to side; to fully appreciate it we have to look up and down too.
Artwork 1 Image:

2
3
Artwork 2 Title: Mellor 1
Artwork 2 Dimensions: 109 x 216 x 2
Artwork 2 Medium: Pigment print photograph
Artwork 2 Commentary: Thousands of years ago, farmers began clearing their land of unwanted stones to make way
for cultivation; they then used these same stones to erect boundaries without the need for mortar to bind them.

Since then nature has done its best to reclaim them, transforming the exposed surfaces so that in some cases, they
are barely recognisable as stones at all.

My interest lies in capturing images of the patina created by the action of weathering and the unhurried pace of
lichen, algae and other flora, gradually embroidering the surfaces, unveiling walls with real character and
personality.

Artwork 2 Image:

4
5
Artwork 3 Title: Mellor 2
Artwork 3 Dimensions: 109 x 216 x 2
Artwork 3 Medium: Pigment print photograph
Artwork 3 Commentary: Thousands of years ago, farmers began clearing their land of unwanted stones to make way
for cultivation; they then used these same stones to erect boundaries without the need for mortar to bind them.

Since then nature has done its best to reclaim them, transforming the exposed surfaces so that in some cases, they
are barely recognisable as stones at all.

My interest lies in capturing images of the patina created by the action of weathering and the unhurried pace of
lichen, algae and other flora, gradually embroidering the surfaces, unveiling walls with real character and
personality.

Artwork 3 Image:

6
7
Artwork 4 Title: Wild Cherry - December
Artwork 4 Dimensions: 109 x 216 x 2
Artwork 4 Medium: Pigment print photograph
Artwork 4 Commentary: I discovered this Wild Cherry tree in a municipal park not far from home; this is one image
from a year-long series of six.

It is shapely and beautiful, but not in the artificial, cosmetic manner of a catwalk model. Look closely and the
blemishes become apparent: the smooth trunk defaced by wart-like burls, the lower branches snapped off by
generations of children swinging from it.

It has personality, defiance above all. It stands proudly alone, unlike the huddled trees behind. In the early summer it
drapes itself in shades of green, vivid and bright at first, but darkening and maturing as the languid days of August
and September near.

And then, in the autumn, comes the grand finale - the cloaks of blazing reds, golds and burnt oranges, one
succeeding the other in rapid succession as if it is seeking to fend off the gathering melancholy of winter.

But it is during those lifeless, monochromatic days between December and March when it has shed its leaves and
there are few passers-by pausing to admire, that I find it most alluring. It is then that its true nature is exposed. The
outer form, the pleasing symmetry, remains, but now we see the complexity that it conceals… all those small inner
tumults which behind our calm facades afflict us all.

And how wonderful, to find this beguiling Wild Cherry not in some bucolic, rural beauty spot, or grand country
estate, but in a civic park accompanied by the 24-hour-a-day chorus of the suburban metropolis.
Artwork 4 Image:

8
9
Artwork 5 Title: Wild Cherry - September
Artwork 5 Dimensions: 109 x 216 x 2
Artwork 5 Medium: Pigment print photograph
Artwork 5 Commentary: I discovered this Wild Cherry tree in a municipal park not far from home; this is one image
from a year-long series of six.

It is shapely and beautiful, but not in the artificial, cosmetic manner of a catwalk model. Look closely and the
blemishes become apparent: the smooth trunk defaced by wart-like burls, the lower branches snapped off by
generations of children swinging from it.

It has personality, defiance above all. It stands proudly alone, unlike the huddled trees behind. In the early summer it
drapes itself in shades of green, vivid and bright at first, but darkening and maturing as the languid days of August
and September near.

And then, in the autumn, comes the grand finale - the cloaks of blazing reds, golds and burnt oranges, one
succeeding the other in rapid succession as if it is seeking to fend off the gathering melancholy of winter.

But it is during those lifeless, monochromatic days between December and March when it has shed its leaves and
there are few passers-by pausing to admire, that I find it most alluring. It is then that its true nature is exposed. The
outer form, the pleasing symmetry, remains, but now we see the complexity that it conceals… all those small inner
tumults which behind our calm facades afflict us all.

And how wonderful, to find this beguiling Wild Cherry not in some bucolic, rural beauty spot, or grand country
estate, but in a civic park accompanied by the 24-hour-a-day chorus of the suburban metropolis.
Artwork 5 Image:

10
11
Catalogue5 ID0022
Artist ID: 0022

Artist Name: John Williams


Website: www.johnwilliamssculpture.com
IG: https://www.instagram.com/jahw67/

Artist Statement: I am intrigued by the idea that we have a sense of self; a self based upon memories of the
experiences of life. Simultaneously and distinct from that, a self that is able to observe thoughts from a separate
objective perspective. Philosophically perception of pasts and futures exist cerebrally which is at odds with the
experience of a reality that dwells only in the present moment.
My intention is to create work that is a series of visual meditations. These take the form of mute fragments of the
physical body that activate the viewer to complete the image. Strict classical Greek depiction of the ideal figure
together with visual references to fossils, are competing aesthetics which fascinate me. I interpret fossils as ancient
statements or documents of a then present moment, frozen in time; perfect geometric forms emerging from
amorphous rock, rich in metaphor. Broken and clean white surfaces in my work refer to the fragmented remains of
marble classical and neoclassical sculpture.
In a world that is preoccupied with the human condition I make art that addresses the fundamental questions of
who we are and why we are here, exploring the foundation of human essence and spirituality.

Notes:

1
Artwork 1 Title: 'Internal Dialogue'
Artwork 1 Dimensions: 63 X 24 X 29 (with plinth)
Artwork 1 Medium: Jesmonite, steel and wood (oak). Also available in bronze.
Artwork 1 Commentary: A featureless, mute head; a universal person. Beneath a broken surface are revealed the
workings of a complex machine. Made from parts of time pieces from George Bissack who owned a jewellers shop in
Penarth, South Wales. He and his wife could not have children. They saved a large proportion of their earnings for
retirement. He died, intestate, from a sudden heart attack before spending any of what had become quite a large
sum of money.
We spend so much time reflecting on memories of the past or becoming anxious about imagined, projections of the
future. A perpetual internal dialogue preventing us dwelling in the present moment.

Artwork 1 Image:

2
3
Artwork 2 Title: 'Shell'
Artwork 2 Dimensions: 53 X 23 X 22
Artwork 2 Medium: Jesmonite and silver leaf. Also available in bronze.
Artwork 2 Commentary: Pain is the shell of our knowledge and understanding. Just as the stone of the fruit must
break for it’s heart to stand in the sun, so must we experience pain. Every cloud has a silver lining. Even the most
painful problems have gifts. Sometimes the gift can be perspective.
Artwork 2 Image:

4
Artwork 3 Title: 'Metamorphoman'
Artwork 3 Dimensions: 81 X 112 X 95 (excluding plinth)
Artwork 3 Medium: white marble resin. also available in bronze.
Artwork 3 Commentary: An invented term derived from the word ‘metamorphosis’.
Metamorphoman: a person who transforms his destiny through his own efforts. Pulling himself 'out of a hole'. This
piece was designed for a local comprehensive school.
Artwork 3 Image:

5
Artwork 4 Title: 'Many Hands'
Artwork 4 Dimensions: 100X60X60
Artwork 4 Medium: white marble resin
Artwork 4 Commentary: This photo is Image 5 on my original submission. Title, Commentary, Dimensions & Medium
already uploaded and paid for.
(sorry if I had realised it would be so burdensome - I would have foregone feedback)

Artwork 4 Image:

6
Artwork 5 Title: 'Retired Steel Worker'
Artwork 5 Dimensions: 0
Artwork 5 Medium: 0
Artwork 5 Commentary: This photo is Image 4 on my original submission. Title, Commentary, Dimensions & Medium
already uploaded and paid for.

Artwork 5 Image:

7
Catalogue5 ID0023
Artist ID: 0023

Artist Name: Ingrid Dorner


Website: www.ingrid-dorner.art
IG: ingriddornerphoto

Artist Statement: INGRID DORNER


15.05.1980
Born in Brioude (France)
EXHIBITIONS AND PROMOTIONS
- Exhibition „Viceversa“ - Galerie Steiner - Wien (Österreich) - May/June 2018
- Promoten by Alexander Tutsek‚ fondation in Munich for the project „Ferdinand1777„ - July 2018
- Exhibition "Arbeit" - Atelier von Schwabing - Munich - Oktober 2018
- Exhibition “ZUSAMMEN― - Galerie Kösk - Munich- 17 to 27 January 2019
FORMATION
- Study in old process photography in Paris with Sabrina Biancuzzi, Master photographer.
- Old process photography: Cyanotypie, Vandyke, Platin-Palladium / 2016 in Paris
- La croise̕e des arts: Analog and digital Photograph / Collages and superposition / 2017 in Paris
- Ne̕gatif papier: Film with Papier / 2018 in Paris.

Notes:

1
Artwork 1 Title: Ferdinand1777-1
Artwork 1 Dimensions: 120cmx120cm
Artwork 1 Medium: ANALOG PHOTOGRAPHY ON ART300 PAPER AND FILM PROCESSING IN THE DARKROOM GLUED
ON TO ALUDIBOND 120X120
Artwork 1 Commentary: A large, mysterious image arises from a small medium format negative film and a simple
piece of grey, creased plastic. It is comparable to life, where a formless foetus grows into a human, both complex
and imperfect but also fascinating.
Artwork 1 Image:

2
Artwork 2 Title: Ferdinand1777-2
Artwork 2 Dimensions: 120cmx120cm
Artwork 2 Medium: ANALOG PHOTOGRAPHY ON ART300 PAPER AND FILM PROCESSING IN THE DARKROOM GLUED
ON TO ALUDIBOND 120X120
Artwork 2 Commentary: Through scratching and burning the negative film and covering it again for the creation of a
new image, it is distanced from the original likeness and its conception in order to find the past once again....
Artwork 2 Image:

3
Artwork 3 Title: Ferdinand1777-4
Artwork 3 Dimensions: 120cmx120cm
Artwork 3 Medium: ANALOG PHOTOGRAPHY ON ART300 PAPER AND FILM PROCESSING IN THE DARKROOM GLUED
ON TO ALUDIBOND 120X120
Artwork 3 Commentary: Scratching and burning reveal how life chokes us, painting and covering reveals how life
equips us, transforms us, spurs our development....
Artwork 3 Image:

4
Artwork 4 Title: Ferdinand1777-3
Artwork 4 Dimensions: 120cmx120cm
Artwork 4 Medium: ANALOG PHOTOGRAPHY ON ART300 PAPER AND FILM PROCESSING IN THE DARKROOM GLUED
ON TO ALUDIBOND 120X120
Artwork 4 Commentary: Anonymous people or ancestors with blurred faces or faces that have simply been forgotten
over time. The outstretched hand symbolizes the hand of continuity, the hand of our ancestors that brings us to our
senses and teaches us these words and this suffering that is our companion...
Artwork 4 Image:

5
Artwork 5 Title: Ferdinand1777-5
Artwork 5 Dimensions: 120cmx120cm
Artwork 5 Medium: ANALOG PHOTOGRAPHY ON ART300 PAPER AND FILM PROCESSING IN THE DARKROOM GLUED
ON TO ALUDIBOND 120X120
Artwork 5 Commentary: The ghostly leg is theirs and ours, it helps us to overcome our present challenges and is
strengthened by past experiences...The lines and scratches represent the veins where ancient blood flowed, that will
be carried into the future through triumphs and failures
Artwork 5 Image:

6
Catalogue5 ID0026
Artist ID: 0026

Artist Name: Alessandra Bettolo


Website: www.krop.com/alessandrabettolo
IG: www.instagram.com/alessandrabettolo

Artist Statement: The intention of my work is to portray the under represented people to challenge discrimination
and stereotypes in contemporary society. I subvert the image of people of African descent, too often represented in
museum as slaves, maids, servants or concubines, with the purpose of opening a dialogue and to claim their place as
protagonists in the western history of portraiture. Having lived in Milan, Johannesburg, New York, Kuala Lumpur and
London, I consider myself a local in each city. My work deals with the social issues I encountered in my nomadic
lifestyle across four continents and is a synergy between my life as a woman, mother, wife, architect and artist. I
paint what is related to me.
My projects always begin with a concept carefully thought through with regards to narrative and philosophical
intention. The compositions are balanced with the use of geometry, shapes, figures and symbolism to become a
projection of what I want to achieve. What may seem to be spontaneous has gone through a deep process of
consideration, drawing upon the analytical skills I use in architecture. In my most recent paintings bold shapes and
strong colours, the chief elements at the core of design, combine with the figurative concerns.
My thematic intentions are underscored by the use of a reduced palette of monochrome for the figures’
complexion, a choice made to remove the most discriminatory element used for categorization and the division of
people. I aspire to paint portraits without social boundaries or geographic borders.

Notes:

1
Artwork 1 Title: We should all be feminists
Artwork 1 Dimensions: 150x120x2
Artwork 1 Medium: oil and acrylic on canvas
Artwork 1 Commentary: 'We should all be feminists' is a painting against pre-determined gender role in classical
portrait of couples, where the woman sits and the man stands with a protective attitude. It is inspired by a small
book by Chimamanda Ngozi Adichie 'We should all be feminists'. I placed the couple, my kids, inside the book cover,
swapping the traditional position of the two figures whose aim is equality, now. The reduced palette of monochrome
for the figures' complexion means that the portrayed couple might be any couple and the choice of having them
barefoot is because they are not linked to any particular place or culture. The geometric construction of the painting
is a point-up triangle, a structure I took from the classic painting tradition of the Renaissance for a sense of
perspective and symbolic meaning.
Artwork 1 Image:

2
3
Artwork 2 Title: Chain-saw
Artwork 2 Dimensions: 150x120x2
Artwork 2 Medium: oil and acrylic on canvas
Artwork 2 Commentary: In the painting 'Chain-saw' I used my self-portrait to subvert the image of women still seen
as fragile and less than men. The silk kimono is femininity and timeless elegance, the chainsaw is hard work, the two
extreme roles, with all the others in between, I'm expected to perform as a woman. The two abstract, elongated,
organic shapes hanging from the top are borrowed from the Italian artist Alberto Burri. They are dark like the rest of
the background but textured: heaviness and beauty like our breast. I portrayed myself from the back, because I can
be any woman. The pyramidal shape of the compositions is found in the Italian Renaissance tradition of the Sacred
Art of the Madonna, here it is flipped, pointing down, meaning something terrestrial, heavy to keep balanced. The
horizontal bright orange band defines a plane to balance the darkness.
Artwork 2 Image:

4
5
Artwork 3 Title: Le smoking
Artwork 3 Dimensions: 130x99x5
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: Le smoking is a portrait commission painting where I used elements like the pose of the
body, symbolism, the geometric simplification of compositions and volumes to work against stereotypes linked to
pre-determined gender role and exoticism. I tried to decolonize the image of women of African descent too often
represented in museum as slaves, maids, servants or concubines. The reclining pose used in the western portrait
tradition to capture the whole beauty of the body, too often ends up in its objectification, highlighting sensuality and
suggesting the idea of pleasure. In my painting the reclining/seated pose has a completely different connotation: the
subject is defying the glance of the viewer looking straight in front of her, showing confidence and her proud
attitude. ‘Le smoking’ shows a woman of the 21st century, a professional from Paris, proud of her African
descent, confident, with a strong personality, a protagonist.

Artwork 3 Image:

6
7
Artwork 4 Title: Totemic selfportrait
Artwork 4 Dimensions: 180x100x2
Artwork 4 Medium: 0
Artwork 4 Commentary: 'Totemic self portrait' is my self-portrait in the form of a totemic figure showing and sharing
emotional connections and facts of my life. A story telling made with symbolic elements of popular culture,
mysticism and mythology.
I wanted to portray the complexity of my own persona and my emotions: I am a woman, I am a mother, I am a wife, I
am an architect, I am an artist. I also lived and worked in Europe, Africa, America and Asia: all places that are
uniquely part of me; places that shaped my way of thinking, living and seeing things.
The figure is in real-life size to resemble myself in my own dimensions too. It is a surreal being with a modernist twist
due to the colours, the modules, the shapes and the construction. My painting helps me to tell my story. A door
opening to something otherwise secluded.

Artwork 4 Image:

8
9
Artwork 5 Title: Wild souls
Artwork 5 Dimensions: 35x50
Artwork 5 Medium: dry point etching with hand sewn red thread stitches sentence on Fabriano paper
Artwork 5 Commentary: 'Wild souls' is a dry point etching with hand sewn red thread stitches sentence on Fabriano
paper.
It is a work against pre-determined gender role in classical portrait painting of couples where the man is represented
strong and powerful and the woman delicate and submissive. In this etching I borrowed two animal heads from my
dad’s taxidermy collection, the lion and the grant gazelle, to place them on human bodies sitting on the sofa. The
image contradicts the usual, stereotyped idea of gender characteristics. The red stitch sentence ‘find my soul and
I’m yours forever’ is what the two souls say to each other to find themselves on an equal level of passion,
knowledge and love.

Artwork 5 Image:

10
11
Catalogue5 ID0029
Artist ID: 0029

Artist Name: Barbara Gittings


Website: www.barbaragittingsceramics.com
IG: @barbaragittings

Artist Statement: /Users/Barbara/Desktop/Barbara Gittings Ceramics.docx

Notes:

1
Artwork 1 Title: BG500 Pod#16
Artwork 1 Dimensions: H20cmxW47cmxD22cm
Artwork 1 Medium: Ceramic
Artwork 1 Commentary: Nerikomi paperclay Porcelain, smokefired

Artwork 1 Image:

2
Artwork 2 Title: BG434 Pod#2
Artwork 2 Dimensions: H20cmxW21.5cmxD24cm
Artwork 2 Medium: Ceramic
Artwork 2 Commentary: Nerikomi Porcelain with Bronze Kintsugi, smokefired
Artwork 2 Image:

3
Artwork 3 Title: BG448 Pod#10
Artwork 3 Dimensions: H15cmxW25cmxD20cm
Artwork 3 Medium: Ceramic
Artwork 3 Commentary: Nerikomi Porcelain, smokefired
Artwork 3 Image:

4
Artwork 4 Title: BG487 Bowl#7
Artwork 4 Dimensions: H14cmxW14cmxD16cm
Artwork 4 Medium: Ceramic
Artwork 4 Commentary: Nerikomi Porcelain, smokefired
Artwork 4 Image:

5
Artwork 5 Title: BG490 Bowl#10
Artwork 5 Dimensions: H14cmxW14cmxD16cm
Artwork 5 Medium: Ceramic
Artwork 5 Commentary: Nerikomi Porcelain, smokefired
Artwork 5 Image:

6
Catalogue5 ID0030
Artist ID: 0030

Artist Name: Rachel Plytas


Website: www.theconsciousmindcollection.com
IG: theconsciousmindcollection

Artist Statement: I started The Conscious Mind Collection in 2009. I wanted to record and explore the unconscious
through painting (capturing the image from within without) and then reflection (examining emerging images and
symbols with the intention of bringing conscious awareness and understanding to them). The Collection stands
today at 72 paintings over 7 series, plus the early work.
What started out primarily as a psychological experiment has evolved very much into a spiritual journey. Each
painting has held great value to my own personal process of growth, healing and evolution. I combine different types
of meditation with a lot of post-painting research in order to gain understanding and to enhance insight.
I feel that I stand between two worlds in my work as an artist and in my quest for inner knowledge. I could not do
one without the other and I believe that, combined, the work has gifted me an Aladdin’s cave of delight and
discovery.

Notes:

1
Artwork 1 Title: The River Flows Backward
Artwork 1 Dimensions: 51.5x61x2
Artwork 1 Medium: Acrylic paint
Artwork 1 Commentary: Completed on 31 December 2017, The River Flows Backward was the 4th painting in The
Mountain Peak Series and the 64th in The Conscious Mind Collection.
It reflects the stage of the 'reverse cycle' in Daoist alchemy, and the journey back up the mountain to the Peak.
Artwork 1 Image:

2
Artwork 2 Title: Di Pagi Hari (In the Morning)
Artwork 2 Dimensions: 45x35x2
Artwork 2 Medium: Acrylic paint
Artwork 2 Commentary: Completed in July 2017, Di Pagi Hari is the 3rd painting in The Hidden Light Series and the
58th in The Conscious Mind Collection.
It reflects the process of spiritual cleansing and the clearing of accumulated negative life energy.
Artwork 2 Image:

3
Artwork 3 Title: The Hidden Light
Artwork 3 Dimensions: 62X51X2
Artwork 3 Medium: Acrylic paint
Artwork 3 Commentary: Completed in September 2017, The Hidden Light is the 5th and final painting in The Hidden
Light Series and the 60th in The Conscious Mind Collection.
It brings together the different elements of self to find the light within and the 'return' to spiritual self.
Artwork 3 Image:

4
Artwork 4 Title: Pasar Malam (The Night Market)
Artwork 4 Dimensions: 36x45x2
Artwork 4 Medium: Acrylic paint
Artwork 4 Commentary: Completed in June 2017, Pasar Malam was the first painting in The Hidden Light Series and
the 56th in The Conscious Mind Collection.
The Series was created from the need to find light hidden in the darkness following the Manchester Arena and
London terror attacks and a head injury that I incurred on the same day as the Manchester attack.
Pasar Malam took me back to the night markets of Malaysia. Memories of colour, magical lights and connection
combined with the simplicity of ordinary life to help restore an internal balance in a time of darkness.
Artwork 4 Image:

5
Artwork 5 Title: Time to Sleep
Artwork 5 Dimensions: 46x56x2
Artwork 5 Medium: Acrylic paints
Artwork 5 Commentary: Time to Sleep is the 4th painting in The Hidden Light Series and painting number 59 in the
Conscious Mind Collection.
It depicts a deepened awareness of the separate states of conscious/unconscious and the role of childhood
experiences and learnings in the greater spiritual re-connection of the individual being.
Artwork 5 Image:

6
Catalogue5 ID0031
Artist ID: 0031

Artist Name: Nina Mankin


Website: www.ninamankin.tumblr.com
IG: ninamankin

Artist Statement:
Nina Mankin’s work explores a forgotten and clandestine world of dreams, memories and stories.

Inhabited by a silent discourse & internal language of unseen protagonists, misfits & outsiders of society, she
examines themes of identity, gender role play, female sexuality, and childhood.
Drawing upon the wide resource of old fairy tales, psychology & dreams, she explores these elements within a
modern context.

Collecting symbolic and found objects is at the core of her work. Fascinated by the mystery of these displaced
objects, they become catalysts to unfolding narratives.
Her use of objects & images often take on fetishistic qualities, relating to the poetry how objects ‘speak’ to
one another & their tactile, sensory & psychological nature.
Her choice of materials, (essentially found and discarded), is a direct response to the throwaway society that we live
in. The attempt to salvage what has been abandoned and labelled as useless, becomes renewed in a search for
beauty and deeper meaning.

There is a sense of familiarity & childlike quality to her work, but beneath the surface lies a conflicting adult world of
fear, loss, unease, tension & sexually charged desire.

Nina’s conceptions depict vignettes of the past & visions of dystopian futures.
At times they present beautiful, sensory, hypnagogic, opium fuelled imaginings, while others reveal macabre,
perverse & often haunting realities.
Full of dark humour, they contain subtle sardonic & feminist overtones.

Ultimately Nina’s Sculptures are an attempt to uncover the lost parts of our psyche… Our secret shadow selves.

Notes:

1
Artwork 1 Title: ‘Lucile’s love and confusion of beautiful & strange perversions’
Artwork 1 Dimensions: 22cm x 15.5 (actual tin size) 140cm plinth
Artwork 1 Medium: Vintage tin, plinth, objects, drawing, fabric, glass, mirror, photographs, feathers, wire.
Artwork 1 Commentary: This is one of a series of 'Camera Illuminata' works. These small scale sculptures can only be
seen via small keyholes, which draw the viewer into fully realised miniature environments.

The works are experiential, and are for the most part to be interacted with, by one person at a time, creating an
intensely personal & private experience.

(Because the works are three dimensional & contained within a closed space full of mirrors, it's difficult to capture
the sense of space and infinite perspectives.
Therefore they are best seen as three dimensional objects, rather than via a photograph.

The image is a detail inside one of the peepholes.

Artwork 1 Image:

2
3
Artwork 2 Title: ‘Lucile’s love and confusion of beautiful & strange perversions’
Artwork 2 Dimensions: 22cm x 15.5 (actual tin size) 140cm plinth
Artwork 2 Medium: Vintage tin, plinth, objects, drawing, fabric, glass, mirror, photographs, feathers, wire.
Artwork 2 Commentary: More details from different viewing holes inside the sculpture
Artwork 2 Image:

4
Artwork 3 Title: Behind the mask of ‘Those Who Do Good’
Artwork 3 Dimensions: 48cm x 20 x 20
Artwork 3 Medium: Mixed media – cast iron, tin, glass, mirror, objects, photographs, toys, wood, metal, speaker
Artwork 3 Commentary:
This piece is about control, power and abuse, and the hidden hypocrisy that is so prevalent in society. What appears
to be one thing, in fact reveals a much darker and disturbing reality.

Artwork 3 Image:

5
Artwork 4 Title: 'Displaced'
Artwork 4 Dimensions: 30 x 30 x 1.5cm
Artwork 4 Medium: Digital print
Artwork 4 Commentary: The starting point for the initial collage, is collecting old glass slides, which are then lit and
photographed and manipulated, collage is then added and turned into a digital print.
The piece is about migration, and the search for a home. It’s a subtle hint at the issues of immigration and
homelessness, and being completely at odds with one’s environment.

Artwork 4 Image:

6
Artwork 5 Title: The Animal's Took to the streets
Artwork 5 Dimensions: 43 x 33 x 2.5cm
Artwork 5 Medium: Digital print & collage (on archival paper)
Artwork 5 Commentary: Inspired by a recent trio to Lisbon, this piece explores one of my lifelong continued
obsessions with old derelict buildings, and the desire to bring beauty to the otherwise left and abandoned.
The animals and flowers are in search of a new habitat, their homes have been destroyed… Nature is taking over
the streets!

Artwork 5 Image:

7
Catalogue5 ID0032
Artist ID: 0032

Artist Name: Ije (Amanda) Carr


Website: http://www.ije-art.com/
IG: https://www.instagram.com/ijeartist4764/

Artist Statement: Ije (pronounced Eee J) – A conceptual/expressionist mixed practice artist – painting, poetry,
installation, sculpture, printing, photography, film and curation. MA Fine Art Birmingham City University.

Undertaking durational activity in the landscape, I wonder about what went before me and what may lie ahead; I
wonder about the relationships between land, sky, water and inhabitants; I wonder about potentials, about change,
about impacts of voices on the wind or echoes of a footfall. My work seeks to reshape embodied notions, respond to
encounters with time, space and place through making and documenting; generating works activated through
gesture, texture, layering, repetition, colour and reflectivity.

My paintings can often be viewed in any orientation and are rhizomatically connected through conceptual series.
When painting I work predominantly in acrylics and oils with the addition of other materials such as yarn, beads,
textiles, swarf, wire and sparkly, reflective things to create tactile, highly textured and vibrant works. I also
experiment with sculpture and textiles; with Phoems – photographs of my activities interwoven with poetry; with
film and installations, using written and video documentation from my activities / making, as well as poems and
photographs.

Notes:

1
Artwork 1 Title: TRACING TIME LAYERING LANDSCAPE 24: EMBEDDED IN THE FLESH OF THE WORLD
Artwork 1 Dimensions: 204 x 123 x 4.5
Artwork 1 Medium: Acrylic, velvet, mirror bullet glass and swarf on linen. Black floater frame
Artwork 1 Commentary: Embedded in the flesh of the world / Where the surface is shallow yet accessing depth /
Through the spaces between the rhizome / Opening up the senses to the pleasure / How does it feel / To describe
the moment between occasions / Seeking to tear down the constructs of temporality / These occasions themselves
are as real as the singularities they connect (from poem by Ije 31.3.15 16:15 / 19.4.1505:51 / 25.11.18 21:34)
Artwork 1 Image:

2
Artwork 2 Title: THE STATE OF NATURE 7: LISTEN TO THE EARTH SPEAK, WHISPER, TREMOR, TRICKLE & LEAK
Artwork 2 Dimensions: 126 x 126 x 5
Artwork 2 Medium: Acrylic on canvas. white floater frame
Artwork 2 Commentary: I was thinking of tessellations, of gushing water, of folding time – space collapsing and
compressing; expanding and extending, of the mythologies to explain geological processes. The pulse and rhythm of
the earth being disrupted and the refrain inside my head, led to a poem by Lemn Sissay called Different Drums (circa
1988) whose words still have relevance today. “Don’t be misled / By the slow / Rhythms / The depths and
fathoms / The measure of sound / Keep your ears to the ground
Listen to the earth speak / Whisper, tremor, trickle and leak / Gush, flow, splatter and seep / To awake you from
your sleep / Your misleading / Breathing / Quoted you alive / But different drums know different / How long can you
hide from the truth / Don’t be misled / By the dead slow / Rhythms of time
This painting was the start of a more specific use of mark making, more minimal for me as regards layers and
quantity of paint, focus on the translucency/opacity, the optical qualities of the paint.

Artwork 2 Image:

3
4
Artwork 3 Title: PERDURANCE 15: I RANandRAN WITHOUT THINKING AND BECAME ABSORBED BY THE TREES
Artwork 3 Dimensions: 126 x 126 x 5
Artwork 3 Medium: Acrylic and swarf on canvas. Black floater frame
Artwork 3 Commentary: Thinking of my topographical encounters when out in the landscape, thinking of running by,
in, under, next to hedges and trees, through woods and forests; trees in all their stages, touching the bark, crunching
leaves, seeing them grow and unfurl before my eyes - they absorb from the atmosphere, from the earth; I absorb
their energy through our encounters, become absorbed by them.
Artwork 3 Image:

5
Artwork 4 Title: TOPOGRAPHICAL ENCOUNTERS 3: WINTER ON THE GREY CORRIES
Artwork 4 Dimensions: 96 x 96 x 5
Artwork 4 Medium: Acrylic, aluminium foil and metal tape on canvas. White floater frame
Artwork 4 Commentary: I love winter, especially in the mountains, camping and experiencing all the elements.
Memories of labouring, thinking, feeling – whole body engaged with and on the earth when climbing / hiking the
peaks and then imagining the freedom, the silence, soaring above. Above the grey corries of the Aenoch's of the
Cairngorms, of Scotland in the depths of winter; where the mist rolls over the peaks and lochs, the ice rimed and
shimmering, snow and shadows obscuring danger; the corries of silver, greys, blues and purples, refracting off the
sky, the rock, the heather in sharp relief from the white on white.
Artwork 4 Image:

6
Artwork 5 Title: ELEMENTS OF WINTER 8
Artwork 5 Dimensions: 131 x 162 x 6
Artwork 5 Medium: Acrylic, PVA and mica dust on canvas. Black floater frame
Artwork 5 Commentary: Lines of flight, soaring above, dipping into, emerging from.... Moving the paint to move the
eye, to fool the eye, the way elements of winter shape the earth, shape habitat and survival, shape form; shape my
form with repetition and difference. Territories, point de fuite, leakages, voids and milieus; slow rhythms, speeded
up, folded and expanded. Winter Water, mutable, full of potential; cleansing, blanketing, scouring, preserving;
vapour, liquid, solid; these spaces in between, worlds within worlds to be explored, to get lost and found, these
spaces I go when I’m journeying
Artwork 5 Image:

7
Catalogue5 ID0033
Artist ID: 0033

Artist Name: Anca Stefanescu


Website: www.ancastefanescu.com
IG: https://www.instagram.com/anca.f.stefanescu

Artist Statement: I was always searching for something... was it identity?... And it is not only my quest. The need for
belonging? We belong to a country, a culture, a family, a child… a man or a woman? We belong to a God…? To
somewhat or someone. Races, religions, countries and their boundaries. I don’t believe in boundaries, they are
only in our minds. I believe in people. In what connects us and puts us apart from each other. In what we learn from
each encounter, from each illusive separation… But always in searching for meeting the higher self, to be
yourself... and yet to discover and recognize you are one with all the others.
I’ve drawn and painted my whole life, it’s what kept me into alignment, dreaming or feeling… more into the
now.
I felt connected my entire life to the nature but also to the invisible world of our souls, that world where there is no
separation between life and us.
I believe love never ends because I believe in oneness. I feel a part of me breathing in every plant, animal or sound. I
sense the subtle energy of the water as if it is mine. I paint what I meet, what I feel, see, embrace and what I love.

Notes:

1
Artwork 1 Title: Inner Child
Artwork 1 Dimensions: 140x130x4
Artwork 1 Medium: Oil and Print on Canvas
Artwork 1 Commentary: InnerChild
Artwork 1 Image:

2
Artwork 2 Title: Innocent Voice
Artwork 2 Dimensions: 140x130x4
Artwork 2 Medium: Oil and Print on Canvas
Artwork 2 Commentary: Innocent Voice
Artwork 2 Image:

3
Artwork 3 Title: Lucid Dreaming
Artwork 3 Dimensions: 140x140x4
Artwork 3 Medium: Oil and Print on Canvas
Artwork 3 Commentary: Lucid Dreaming
Artwork 3 Image:

4
Artwork 4 Title: Patterns Of Perception
Artwork 4 Dimensions: 140x140x4
Artwork 4 Medium: Oil and Print on Canvas
Artwork 4 Commentary: Patterns Of Perception
Artwork 4 Image:

5
Artwork 5 Title: Another Portion Of Self
Artwork 5 Dimensions: 140x140x4
Artwork 5 Medium: Oil and Print on Canvas
Artwork 5 Commentary: Another Portion Of Self
Artwork 5 Image:

6
Catalogue5 ID0034
Artist ID: 0034

Artist Name: Kate Pellegrini


Website: www,katepellegrini.com
IG: pellegriniartworks

Artist Statement: My work is about perception: I believe we all have a natural bias towards peripheral or tunnel
vision, which informs how we see - philosophically, politically and psychologically. My works feature two distinct
elements: first there is underpainting which is loosely applied and gestural for mood, spontaneity, emotion and
intensity, and secondly, the text is superimposed which represents reason, giving structure to the composition, as a
code that conveys the meaning. Sometimes the writing gets absorbed into the background. Having both elements
gives many permutations for future work, varying in media depending on the individual piece. Art questions who we
are now; drawn writing places my view in this universal question.

I paint so I can experiment; oil or acrylic painting allows me to change my mind whilst writing the words, using my
own inexpert handwriting, so it becomes integral with the image. I experiment with various media of ink, acrylic & oil
paints, felt pens, scratching the letter forms into thick paint so they literally recede etc, and also with the layout and
shape of the letter forms themselves. Combining text and colour and varying texture on the surface gives me a huge
visual ‘vocabulary’ to create variations on a theme- a process I am finding endlessly exciting.

Notes:

1
Artwork 1 Title: Re-reading Philip Roth (The Human Chain)
Artwork 1 Dimensions: 100 x 70 x 4 cm
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: My series of paintings entitled ‘Re-reading Philip Roth (The Human Chain)’ are about
skin and inclusivity. The figures on the background are different skin colours and they are all holding hands like a
child’s daisy chain of Leonardo’s universal man. In this age of polarisation, I believe we would do well to
remember that we are in this world together and should celebrate what we have in common, be curious about our
differences and find ways to get along. It was a happy accident that after completing the piece, it seemed to
resemble a cave painting, with an ironic twist as this is the opposite of a prehistoric image: it is a ‘contemporary
cave painting’ featuring a written statement about the human condition, as it stands in 2018.
Artwork 1 Image:

2
3
Artwork 2 Title: Re-reading Philip Roth (The Human Chain II)
Artwork 2 Dimensions: 100 x 70 x 4
Artwork 2 Medium: Acrylic and house paint on canvas
Artwork 2 Commentary: My series of paintings entitled ‘Re-reading Philip Roth (The Human Chain)’ are about
skin and inclusivity. The figures on the background are different skin colours and they are all holding hands like a
child’s daisy chain of Leonardo’s universal man. In this age of polarisation, I believe we would do well to
remember that we are in this world together and should celebrate what we have in common, be curious about our
differences and find ways to get along. It was a happy accident that after completing the piece, it seemed to
resemble a cave painting, with an ironic twist as this is the opposite of a prehistoric image: it is a ‘contemporary
cave painting’ featuring a written statement about the human condition, as it stands in 2018.
Artwork 2 Image:

4
5
Artwork 3 Title: Re-reading Philip Roth (Web)
Artwork 3 Dimensions: 75 x 50 x 3
Artwork 3 Medium: Ink and acrylic on paper
Artwork 3 Commentary: A precursor to the Human Chain series, using the same text and skin colour palette.
Artwork 3 Image:

6
Artwork 4 Title: Re-reading Philip Roth (Black and White)
Artwork 4 Dimensions: 50 x 50 x 3
Artwork 4 Medium: Ink and felt pen on paper
Artwork 4 Commentary: A precursor to the Human Chain series, using the same text and skin colour palette.
Artwork 4 Image:

7
Artwork 5 Title: All I Know (Harbourside)
Artwork 5 Dimensions: 90 x 60 x 4
Artwork 5 Medium: Acrylic on paper on canvas
Artwork 5 Commentary: Incorporating the motif of a view of my native Sydney, with some of the same text as
featured in 'The Human Chain' series, superimposed in an attempt to connect me now to where I started.
Artwork 5 Image:

8
Catalogue5 ID0035
Artist ID: 0035

Artist Name: Kathrine Geoghegan


Website: www.kathrinegeoghegan.gallery
IG: Kathrine Geoghegan

Artist Statement: ARTISTS STATEMENT

I’m not that kind of a botanical artist that works to a strict scientific discipline. In my practice I describe the forms
and colours of native plants in order to convey a message. My aim is to capture the essence of these plants within
their natural habitat.

My current work concerns itself with the collapse of our bee populations.

Bees have sustained farming practices as far back as 4500 years, and are the most important pollinator of crops and
native plant species. Three-quarters of our wild plants rely on insects for pollination, and bees are most important.
Crops such as apples, tomatoes, strawberries and raspberries are reliant on them for pollination. Our bees are
among the most hardworking and undervalued contributors to agriculture.

Bees are extremely sensitive to pesticide use. They are also losing habitat. Through my work, I wish to draw
attention to this and help to encourage bee-friendly farming practices. We are fortunate in Ireland that many of our
farmers manage hedgerows and field borders well, leaving space for wild plants to thrive. Could farmers be
incentivised to leave larger bee-friendly areas? Landowners and householders in urban areas can also help by
leaving space for wild plants to flourish, and by planting flowers.

The success of our wild plants are an indication of the vibrancy of the bee populations. My paintings feature these
plants. Through the beauty of their form and colour, I wish to convey a sober message.

Notes:

1
Artwork 1 Title: Grand Canal Bank
Artwork 1 Dimensions: 90 X 140 X 0.3 cm
Artwork 1 Medium: Acrylic on aluminium
Artwork 1 Commentary: This painting was started after returning from a walk along the banks of the Grand Canal
near my home. It features Rosebay Willowherb, a vibrant showy vigorous wild flower that is of importance to
foraging bees in mid to late summer.
Using acrylic spray paint, the first part of my process involves using the organic material as a stencil, building up
layers of image and colour. I then draw into the piece with various tools, then scrape back, mark into again,
revealing details in the undergrowth. What you see in the paintings is a 'bees-eye' view of the world.
Artwork 1 Image:

2
Artwork 2 Title: Barley Field Bodenstown
Artwork 2 Dimensions: 50 X 50 X 0.3 cm
Artwork 2 Medium: Acrylic on aluminium
Artwork 2 Commentary: Ragwort, hated by farmers due to its toxicity to livestock, is an important plant for bees,
helping to sustain them throughout the summer and in to autumn. In its opportunistic fashion, I have described it
growing along the borders of a local barley field.
Artwork 2 Image:

3
Artwork 3 Title: Butterfly Nursery
Artwork 3 Dimensions: 50 X 50 X 0.3 cm
Artwork 3 Medium: Acrylic on aluminium
Artwork 3 Commentary: I have a wild garden behind my studio, and common nettles grow along the border. I
nurture them as they provide a breeding habitat for butterflies.
Artwork 3 Image:

4
Artwork 4 Title: Cottage Garden Cill Rialaig
Artwork 4 Dimensions: 60 X 60 X 0.3 cm
Artwork 4 Medium: Acrylic on aluminium
Artwork 4 Commentary: This was painted on a recent residency at the Cill Rialaig Artists' Retreat in Ballinskelligs, on
the south coast of Ireland. Staying in a pre-famine cottage/studio, the surrounding area had an abundance of Purple
Loosestrife growing in the damp ground. Another important plant for bees.
Artwork 4 Image:

5
Artwork 5 Title: Rosebay Willowherb
Artwork 5 Dimensions: 50 X 50 X 0.3 cm
Artwork 5 Medium: Acrylic on aluminium
Artwork 5 Commentary: Rosebay Willowherb, which grows at the side of motorways, along rivers and cropfield
borders is important for sustaining bees in the late summer. Its beautiful showy pink/purple flowers are a magnet
for foraging bees.
Artwork 5 Image:

6
Catalogue5 ID0036
Artist ID: 0036

Artist Name: Ty Stedman


Website: https://tystedman.com.au
IG: https://instagram.com/tystedmanphoto

Artist Statement: Photography is my means of expression and communication — an opportunity to see the world
that is unique from the common view. It has become a constant motivation to explore new horizons. Whether it is
from the elevation of a plane, or the addition of time via a long exposure, the beauty of this planet is all around us,
we just need to take the time to pause, to feel — and completely experience.

I am inspired by our natural environment and the opportunities it affords us. A place of connection, escape, solitude,
replenishment, inspiration, awe and origin. My current aerial work concentrates on the natural and altered
landscapes of regional Australia and remote parts of the world. I focus on abstract forms, colour, and texture to
communicate the beauty and detail that escapes the conventional view.

I am influenced by minimalist expressions of the world, the addition of less to express more. It is an influence in both
my monochrome and aerial work. Combing for graphical and geometric forms, seeking order and peace amongst the
chaos.

In a world of constant distraction and destruction, I am guided by, and aspire to every photographer that presents
our natural world as a place of indescribable beauty and unrivalled wonder. Photographers, that if only for a
moment, get a global audience to pause, reflect and make the natural world the forefront of our collective
consciousness.

Notes:

1
Artwork 1 Title: Sheet Music
Artwork 1 Dimensions: 106 x 76 x 2.5cm
Artwork 1 Medium: Archival Pigment Print on Diasec
Artwork 1 Commentary: Part of the 'Ordered Abstraction' series that explores the human impact on both natural and
manufactured landscapes through mining and aquaculture.

Each location evokes unique forms of unintentional order via a landscape exhibiting graphical elements through the
geometry, shapes and lines present.

Order coincides with an element of abstraction, requiring an increased level of engagement from the viewer to elicit
the image's narrative.
Artwork 1 Image:

2
3
Artwork 2 Title: Stitching Fillets
Artwork 2 Dimensions: 106 x 76 x 2.5cm
Artwork 2 Medium: Archival Pigment Print on Diasec
Artwork 2 Commentary: I am always searching for some sort of order between the natural and manmade
environments, and believe this image expresses that.

The image has inspired a number of interpretations from viewers. These include UFOs, ECG sensor pads or Buttons
stitched to the water’s surface.

Shot in the afternoon, the fading light coupled with the deep blue of the Southern Ocean, accentuated the contrast
of the sea with the colour and tone of the fish pens.
Artwork 2 Image:

4
5
Artwork 3 Title: Palsaert's Pool
Artwork 3 Dimensions: 95 x 76 x 2.5cm
Artwork 3 Medium: Archival Pigment Print on Diasec
Artwork 3 Commentary: An isolated section of the unique Houtman Abrolhos reef and island system off Australia's
midwest coast.

Each chain of islands within the system feature distinct characteristics that can only be appreciated from altitude.

Captured from the open door of a Cessna 172 aircraft.


Artwork 3 Image:

6
Artwork 4 Title: Kanji no shio
Artwork 4 Dimensions: 95 x 76 x 2.5cm
Artwork 4 Medium: Archival Pigment Print on Diasec
Artwork 4 Commentary: Part of the 'Ordered Abstraction' series that explores the human impact on both natural and
manufactured landscapes through mining and aquaculture.

Each location evokes unique forms of unintentional order via a landscape exhibiting graphical elements through the
geometry, shapes and lines present.

Order coincides with an element of abstraction, requiring an increased level of engagement from the viewer to elicit
the image's narrative.
Artwork 4 Image:

7
8
Artwork 5 Title: Treble Clef
Artwork 5 Dimensions: 106 x 76 x 2.5cm
Artwork 5 Medium: Archival Pigment Print on Diasec
Artwork 5 Commentary: I am intrigued by the impact that humans have on the landscape. Some of it harmful, some
harmless. I find this interaction at the vantage point of a plane or helicopter even more fascinating.

From altitude, there is little distinguishing us from the insect world that we tower above on a daily basis.

This image is from a series that was shot from a helicopter over New Zealand's ski fields in 2017. I enjoy the
figurative elements, the shapes and balance of the image, and the way that humans are controlled and corralled into
position as they await their turn to cycle through the system once again.
Artwork 5 Image:

9
10
Catalogue5 ID0037
Artist ID: 0037

Artist Name: Graeme Duddridge


Website: www.graemeduddridgeartist.com
IG: @graemeduddridge

Artist Statement: I make figurative paintings that explore the traditions of representation in painting. I am fascinated
by the collision of naturalistic representation and flat bold pattern in my recent paintings , where the figure becomes
subsumed in flat graphic masses like a dazzle ship
My personal work is identifiably and intentionally queer. I use myself as a model and a point of access to explore the
chimeric nature of identity; plundering costume and design history to try on new selves. In these multiple roles I can
dramatise wider social and cultural anxieties through my own fractured portrayal. In assuming disguises we can
often come close to the truth, as evidenced by the jesters, theatre archetypes and heroes of legends that we have
always needed as humans. Formally I am continuing to develop my language promiscuously in preference to settling
on a "Style", as the way each painting is made refers to the intended content and it is this content that provides the
defining signature and allows me to continue to develop and shift.

Notes:

1
Artwork 1 Title: What's Up Doc?
Artwork 1 Dimensions: 86x86x5
Artwork 1 Medium: oil on board, wood, poured acrylic frame
Artwork 1 Commentary: A self portrait of compulsion, self medication and the frenetic false happiness of the cartoon
character. Formally I chose to use aggressive colour and pattern .
Artwork 1 Image:

2
Artwork 2 Title: Lily Fester
Artwork 2 Dimensions: 60x50x4
Artwork 2 Medium: oil on panel
Artwork 2 Commentary: The title is taken from a Shakespeare sonnet on the nature of beauty and goodness. This
self portrait of a vicious drag persona with a faded lily and an Andy Warhol wig against a lurid contemporary floral is
about deceit, desire and the ageing process.
Artwork 2 Image:

3
Artwork 3 Title: Minnie Me
Artwork 3 Dimensions: 60x50x4
Artwork 3 Medium: oil on panel
Artwork 3 Commentary: A self portrait as the happy consumer . An amalgam of Minnie Mouse, Dennis the Menace,
Freddie Kruger and Ronald McDonald painted in the colours of totalitarianism. Formally I love spots and stripes so
this was an opportunity to play with those
Artwork 3 Image:

4
Artwork 4 Title: Outfit Model's Own
Artwork 4 Dimensions: 86 x 76 x 5
Artwork 4 Medium: oil on canvas board, resin and poured acrylic frame
Artwork 4 Commentary: A dissertation on good and bad taste, revealing and concealing, reality and expectation. The
self portrait figure could pass as conventional and conservative with his mac closed. The aggressively patterned shirt
and tie tell another story. This led to the idea of the flasher revealing something shocking about themselves . The
disarded style magazine, Diet Coke can and cigarette butt point to the false promises of advertising, compulsion and
the need to conform. The colours of the shirt haemorrhage out of the banal faux baroque of the frame.
Artwork 4 Image:

5
Artwork 5 Title: A Passing Show
Artwork 5 Dimensions: 120x 90
Artwork 5 Medium: oil on canvas
Artwork 5 Commentary: Self portrait in a black suit which will form the basis of a new series of works as this
character. The cigarette advertising is a real brand and points to the meaning of the piece. All three characters are
dressed in suits and the brightest colour in the picture is reserved for the dummies mouth.
Artwork 5 Image:

6
Catalogue5 ID0038
Artist ID: 0038

Artist Name: Paul Kennedy


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

Artist Statement: The idea that bigger concepts could be explained through numbers intrigued me. Inspired and
envious of the genius minds of mathematicians, I wondered if assigning colours to numbers might allow me to see
mathematical patterns while also appreciating the randomness.

Motivated by my initial inspiration, I focused on the first 100 digits of pi and chose colours to represent 0 through 9,
assigning 10 common colors. I wanted blue to appear most often so selected it to represent 9, which appears 13
times in the first 100 digits of pi. Red, green and yellow would each appear 12 times and represent 2, 3 and 8
respectively. 4 is deputised by orange 10 times, and purple steps in for 6 on 9 occasions. 0, 1, 5 and 7 each arise 8
times and are fronted by white, grey, pink and black. 10 digits, 10 colours.

Brush in hand, Pi was born as a 10 x 10 grid, painted in heavy body acrylic on canvas and entitled Original Pi. Other
pieces emanated in succession. Changes to shapes and shades. Plays on words and phrases. Themes for images. But
one constant would remain:

3.14159265358979323846264338327950288419716939937510582097494459230781640628620899862803482534
2117067∞

Notes:

1
Artwork 1 Title: Original Pi
Artwork 1 Dimensions: 60 x 45 x 2
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: This was the first painting of the Pi series. My vision was clear that this piece would be on a
rectangular canvas rather than a square. From a blank canvas to the finished piece, I enjoyed the process. Measuring
and accurately drawing the grid, double and triple checking the order and marking the colors. Painting the first coat
and then a second coat of heavy body acrylic and reviewing until it looked crisp and clean. Pleased with the finished
product and patterns that arose when colors replaced numbers, I wondered if changing the shapes would allow
different patterns to emerge, producing a slight variation to the visual while maintaining a consistent conceptual
basis.
Artwork 1 Image:

2
3
Artwork 2 Title: PiAngles
Artwork 2 Dimensions: 60 x 45 x 2
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: In the second piece I wanted to explore dividing the canvas into 100 triangles. I found the
triangles and consequent larger triangles and diamonds that formed to be oddly satisfying. Same 100 cells, same 10
rows, same 10 colors as Original Pi but with a very different visual outcome. I began playing around with the title,
looking for a pun or rhyme to incorporate Pi, and PiAngles was born. Thus began my creative endeavor to entitle
each piece with a unique twist or pun.
Artwork 2 Image:

4
Artwork 3 Title: SPider's Web
Artwork 3 Dimensions: 50 x 50 x 2
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: Following PiAngles, I was compelled to consider other shapes. I felt a decagon would offer
perfect symmetry starting from the center of the canvas. The first two pieces in the series start with 3.14159653
from the top left of the canvas, reading left to right, from top to bottom. On this piece, I sought to start the number
sequence in the center of the painting and build out. The spider’s web effect revealed itself through this process
and thus became the ideal name for the third painting.
Artwork 3 Image:

5
Artwork 4 Title: PiFocal
Artwork 4 Dimensions: 71 x 55 x 2
Artwork 4 Medium: Acrylic on Canvas
Artwork 4 Commentary: For the first time with this piece, the title came before the painting. As part of my creative
process, I began looking for conceptual inspiration by playing with words in which pi-sounding syllables could be
replaced with pi. Ironically, I have poor eyesight and can imagine bifocals will play a part in my future. I sought to
create a painting that was both in and out of focus, depending on where one looks; a blurred outside becoming
crisp. This piece is the only one in the series where brush strokes are visible, a significant shift from my desire to
create images my desire to create images with sharp geometrical edges.
Artwork 4 Image:

6
Artwork 5 Title: The Speed of Pi
Artwork 5 Dimensions: 60 x 60 x 2
Artwork 5 Medium: Acrylic on Canvas
Artwork 5 Commentary: Rays of light start in the middle of the canvas and become wider to provide visual depth.
100 lines merge into the center point, which is in contrast to the other paintings made up of rows and columns of
color. For this reason, the patterns aren’t as clear but the artwork begins the same before finding its own visual
path. This piece is usually a favorite among friends.
Artwork 5 Image:

7
Catalogue5 ID0039
Artist ID: 0039

Artist Name: E. Erna Ucar


Website: https://www.saatchiart.com/ernaucar
IG: https://www.instagram.com/ernaucar

Artist Statement: E. Erna Ucar


I was born in Ankara on 1979; graduated from Graphic Design School in Fine Arts Faculty in Hacettepe University in
2001. I lived in Moscow between 2004-2014 when i was deeply interested in Russian Fine Arts and Exlibris. I have a
wide range of exlibris collection. Less

Education:
Graphic Design School in Fine Arts Faculty in Hacettepe University . Ankara

Notes:

1
Artwork 1 Title: chemistry no:21
Artwork 1 Dimensions: 77X53X0,1
Artwork 1 Medium: ink on paper
Artwork 1 Commentary: "Chemistry No:21"
Ink pen ( 0.1 mm) drawing and acrylic ink painting on 683 gr Strathmore paper / 77 x 53cm

The Chemistry Series is about evolution, universe, life, genesis, biochemistry. It is to question our talents, as the
result of tiny errors that DNA is exposed to, since the beginning of life, during the history of evolution.

These talents segmented us into; strong-weak, hunt-hunter, flying-falling categories, and each has its own defensive
ability, roles.

The sky, the earth, the deep waters and even the eternal depths of space; the answer to the question "where?" will
always reverse theese roles.

In The Chemistry Series, i dreamed the oceans in the sky..


I dreamed ones flying in the ocean; ones diving in the sky, ones hunting in darkness, and clouds in the seas...
Artwork 1 Image:

2
3
Artwork 2 Title: chemistry no:10
Artwork 2 Dimensions: 53X77X0,1
Artwork 2 Medium: ink on paper
Artwork 2 Commentary: "Chemistry No:10"
Ink pen ( 0.05 mm) drawing and acrylic ink painting on 640 gr Canson Moulin du Roy paper / 53 x 77 cm

The Chemistry Series is about evolution, universe, life, genesis, biochemistry. It is to question our talents, as the
result of tiny errors that DNA is exposed to, since the beginning of life, during the history of evolution.

These talents segmented us into; strong-weak, hunt-hunter, flying-falling categories, and each has its own defensive
ability, roles.

The sky, the earth, the deep waters and even the eternal depths of space; the answer to the question "where?" will
always reverse theese roles.

In The Chemistry Series, i dreamed the oceans in the sky..


I dreamed ones flying in the ocean; ones diving in the sky, ones hunting in darkness, and clouds in the seas...
Artwork 2 Image:

4
5
Artwork 3 Title: layers no:2
Artwork 3 Dimensions: 77X53X0,1
Artwork 3 Medium: ink on paper
Artwork 3 Commentary: Layers No:2

53x77cm , ink drawing and acrylic ink painting on 680 gr Strathmore watercolor paper
Artwork 3 Image:

6
Artwork 4 Title: The Gardens Of Splendor No:1
Artwork 4 Dimensions: 77X53X0,1
Artwork 4 Medium: ink on paper
Artwork 4 Commentary: Drawing: Ink on Paper.

The Gardens Of Splendor No:1 / 0,1 mm ink drawing on 300 gr paper / 53x76 cm
Artwork 4 Image:

7
Artwork 5 Title: tales withour stories no:2
Artwork 5 Dimensions: 70x50
Artwork 5 Medium: ink on paperink on paper
Artwork 5 Commentary: Drawing: Ink on Paper.

Tales Without Stories No:2 / 0.2 mm ink pen on paper / 50 x 70 cm


Artwork 5 Image:

8
Catalogue5 ID0041
Artist ID: 0041

Artist Name: Samantha Tuffnell


Website: samantha tuffnell.com
IG: Samantha Tuffnell Artist

Artist Statement: Art has been an intrinsic part of my life since I can remember. It has ebbed and flowed over time
but has recently flowed more as I’ve had the time and energy to devote to that path.

Over the last 2 years I’ve enjoyed experimenting with new media, such as acrylics, watercolour but especially ink
and bleach, which I find fascinating and magical in the way it develops right in front of you!

Non-archival inks have to be used, but standard house-hold bleach works fine. Mixing the strength of the bleach
with water gives more subtle effects. Using different brushes or sticks produces different and interesting marks.

I particularly enjoy painting sea themes as they seem to suit this type of watery, flowing medium well. I have painted
Eastbourne Pier in this medium, the pebbles on the beach and various Sussex seascapes and landscapes.

Occasionally I include fine liner to add more detail. I plan to experiment with collage as well, maybe some gold leaf
too… I particularly like using hand-made paper, as it holds the density of the inks so well.

Notes:

1
Artwork 1 Title: Love of the Sea
Artwork 1 Dimensions: 29.7 x 42cm
Artwork 1 Medium: Ink & Bleach
Artwork 1 Commentary: This is one of a series of 7 commissions illustrating a poem called 'The Love of the Sea' by a
local poet Diny van Kleeff. This particular scene illustrates the possessive love of a sea god, Pontus '...Tsunami of lust,
a relentless net...'. Working in my favourite medium of ink & bleach, I even used sea salt to help create the white
horses and texture of crashing waves on the beach. Another part of the brief was to incorporate landmarks from the
East Sussex coast.
Artwork 1 Image:

2
Artwork 2 Title: Crime of Passion
Artwork 2 Dimensions: 29.7 x 42cm
Artwork 2 Medium: Ink & Bleach
Artwork 2 Commentary: Another verse from 'The Love of the Sea' this time depicting the violent death of the
unfortunate girl. Symbolised by the blood stained dagger, tossed into the sea - where the poem takes on an ethereal
theme set beneath the sea, in an underworld of lost souls, sea gods and mermaids. I love using ink & bleach as it
gives a magical light and feel which, I think is ideal for this subject.
Artwork 2 Image:

3
Artwork 3 Title: My Colourful Daughter, Lou
Artwork 3 Dimensions: 42 x 29.7cm
Artwork 3 Medium: Ink & Bleach
Artwork 3 Commentary: My first attempt at a portrait using ink & bleach. I like the idea of using unusual colours, that
represent the mood or the person, in this case green (my daughter had green hair at the time!) The bleach is used
subtly to highlight the hair and add soft light across the face and the eyelids. This feels a very peaceful image to me,
almost buddha like in its tranquility.
Artwork 3 Image:

4
Artwork 4 Title: Portrait II
Artwork 4 Dimensions: 42 x 29.7cm
Artwork 4 Medium: Ink & Bleach
Artwork 4 Commentary: A commissioned piece, which the aforementioned was a practice run - again using colour to
set the tone of the pose, in this case a relaxed summer gaze with big statement sunglasses catching a glint of the
warm midday sunlight. I've used the bleach to achieve the highlights through the blonde hair and glass beads on the
earrings. Softer tones contour the shape of the face and contrasting shadows of the harsh daylight. I love this pose
depicting a beautiful and confident woman.
Artwork 4 Image:

5
Artwork 5 Title: Cornfield at Firle Beacon
Artwork 5 Dimensions: 29.7 x 42cm
Artwork 5 Medium: Ink & Bleach
Artwork 5 Commentary: This is one of a group of 7 illustrations I painted from walks with the Ramblers this summer.
A Sussex theme is followed through each of the walks, mainly depicting the South Downs. A simple use of one ink
colour is transformed by using the bleach in various dilutions to achieve the twilight sky of the magical evening walk.
The detail of the heads of corn are added using full strength bleach on a cocktail stick once the ink is completely dry.
Artwork 5 Image:

6
Catalogue5 ID0042
Artist ID: 0042

Artist Name: Anastasia O Donoghue Healy


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

Artist Statement: The landscape is central to Anastasia O Donoghue Healy’s painting practice. Since she was a
young child it has played an ever present part in her life. She says “Perhaps as a young child I didn't realise its'
role in my formation as a person and as an artist― Being a self taught painter she has come to realise it has taught
her so much about the art of living and "Being". As an avid walker she says she witnesses an unravelling of herself
into the presence of now and a heightened fourfold experience of nature. This experience informs the essence of
why and how she paints. It is “Being― within this space of presence while painting en plein air plays a defining
part in her process. Anastasia’s paintings reflect a meeting of her interior landscape with her experience of "now"
in the landscape while painting. She captures this meeting by her intuitive use of colour and mark making. As she
paints en plein air a triangular dynamic develops between the artist, the landscape and the work as it reveals itself to
her. Anastasis’s paintings capture the “isness― of the landscape at a given time.

Notes:

1
Artwork 1 Title: From Galley Head as the Rain Came
Artwork 1 Dimensions: 64x72x4cm
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: Seeing the skies changing and the threat of rain coming in over Mount Gabriel invited an
urgency in painting this work to which I responded quickly and intuitively using colour and mark. A local farmer told
me that often the colour of Mount Gabriel in the distance would tell him what kind of weather was coming. While a
three dimensional dynamic develops between the landscape, the painter(myself) and the work itself often all three
become aligned as one with the moment. This experience has an almost meditative quality
Artwork 1 Image:

2
Artwork 2 Title: As Summer Rains Came Over Mount Gabriel
Artwork 2 Dimensions: 64x72x4cm
Artwork 2 Medium: oil on canvas,
Artwork 2 Commentary: Seeing the skies changing and the threat of rain coming in over Mount Gabriel invited an
urgency in painting this work to which I responded quickly and intuitively using colour and mark. A local farmer told
me that often the colour of Mount Gabriel in the distance would tell him what kind of weather was coming. While a
three dimensional dynamic develops between the landscape, the painter(myself) and the work itself often all three
become aligned as one with the moment. This experience has an almost meditative quality
Artwork 2 Image:

3
Artwork 3 Title: Summer Days
Artwork 3 Dimensions: 64x72x4cm
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: I painted this painting on one of our sweetest summer days on a quiet country road. It is a
narrow little lesser used road where the hedgerows have the joy of just bursting with growth and wild blossom. The
wind swirled as did the light and the vegetation. My flow was sometime interrupted by a rogue gust which would
blow my easel over. I painted it rapidly allowing my intuitive response to the moment direct my marks and colour
choices.
Artwork 3 Image:

4
Artwork 4 Title: From Scubaun (in January)
Artwork 4 Dimensions: 54x65x4cm
Artwork 4 Medium: oil on canvas,
Artwork 4 Commentary: I painted this on a cold crisp January morning out in the West Cork landscape. Before setting
up I had walked this road finding the composition which appealed to me. I was also struck by the resilience of this
landscape as it weathers some of our wildest weather down in these parts. I was also struck by its utter beauty and
the welcome oIf its fold. I suspect those who live here are not only resilient but also very independent and
interdependent. It s difficult to describe the formless essence of this place in words and so I hope I have captured it's
"isness" through my response in paint.
Artwork 4 Image:

5
Artwork 5 Title: From Kilkerran
Artwork 5 Dimensions: 64x72x4cm
Artwork 5 Medium: oil on canvas,
Artwork 5 Commentary: This is painted from a high road in a townsland called Kilkerran looking down over
Owenahincha a small beach area often visited by Cork families in summer. It was a damp grey morning but it
nevertheless was a soft Irish morning awakening slowly.
Again I painted this en plein air and had to stop at a point when a mist came in over my view. By the time I had the
car packed it had come over myself. This unpredictable nature of painting en plein air brings an element of surprise
and a reminder to keep looking looking looking as even the same view is so different each moment, each day, each
season.

Artwork 5 Image:

6
7
Catalogue5 ID0043
Artist ID: 0043

Artist Name: Ignacio Unrrein


Website: lllllllll.com.ar
IG: @nachounrrein

Artist Statement: My artistic practice is focused on the relationship between artwork and project, within the
framework of the production of an artwork which could be aprehended as an aesthetic documentation that could be
understood as a “life-in-project beyond its results" (Groys, 2012) and connected to the dialectics between the
right way of doing something and the willingness to experiment through error.
I addition, I find fundamental to my work the understanding of the process through which daily practices can be
transformed and become art practices. In this regard, I seek to explore the void that exists between image,
representation and actualization.
Regarding my last project "Tapiar Buenos Aires", I worked on the idea of blocking the access to an interior space. For
this I walked all of Buenos Aires' 48 neighborhoods and documented every bricked-up facade. Bricking-up
contradicts one of the main aims of architectural practice: to open up a space and offer it to inhabiting. Because of
the brick walls, doors and windows cease to connect the interior and the outside, in order to become objects of
contemplation in a series of ephemeral monuments that make up a changing and volatile patrimony the city itself
conceives unknowingly.

Notes:

1
Artwork 1 Title: Brick up Buenos Aires
Artwork 1 Dimensions: 260cmx180cmx50cm
Artwork 1 Medium: Ceramics and mixed media building techniques
Artwork 1 Commentary: The record of every bricked up façade in the city of buenos aires by walking on foot every
block of the 48 neighborhoods, offering a series of guides that promote a tour around every quarter of the city of
buenos aires and a series of that honor them, represented by hiperrealistic scale 1:5 models made with ceramic and
wood.
Artwork 1 Image:

2
Artwork 2 Title: 749.766m3 of summer
Artwork 2 Dimensions: 200cmx200cmx5cm
Artwork 2 Medium: laser cut and laser engraved onto cork and alphils.
Artwork 2 Commentary: The present artwork try to commemorate every portion of summer won to the earth after
having drawn during all 2017 and half of 2018, from satellite images, each swimming pool of the 48 neighborhoods
of the city of buenos aires.
749.766m3 summer is the approximate amount of m3 of pools of the whole city, project that contains this mural
with pins that mark each one of the pools that were drawn. the own cork support has been trimmed following the
borderlines of the quarters, using the laser cutting process to record a point in each location of the drawing pitches
to afterwards put every alphil.

Artwork 2 Image:

3
4
Artwork 3 Title: Attempt to print
Artwork 3 Dimensions: 250cmx200cm
Artwork 3 Medium: 729 ink printings.
Artwork 3 Commentary: The attempt to print full black onto acetate until the cartridge runs out by making 729
printings.
Artwork 3 Image:

5
Artwork 4 Title: Attempt to reconstruct
Artwork 4 Dimensions: 100cmx200cm
Artwork 4 Medium: Video: Digital Video full HD, 1920 x 1080, 08´ 32´´. Objects: Acrylic and glass.
Artwork 4 Commentary: The attempt to cut an acrylic panel to put it back together and to subsequently cut a new
one, interpreting the error caused in the reassemble.

Link of the video:

https://vimeo.com/244362321

Artwork 4 Image:

6
7
Artwork 5 Title: Attempt to draw a line
Artwork 5 Dimensions: 100cmx260cm
Artwork 5 Medium: Permanent maker on rag paper
Artwork 5 Commentary: The attempt to draw a single continuous line that does not touch itself.
Over time —from 2013 to present— each panel has become a module of a sequence that extends indefinitely and
generates a continuity although the line occasionally touches itself, and in spite of the ink of each permanent marker
wearing down almost completely. the extension of the line ceases to exist in the present to become the record of a
repetitive, indefinite and, perhaps, even infinite event.

Artwork 5 Image:

8
Catalogue5 ID0044
Artist ID: 0044

Artist Name: Grosso Roberto


Website: http://robertogrosso.com/
IG: https://www.instagram.com/roberto_grosso_art/

Artist Statement: My digital art takes inspiration from music and is produced on metal, metallic paper or perspex.
The key elements of my art are the use of vibrant color and augmented reality - which brings the artwork to life by
showing the stages of its creation to a soundtrack of the music that inspired it.

Notes:
Augmented Reality App

1
Artwork 1 Title: He Knows Everything
Artwork 1 Dimensions: 105x70x3 CM
Artwork 1 Medium: Brushed Metal
Artwork 1 Commentary: Inspired by the song of Andrea Manzoni
Artwork 1 Image:

2
Artwork 2 Title: Eleanor Rigby
Artwork 2 Dimensions: 105x70x3 CM
Artwork 2 Medium: Brushed Metal
Artwork 2 Commentary: Inspired by the song of The Beatles
Artwork 2 Image:

3
Artwork 3 Title: Go with the Flow
Artwork 3 Dimensions: 105x70x3 CM
Artwork 3 Medium: Brushed Metal
Artwork 3 Commentary: Inspired by the song of Queens of the Stone Age
Artwork 3 Image:

4
Artwork 4 Title: Time to Pretend
Artwork 4 Dimensions: 105x70x3 CM
Artwork 4 Medium: Brushed Metal
Artwork 4 Commentary: Inspired by the song of MGMT
Artwork 4 Image:

5
Artwork 5 Title: Fell on Black Days
Artwork 5 Dimensions: 0
Artwork 5 Medium: Brushed Metal
Artwork 5 Commentary: Inspired by the song of Soundgarden
Artwork 5 Image:

6
Catalogue5 ID0045
Artist ID: 0045

Artist Name: Georgina Maxwell


Website: www.georginamaxwell.org
IG: georgina.maxwell

Artist Statement: Georgina Maxwell's art practice responds to the lives of cetaceans and other marine inhabitants in
their struggle for survival in a desensitized, plastic-addicted world.

She has spent the last 20 years walking, in search of marine plastics, which are used as her medium. As a collector
she explores the therapeutic value of walking along lonely distant shores while gathering, feeling impossible layered
memories, investigating and transforming ugly man-made remains in to a form of beauty and encouraging discourse
about the interconnected ecosytem that we all inhabit

Maxwell's contemporary eco-art merges Buddhist philosophy, eco-centric ethics, emotional intelligence and
research within a conceptual, political, social and moral framework.

Notes:

1
Artwork 1 Title: Seal Target
Artwork 1 Dimensions: 63 x 63 x 10
Artwork 1 Medium: Spent shotgun cartridges (marine plastics)
Artwork 1 Commentary: Found shotgun cartridges sourced on various shorelines of UK. Special marksmen are
employed by Salmon farmers to shoot seals who come to close to their nets. There is no legal requirement for good
marksmen causing a high risk of wounding leading to prolonged suffering. They continue throughout the breeding
season. Populations of common seals have declined dramatically by around 40%

Artwork 1 Image:

2
Artwork 2 Title: Mix'd with worldly grief and selfish stain
Artwork 2 Dimensions: 68 x 68 x 9
Artwork 2 Medium: cigarette filters (marine plastics)
Artwork 2 Commentary: Discarded cigarette filters sourced on Barantsburg and Longyear River and harbour.
Svalbard. The Arctic in 2018

Each filter contains known carcinogens such as nitrosamines, quinoline, benzpyrene, cadmium, ammonia, nitrogen
dioxide, formaldehyde, hydrogen cyanide, arsenic and hydrogen sulphate.

These Toxins leach into the Arctic ocean where cetaceans and seabirds can ingest, mistaking them as prey

Artwork 2 Image:

3
4
Artwork 3 Title: Tangled up in Blue
Artwork 3 Dimensions: 63 x 63 x 5
Artwork 3 Medium: single fishing lines (marine plastics)
Artwork 3 Commentary: Around 40 single fishing lines sourced on the shorelines of Cornwall.

Artwork 3 Image:

5
Artwork 4 Title: Cruel death surrenders with it's pale ghost reliving
Artwork 4 Dimensions: 48 x 60 x 9
Artwork 4 Medium: the ends of plastic bottles (marine plastics)
Artwork 4 Commentary:
Plastic bottle apparitions sourced on Arthur's beach. Falmouth

Artwork 4 Image:

6
Artwork 5 Title: Cries from the Sacred Oceans
Artwork 5 Dimensions: 48 x 60 x 5
Artwork 5 Medium: marine plastic dummies
Artwork 5 Commentary: babies dummies washed up on the Cornish shorelines
Artwork 5 Image:

7
Catalogue5 ID0046
Artist ID: 0046

Artist Name: Emma Iks


Website: http://emmaiks.com/
IG: https://www.instagram.com/emma.iks/

Artist Statement: Born in Zottegem (Belgium) in 1988, Emma Iks is a self-taught artist eager to experiment with all
kinds of artistic practices. Initiated from an early age to drawing by her grandfather, she trained in "classical"
painting during her adolescence in Brussels. Emma Iks then returns to wood cut, the legacy of her years spent in
Kangaba, Mali, where she learned sculpture and woodcutting, in the artist collective "magnanbougouda: SMC
station".

She exhibits and participates in several projects and residencies in differents cities, all over the world.

She currently lives in Marseille, where she works in her workshop, "la Poule à Facettes".

Passionate about flea markets, the artist first of all uses ancient media of different natures. The advertising motifs,
already present on the papers of origin, are opposed by their industrial rendering to the random and imperfect
impressions of the linocut.

Emma Iks likes to draw her subjects not only from the repertoire of the real, but also from the kitsch or classic
graphics nowadays anything or packaging that crosses her gaze. This medium allows Emma to think about the
reproducibility of the work. This notion of duplication creates a parallel with photography, reinforced by the play on
positives and negatives.

Here she presents exclusively lino cut and wood cut, but it is possible to see some of her paintings, drawings and
serigraphs on her website.

http://emmaiks.com/

Notes:

1
Artwork 1 Title: Wara
Artwork 1 Dimensions: 63*83
Artwork 1 Medium: wood cut
Artwork 1 Commentary: This artwork is part of the "Bagan" Series, which you can read in its entirety on my website
at http://emmaiks.com/bagan/

Acrylic / ink woodcut


Artwork 1 Image:

2
Artwork 2 Title: Sigi
Artwork 2 Dimensions: 63*83
Artwork 2 Medium: wood cut
Artwork 2 Commentary: This artwork is part of the "Bagan" Series, which you can read in its entirety on my website
at http://emmaiks.com/bagan/

Acrylic / ink woodcut


Artwork 2 Image:

3
Artwork 3 Title: Wo ist die Emma Iks?
Artwork 3 Dimensions: 100*78
Artwork 3 Medium: lino cut
Artwork 3 Commentary: Ink wood cut.
unstructured transsexual self-portrait.
Artwork 3 Image:

4
Artwork 4 Title: Byrrhbyrrel
Artwork 4 Dimensions: 42*52
Artwork 4 Medium: wood cut
Artwork 4 Commentary: Ink wood cut, on 2 old French bar notebooks
Artwork 4 Image:

5
Artwork 5 Title: Tonic Wine
Artwork 5 Dimensions: 42*52
Artwork 5 Medium: lino cut
Artwork 5 Commentary: Ink wood cut on french pharmacy notebook of the year 1901
Artwork 5 Image:

6
Catalogue5 ID0047
Artist ID: 0047

Artist Name: Liviu Mihai


Website: www.liviumihai.com
IG: liviumihaiart

Artist Statement: For me art is generally physical and spiritual manifestation of the man approaching him of the
Creator. I always have this creative feeling so I guess something inside me guides me, I assume this happens with
every single artist. I think the artist has a role of mediator between society and the world as he sees it and that's an
important and motivating role for him because the artist creates messages / concepts / images influence on the
viewer.
Generally I handle mostly painting and graphics but I also approach and experiment subjects in the field of
conceptual and digital art. I have always been captivated by the human figure in paintings and drawings, but even
now I gladly paint themes inspired from nature, mostly landscapes, but at the moment I am more focused on the
valences of the human figure.
-In my paintings I use juxtapositions of elements of the human figure but also of natural origin, to draw a certain
concept.. I am fascinated by the human , not anatomically, but psychologically and socially. Many times I try to
represent the abstract through material forms that at first sight are not recognizable, but after a closer look become
more real. Another subject I research is the concept life/death, beauty/ugly, more exactly this dualism we find
everywhere. I am fascinated by the idea of transformation, human, animal and I try to describe this in my works.

Notes:

1
Artwork 1 Title: Causality and effect
Artwork 1 Dimensions: 220/270 cm
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: This work is about the conflict between religions and cultures.
I was inspired by the Maurizio Cattelan s work "Ninth Hour", but i place my pope character in the middle of ruins.
The ruins are from Siria s war. In the same time i just want to recall about the wars and conflict created by religions
and because of the different beliefs.
Artwork 1 Image:

2
Artwork 2 Title: Iconic shape
Artwork 2 Dimensions: 60/60 cm
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: A portrait interpretation, where i did not paint the important elements of the
face.Somehow because of the media, many image forms are already imprinted in our minds,like in the case of many
brands or personalities. To recognize, the brain needs only one or very few elements from the entire form to set the
identity. I think is the power of media and the power of our minds.
Artwork 2 Image:

3
Artwork 3 Title: The feast
Artwork 3 Dimensions: 250/360 cm
Artwork 3 Medium: mixed media
Artwork 3 Commentary: The feast "is an artwork from a project called" Lost Paradise. "The project is about a world
in degradation, a deformed world and the negative influence that humans have in nature. In the artwork called "The
feast", the hunter becomes hunted, so nature takes a completely different turn. I assign a ferocious behavior to
some animals that are gentle by their nature, just to suggest the fatal and sick turn the reality can take if is
necessary.
Artwork 3 Image:

4
Artwork 4 Title: The deaf Beethoven
Artwork 4 Dimensions: 110/110 cm
Artwork 4 Medium: oil on canvas and collage
Artwork 4 Commentary: Impressed by his life and his genius, I made this painting as tribute to Beethoven. In the last
years of his life, he was deaf but he still managed to create.
I can say that creative power is stronger than any physical drawback.
Artwork 4 Image:

5
Artwork 5 Title: Collaboration horizontale
Artwork 5 Dimensions: 100/130 cm
Artwork 5 Medium: oil on canvas and collage
Artwork 5 Commentary: At the end of World War II, many french people accused of collaboration with Germany
endured a particularly humiliating act of revenge: their heads were shaved in public,especially women.
Artwork 5 Image:

6
Catalogue5 ID0050
Artist ID: 0050

Artist Name: Martin Kinnear


Website: makinnear.com
IG: kinnearmartin

Artist Statement: Oscar Wilde observed that, all paintings done with feeling, whatever their subject, are also self
portraits of the artist, so when I set out to paint the memories of my childhood I knew I was really painting myself.

I chose to paint not just the industrial sprawl of mill towns where I was raised, but the majesty of the Dales, where
I’d long aspired to be. It’s taken me half a lifetime to get a couple of hours down the road; but simple is not
the same as easy.

Along the way I learned that where we come from makes us who we are, and where we live helps us to become who
we wish to be.

So while these are paintings about me, they are really paintings about you, this world and all of us.

Notes:

1
Artwork 1 Title: Burnsall, Winter
Artwork 1 Dimensions: 90x122x4
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: A painting from memory, Burnsall Winter is of a place but about a time.
This work from my 2018 solo project Beyond Here, was awarded a Medaille d'argent by the Societe Nationale des
Beaux Arts in 2018 at the Paris Salon, and is entered because I wanted to put it in front of the Ashurtst judging panel.
Burnsall Winter is a painting about the beauty of a place and time in memory.
Artwork 1 Image:

2
Artwork 2 Title: Slum chapel
Artwork 2 Dimensions: 90x122x4
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: A painting from memory of one of the disused Victorian chapels that are being cleared from
the industrial valleys of my native East Lancashire.
Slum Chapel is a painting about change and the impossibility of permanence
Artwork 2 Image:

3
Artwork 3 Title: Green is the Colour
Artwork 3 Dimensions: 90x122x4
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: Another painting selected , but not hung, at the Paris Salon. Green is the colour like all of
my works is a painting about recollection., in this case of Swaledale but about Spring after the long winter of 2017.
Green is the Colour is a painting about hope.
Artwork 3 Image:

4
Artwork 4 Title: These Soft Forces
Artwork 4 Dimensions: 90x122x4
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary: A painting about the softly erosive force of time and how we are weathered by our
experiences. Inspired by the landscape near my North Yorkshire studio These Soft Forces is about the inevitability of
change.
Artwork 4 Image:

5
Artwork 5 Title: The Land Agent
Artwork 5 Dimensions: 90x122x4
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: Oscar Wilde observed that how we live determines how we act and whom we become. The
Land Agent is a painting of life in rural Yorkshire and about the tribes we all belong to.
Artwork 5 Image:

6
Catalogue5 ID0051
Artist ID: 0051

Artist Name: Munisha Gupta


Website: www.munishagupta.com
IG: munisha_art

Artist Statement: I am a self-taught artist, born in Agra, India, and have lived in India and Nigeria, and currently
based in London, UK. I'm part of The Holborn Group, a collective of artists working in a wide variety of media
including drawing, printmaking, photography, painting and sculpture.

Through my work, I record experiences of various places and emotions, the memories of which are precious to me.
My paintings depict places or moments that encompass certain emotion.

I explore different media, texture and surfaces with the aim of reaching desired composition, colour and mood.
When I am painting I am reliving these experiences over and over again. The process of painting is exorcising both
positive and negative memories.

My work reflects fascination with the ideas of absent presence, indoors vs outdoors, man vs nature, unfolding layers
of our hidden truth, the inner being, all pervading Supreme Consciousness.

The work ranges from recording reflections, shadows and layers of what we see and what actually is there or is not
there. It explores the everyday experiences in context of life’s deeper philosophy. To everything, there’s more
than what meets the eye.

In my latest collection, The Karma Series, I take a humorous approach towards investigating issues of Karma, destiny,
rituals and spiritual ceremonies in the context of different philosophical and cultural backgrounds.

Notes:

1
Artwork 1 Title: Zambezi forest
Artwork 1 Dimensions: 85x95cms
Artwork 1 Medium: Oil paint on paper
Artwork 1 Commentary: A huge tree trunk magnificently stands amongst scorched bushes on a blazing summers day.
There’s a slight glimpse of a lion resting in the shadow of the tree least bothered by anyone’s presence
around there. The bright red sun reflecting on red soil of Zambezi national park made the sky and the ground look
almost the same in colour.
Artwork 1 Image:

2
Artwork 2 Title: Moonlit Zambezi forest
Artwork 2 Dimensions: 48x56.5cms
Artwork 2 Medium: Oil paint on paper
Artwork 2 Commentary: After viewing the lion in the daylight, I couldn’t resist the urge to drive back to the same
spot after dark. The full moon treated my eyes to an altered experience. The moon light had turned the ground
white as if it were covered by snow.
Artwork 2 Image:

3
Artwork 3 Title: Contemplation
Artwork 3 Dimensions: 60x60cms
Artwork 3 Medium: Oil paint on board
Artwork 3 Commentary: A man sits at the deck by the river bank. The dusk hour scatters light, illuminating dark
wood surfaces. A meditative and introspective mood is evoked in the reflection of chairs, catching the fading
evening light.
Artwork 3 Image:

4
Artwork 4 Title: Solo wanderer
Artwork 4 Dimensions: 50by60cms
Artwork 4 Medium: Oil paint on board
Artwork 4 Commentary: The play of light and shadows enhances the relationship between curves and straight lines
formed by walls of an architectural space. A solitary figure wanders away in the dark corridor probably in search of
some hidden treasure .
Artwork 4 Image:

5
Artwork 5 Title: Waiting outside
Artwork 5 Dimensions: 50x60 cms
Artwork 5 Medium: Oil paint on canvas
Artwork 5 Commentary: This is the image of a young woman sitting outside a room in the solace of her own
company. Her thoughts seem to sway between continuing to enjoy the solitude and sunshine on that bench or to
venture into the dark room hoping for probably an adventure awaiting her.
Artwork 5 Image:

6
Catalogue5 ID0053
Artist ID: 0053

Artist Name: Doreen Chua


Website: behance.net/doreenchua
IG: instagram.com/do.chua/

Artist Statement: My research interest overarches in the idea of self; the compromises and resistances of an
individual in respond to his environment and social expectations. My art practice reflects upon this human inter-
connectivity with predominantly the element of lines, from oil paint to scratch-art, allowing the myriad materials and
processes to re-contextualize to form new narratives and interpretations.

‘The Said And The Unsaid’ series is my exploration into the materiality of the traditional typewriter carbon
paper, chancing upon the trajectory of Asemic Writing, forming a fresh narrative in duality, ‘paragraphs’ of
words ‘said’ and words that are left ‘unsaid’. Each carbon paper bearing it’s unique watermarks
hinting at perhaps of unique beings and individual voices. As viewers interpret the esoteric nuances of word
expressions amidst text compositions, the binary realm of the ‘unsaid’, more often then not, lingers
hauntingly long after the intended meanings are lost and forgotten.

Notes:

1
Artwork 1 Title: SU10. The Said And The Unsaid (Diptych)
Artwork 1 Dimensions: 42cm x 64cm x 4cm
Artwork 1 Medium: Carbon Paper Ink on Paper
Artwork 1 Commentary: This artwork is from my series ‘The Said and The Unsaid’, investigating Asemic
Writings, exploring the binary idea of text with carbon paper.
Artwork 1 Image:

2
Artwork 2 Title: SU12. Unsure (Diptych)
Artwork 2 Dimensions: 42cm x 64cm x 4cm
Artwork 2 Medium: Carbon Paper Ink on Paper
Artwork 2 Commentary: This artwork is from my series ‘The Said and The Unsaid’, investigating Asemic
Writings, exploring the binary idea of text with carbon paper.
Artwork 2 Image:

3
Artwork 3 Title: SU13. Incomplete (Diptych)
Artwork 3 Dimensions: 42cm x 64cm x 4cm
Artwork 3 Medium: Carbon Paper Ink on Paper
Artwork 3 Commentary: This artwork is from my series ‘The Said and The Unsaid’, investigating Asemic
Writings, exploring the binary idea of text with carbon paper.
Artwork 3 Image:

4
Artwork 4 Title: SU14. Twisted (Diptych)
Artwork 4 Dimensions: 42cm x 64cm x 4cm
Artwork 4 Medium: Carbon Paper Ink on Paper
Artwork 4 Commentary: This artwork is from my series ‘The Said and The Unsaid’, investigating Asemic
Writings, exploring the binary idea of text with carbon paper.
Artwork 4 Image:

5
Artwork 5 Title: SU15.Backtracked(Diptych)
Artwork 5 Dimensions: 42cm x 64cm x 4cm
Artwork 5 Medium: Carbon Paper Ink on Paper
Artwork 5 Commentary: This artwork is from my series ‘The Said and The Unsaid’, investigating Asemic
Writings, exploring the binary idea of text with carbon paper.
Artwork 5 Image:

6
Catalogue5 ID0054
Artist ID: 0054

Artist Name: Jennifer Mawby


Website: www.jjtmstudio.com
IG: @jenniferjeanmawby

Artist Statement: #datascience #metrics #corporateaesthetics #branding #strategicretreat #infographics


#managementreporting #corporateresponsibility #visionstatement #valuestream #visionstatement
#quarterlyforecast #marketforces #organizationaldevelopment #shareholderreturns

In my art practice, I embrace digital innovation in conversation with the analog. I am interested in my personal
relationship with digital technology and the way that ubiquitous technology is shaping our interpretations of
experiences in the real world.

I am further attempting to grasp how technology has impacted our experience of visual representation. For example,
I am fascinated with how the visual depiction of data (through charts, graphs and infographics) has entered
mainstream as a commonplace way to illustrate something understandable about the real world. As the visual
language of these formats enters the everyday, the vocabulary of contemporary visual culture is shifting and
evolving. Shifts in visual culture are evidenced in the artwork of any given time.

I’m exploring my observations through the making of both tangible, material-based artworks in a traditional form
(such as painting and installation/sculpture), and virtual images and animations. I am particularly concerned with
influence of screen images, digital image-making, and the visual representation of data on the practice of painting.

These are digital drawings that somehow feel organic and appear as if they could be diagrams or charts embedded in
corporate MS Powerpoint presentations, on recruiting websites, and airport billboards.

Despite the forms and shapes contained, the artworks are decidedly not graphic or graphic design. Instead, they are
approached from an entirely painterly position and although virtual, encompass all the implications and
complications of that adjective.

Notes:

1
Artwork 1 Title: Quantum Metaphor Pump
Artwork 1 Dimensions: 120x80cm
Artwork 1 Medium: Digital drawing as direct print on dibond.
Artwork 1 Commentary: Digital drawing (new media artwork) based on the visual language of data science and
infographics. Direct print on dibond.
Artwork 1 Image:

2
Artwork 2 Title: Offshore Carbon Credits
Artwork 2 Dimensions: 120x80cm
Artwork 2 Medium: Digital drawing as direct print on dibond.
Artwork 2 Commentary: Purchase carbon offset credits here. Digital drawing (new media artwork) based on the
visual language of data science and infographics. Direct print on dibond.
Artwork 2 Image:

3
Artwork 3 Title: Triangulation Tactics
Artwork 3 Dimensions: 120x80x2cm
Artwork 3 Medium: Digital drawing as direct print on dibond.
Artwork 3 Commentary: Digital drawing (new media artwork) based on the visual language of data science and
infographics.
Artwork 3 Image:

4
Artwork 4 Title: Super Future Collider
Artwork 4 Dimensions: 120x80x2cm
Artwork 4 Medium: Digital drawing as direct print on dibond.
Artwork 4 Commentary: Digital drawing (new media artwork) based on the visual language of data science and
infographics.
Artwork 4 Image:

5
Artwork 5 Title: Gentrification Efforts Swing Upwards
Artwork 5 Dimensions: 120x80x2cm
Artwork 5 Medium: Digital drawing as direct print on dibond.
Artwork 5 Commentary: Digital drawing (new media artwork) based on the visual language of data science and
infographics.
Artwork 5 Image:

6
Catalogue5 ID0055
Artist ID: 0055

Artist Name: Tolleck Winner


Website: www.tolleck.com
IG: Tolleck Winner Art

Artist Statement: Tolleck Winner MRSS is a passionate art creator who believes that a true artist never creates art for
money.

He has had numerous solo exhibitions and participated in many group shows in particular London’s Mayfair.

Tolleck is embarking on a new and  exciting journey that will connect and bring people together in one universal
love, appreciation and understanding of art. Uniting people of all ages, race and creed through art, is one of his
greatest ambitions.

Tolleck's aim is to embrace a new way of viewing and discovering his unique vision of abstract art.

As an already well established artist, Tolleck still feels that by creating his art engages the viewer not only to
question their innermost thoughts, but through interacting with the work, consider larger more existentialist
concepts.

The artist is well known for exploring aspects of philosophy, poetry, the notion of self and its place in society and
romanticising over our very existence. The recurring theme however is one of universal connection that keeps us
together; our humanity.

Notes:

1
Artwork 1 Title: Forbidden Fruit (IV)
Artwork 1 Dimensions: 18cm x 9cm x 9cm
Artwork 1 Medium: Aluminium, copper and bronze
Artwork 1 Commentary: I have enjoyed melting and poring aluminium into a mould with copper and bronze, then
cutting solid metals to form the pear. The process of cutting shaping and polishing, rather than casting, gave me a
whole new experience in creating art to date.
Artwork 1 Image:

2
Artwork 2 Title: Forbidden Fruit (VII)
Artwork 2 Dimensions: 18cm x 9cm x 9cm
Artwork 2 Medium: Aluminium, copper and bronze
Artwork 2 Commentary: I have enjoyed melting and poring aluminium into a mould with copper and bronze, then
cutting solid metals to form the pear. The process of cutting shaping and polishing rather than costing gave me a
whole new experience in creating art to date.
Artwork 2 Image:

3
Artwork 3 Title: Forbidden Fruit (VIII)
Artwork 3 Dimensions: 10cm x 8.5cm x 8.5cm
Artwork 3 Medium: Aluminium, copper and bronze
Artwork 3 Commentary: I have enjoyed melting and poring aluminium into a mould with copper and bronze, then
cutting solid metals to form the pear. The process of cutting shaping and polishing rather than costing gave me a
whole new experience in creating art to date.
Artwork 3 Image:

4
Artwork 4 Title: Forbidden Fruit (IX)
Artwork 4 Dimensions: 16cm x 8.7cm x 8.7cm
Artwork 4 Medium: Aluminium, copper, bronze and mild steel
Artwork 4 Commentary: I have enjoyed melting and poring aluminium into a mould with copper, bronze and mild
steel, then cutting solid metals to form the pear. The process of cutting shaping and polishing rather than costing
gave me a whole new experience in creating art to date.
Artwork 4 Image:

5
Artwork 5 Title: Forbidden Fruit (X)
Artwork 5 Dimensions: 18cm x 9cm x 9cm
Artwork 5 Medium: Aluminium, copper, bronze and mild steel
Artwork 5 Commentary: I have enjoyed melting and poring aluminium into a mould with copper, bronze and mild
steel, then cutting solid metals to form the pear. The process of cutting shaping and polishing rather than costing
gave me a whole new experience in creating art to date.
Artwork 5 Image:

6
Catalogue5 ID0056
Artist ID: 0056

Artist Name: Cary Jacobs


Website: www.caryjacobsart.weebly.com
IG: https://www.instagram.com/cary.jacobsart/

Artist Statement: I am Cary Jacobs, an artist with a love for space, astronomy and the wonders of the physical world
around us. I am still exploring myself, trying different styles and subject matter that appeal to me but a theme that
runs through all of my work is a connection between the natural world around us and the wonders of space above
us.

Notes:

1
Artwork 1 Title: Leo
Artwork 1 Dimensions: 50.8x40.64
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: I wanted to capture the majesty of a lion in a cosmic setting. To me the eyes are by far the
most important part of a piece like this so particular care was given so the conveyed both life and stillness.
Artwork 1 Image:

2
Artwork 2 Title: Moonlight Roost
Artwork 2 Dimensions: 40.64x50.8
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: A bright full moon silhouetting a group of roosting birds. I took care here to make sure the
moon looked as though it was glowing which took the most time. The foreground was a test of bravery though,
painting bold black lines all over my hard work which luckily paid off first time!
Artwork 2 Image:

3
Artwork 3 Title: Jessica and the Squirrel
Artwork 3 Dimensions: 40.64x50.8
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: This painting was actually inspired by a family holiday after my young niece tentatively
made friends with a squirrel in the woods. I have tried to recreate that moment here with a "pinch" of fantasy flare
thrown in.
Artwork 3 Image:

4
Artwork 4 Title: Lunar Picnic
Artwork 4 Dimensions: 40.64x50.8
Artwork 4 Medium: Acrylic on Canvas
Artwork 4 Commentary: A lion and a giraffe enjoying a romantic picnic on the moon whilst watching the Earth rise, I
feel I need say no more.
Artwork 4 Image:

5
Artwork 5 Title: Wolf Head Nebula
Artwork 5 Dimensions: 40.64x50.8
Artwork 5 Medium: Acrylic on Canvas
Artwork 5 Commentary: This is my most recent piece at time of writing. I wanted to convey the mystical aura
surrounding the image of a wolf but put it into a cosmological setting.
I was inspired by how nebulae are often named after the shapes that people see in them (often animals) but decided
to take a more literal slant on it.
Artwork 5 Image:

6
Catalogue5 ID0057
Artist ID: 0057

Artist Name: Marã-A Del Carmen Bretã³N Suano


Website: www.maricarmenbreton.com
IG: Mari Carmen Bretón

Artist Statement: MarÃ-a del Carmen Bretón.

Mis temas predilectos, son las figuras y los paisajes, realizados con un estilo impresionista envuelto por colores,
texturas y movimientos.
La técnica mixta utilizada es de suma importancia para el estilo que enmarcan las obras, donde se puede apreciar
el espacio figurativo de cada pincelada con el que dibujo las formas y contornos de mis composiciones. Pretendo que
dichas obras cautiven y atraigan la atención de los espectadores, impregnándoles en un universo lleno de
reflexión y de contemplación para poder compartir con ellos pensamientos, emociones y estados del alma.

Deseo plasmar en mis obras tranquilidad, paz, esencia y sensualidad, asÃ- como aspectos cotidianos de nuestras
vidas. El cielo que nos envuelve y el mar que nos rodea son inspiradores para mi, puesto que, en cada dÃ-a, en cada
momento y en cada lugar nos concede nuevas obras dignas de apreciar.
El susurro de los pinceles y la diversidad de colores transforman mi ser, convirtiéndome en fantasÃ-a, donde lo
real y lo irreal se funden como los sueños con la realidad.

Notes:

1
Artwork 1 Title: Llevame Contigo
Artwork 1 Dimensions: 65 x 46
Artwork 1 Medium: Técnica Mixta de acrÃ-lico y óleo sobre lienzo
Artwork 1 Commentary: La ternura de aquellos tiernos momentos
Artwork 1 Image:

2
Artwork 2 Title: Arcoiris
Artwork 2 Dimensions: 130 x 97
Artwork 2 Medium: Técnica Mixta de acrÃ-lico y óleo sobre lienzo
Artwork 2 Commentary: Esta obra, está inspirada en los momentos cotidianos de nuestra vida, jugando con las
luces que se producen en la naturaleza, como es un dia lluvioso de primavera, donde los primeros rayos de sol
juegan con el agua creando una armonÃ-a de luces y colores a nuestro alrededor, provocando asÃ- la sensaciones en
nuestros sentidos.
Artwork 2 Image:

3
Artwork 3 Title: Alma
Artwork 3 Dimensions: 81 x 41
Artwork 3 Medium: Técnica Mixta de acrÃ-lico y óleo sobre lienzo
Artwork 3 Commentary: Esta obra, es parte de la composición de la secuencia de sueños de un tango.
En esta obra quiero resaltar a esa figura tan importante del tango, que está siempre en la penumbra ,dándole a
él el protagonismo con luces en sus sombras.
Artwork 3 Image:

4
Artwork 4 Title: Tango
Artwork 4 Dimensions: 11 x 41
Artwork 4 Medium: Técnica Mixta de acrÃ-lico y óleo sobre lienzo
Artwork 4 Commentary: Esta obra, es parte de la composición de la secuencia de sueños de un tango.
Estas obras están basadas en la sensualidad, disciplina y pasión, que sentimos al disfrutar de ella.
Artwork 4 Image:

5
Artwork 5 Title: Recuerdos de Infancia
Artwork 5 Dimensions: 0
Artwork 5 Medium: Técnica Mixta de acrÃ-lico y óleo sobre lienzo
Artwork 5 Commentary: Simplemente porque el libro de la vida, lo cubrimos de bonitos "Momentos".
Artwork 5 Image:

6
Catalogue5 ID0059
Artist ID: 0059

Artist Name: Christian Lancaster


Website: N/A
IG: https://www.instagram.com/lancaster.christian/

Artist Statement:
My name is Christian Lancaster, I was born in Chester in 1973 and lived there until recently moving to Northophall in
North Wales with my wife and 3 girls. I am a time severed Mechanical Engineer and currently pursue this discipline
as my day job. However, my true passion is in Wildlife wood carving.

I do not use power tools. My painting is also free hand.

My father was a landscape artist and my granddad painted theatrical sets and murals in private houses. Although my
father did try to pass on his enthusiasm in the art to me, I wasn't interested at the time, but at the age of thirty-
eight, as if a switch had been flicked, my father’s enthusiasm took hold and I could think of nothing but art and
nature. One way or another I have to create daily.

The wood I use is English lime wood, sourced from several reputable managed estate forestry wood dealers. I only
use wind damaged lime that is kept and seasoned especially for my carvings.
Many of my sculptures are born from memories or siting of certain animals. I can honestly say every single sculpture
I have carved, has been created with passion and deep respect for the subject I have tried to carve.

My main goal in carving is to bring the beauty of nature into as many people’s homes and in the forefront of their
minds as I can in my carving career.

Christian Lancaster.

Notes:

1
Artwork 1 Title: Hunting female barn owl
Artwork 1 Dimensions: 62 x 34 x 72
Artwork 1 Medium: lime wood and acrylic paint
Artwork 1 Commentary: When carving this barn owl I tried to portray the silent flight the barn owl can achieve whilst
hunting.

I hope I have captured the moment just before realization on the wood mouses part.
Artwork 1 Image:

2
Artwork 2 Title: young male golden eagle
Artwork 2 Dimensions: 55 x 31 x 72
Artwork 2 Medium: Lime wood and acrylic paint
Artwork 2 Commentary: I have carved this golden eagle in a pose to show it looking and surveying its territory from a
cliff top. I have carved many feathers being blown up out of position from the wind rushing up the cliff face and
engulfing the eagle.
Artwork 2 Image:

3
Artwork 3 Title: flying to stand still
Artwork 3 Dimensions: 46 x 75 x 62
Artwork 3 Medium: lime wood and acrylic paint
Artwork 3 Commentary: wk is having to fly and balance in the wind at the top of a tree.
Artwork 3 Image:

4
Artwork 4 Title: emperor dragonfly at rest
Artwork 4 Dimensions: 9.5 x 6 x 17
Artwork 4 Medium: lime wood and acrylic paint
Artwork 4 Commentary: I have carved this emperor dragonfly and the pebbles from lime wood. I love carving and
painting dragonflies they hold a real fascination for me.
Artwork 4 Image:

5
Artwork 5 Title: Atlantic salmon battling the elements
Artwork 5 Dimensions: 32 x 22 x 80
Artwork 5 Medium: lime wood and acrylic paint
Artwork 5 Commentary: I have carved this Atlantic salmon in a swimming pose to suggest its monumental journey to
its spawning grounds upriver.
Artwork 5 Image:

6
Catalogue5 ID0060
Artist ID: 0060

Artist Name: Hannah Shergold


Website: www.hannahshergold.com
IG: www.instagram.com/hannah_shergold_art

Artist Statement: In the past year I have left the military as a helicopter pilot to pursue a full-time career in art. I
hosted my first solo exhibition in Mayfair in June 2018 and was selected as the UK Invictus Games team artist. I was
also delighted to win the wild card slot for a place in the heats of the 2019 Sky Arts Portrait Artist of the Year
competition.

I am self-taught and my style has developed from what I affectionately term "the happy accident". A desire to stop
the work from becoming too refined and 'tight', and my frustration with not achieving this, led me one day to scrape
all the paint from one of my canvases. Rather unexpectedly, the effect this produced - a mixture of blending and
simultaneous destruction of the image itself - was quite curious. I developed a way to 'push and pull' the painting in
and out of focus, picking out the important details whilst leaving some areas for the brain to interpret and invent.

I use palette knives with impasto oil paint to create a network of layers through the artwork, with the ultimate goal
being to capture movement and energy with bright colours and geometric lines - two things that would not usually
be associated with painting the natural world.

Notes:

1
Artwork 1 Title: The Hunt
Artwork 1 Dimensions: 180 x 120 x 4
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: My aim with this piece was to capture as much movement and energy as possible with the
animals appearing to leap straight across the canvas.

The first layer of paint grasps the anatomical accuracy of the figures before my horizontal and vertical scraping
technique rips through them, breaking up the forms geometrically. I then go back over the painting, picking out the
key details that allow the eye to read the necessary shapes without giving the brain too much to work with.

This artwork is very large and it was a pleasure to watch people standing in front of it at my exhibition, gradually
working their mind across it and taking it all in.
Artwork 1 Image:

2
3
Artwork 2 Title: Fighting Pheasants
Artwork 2 Dimensions: 120 x 120 x 4
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: As with my first entry the aim with this piece was to capture as much movement and energy
as possible. This time though the composition is circular which brings in another element of direction to the motion
of the birds. The artwork depicts two birds fighting but shows a time-lapse of the battle, with the two animals each
shown in different stages of movement.

Again the first layer of paint grasps the anatomical accuracy of the figures before the more unnatural and geometric
lines break the piece apart. I then go back over the painting, picking out the key details that allow the eye to read
the necessary shapes without spoon-feeding the brain.

The layers and the graded base layer give depth to the painting, drawing the eye in to the vortex of the fight with
splashes of unnatural colours to add drama.
Artwork 2 Image:

4
5
Artwork 3 Title: Boxing Hares Clash
Artwork 3 Dimensions: 180 x 90 x 1
Artwork 3 Medium: Oil on plywood
Artwork 3 Commentary: With this painting I wanted to really challenge how movement can be depicted in a still,
two-dimensional image. I wanted to create a time-lapse of two animals coming together in a clash with as much
drama as possible.

The three different poses for each hare were overlaid on one another into an arc with the two in the centre
representing the final clash. Once again the painting's first layer is broken up and cut into with abstract lines, forcing
the brain to catch site of different legs and paws unexpectedly whilst looking in more depth.

This painting was an experiment with using unprimed plywood as a substrate and required a slightly different
technique due to the absorption properties of the wood. Rather than dragging the base layer across the painting,
new blocks of colour were introduced before the details were re-established on the surface.

Artwork 3 Image:

6
7
Artwork 4 Title: I AM still moving - Keep running
Artwork 4 Dimensions: 90 x 90 x 4
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: In May 2018 I was asked to create a piece of work that would be auctioned at the Help for
Heroes fundraiser to raise money for the UK Invictus Games team. I produced a triptych of paintings entitled "I AM
still moving", with the individual elements depicting track running ("Keep running"), cycling ("Keep riding") and
wheelchair basketball ("Keep rolling").

The Invictus athletes are truly inspirational and I wanted to depict not their struggle with injury but their triumph in
regaining their status as strong, sporting fighters through adversity. I used my technique of geometric lines to break
up the paintings, pushing various elements out of focus whilst pulling others back, and creating movement through
the blurring effect this has.

The three paintings were displayed at the event and really struck a chord with soldiers who were otherwise used to
being labelled as 'wounded'. They raised £10,000 each - a total of £30,000 - 100% of which was donated to the
team.

Artwork 4 Image:

8
9
Artwork 5 Title: Self(ie)-conscious
Artwork 5 Dimensions: 90 x 70 x 2
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: This self-portrait was a personal exercise in achieving accuracy of colour in my portrait
paintings. I attended a fantastic workshop by renowned portrait artist Andrew James who, quite frankly, hated my
use of abstract colour in portraiture! After a long discussion about whether representative colour really matters I
decided to try and incorporate his teaching into my own techniques and see where it led.

The base layer once again was applied with palette knives, but this time I used brushes to achieve the subtlety of
skin tone, with the reflected light depicted in a tonal green throughout the piece.

Keen to retain an element of my own style, I still wanted to break up the painting with blocks of colour but I wanted
to ensure these 'fitted' with this alternative style and complemented the work rather than distracted from it. The
blocks also serve as an excellent tool to hide and disguise the areas of my own body that I remain self-conscious
about!
Artwork 5 Image:

10
11
Catalogue5 ID0062
Artist ID: 0062

Artist Name: Douglas Karson


Website: www.dougkarson.com
IG: https://www.instagram.com/dakartist/

Artist Statement: Douglas A. Karson sees tapping into and sharing Universal Truth as his essential work. Born in 1984
and raised in Little Rock, Arkansas, he was not exposed to Art until after a major neck injury in his 20’s. Self
taught, he will always love paint but since living in Japan, ink has an increased role in his practice.

Featured in magazines such as Art Reveal, Creativ Paper and more, Douglas’s prolific production continues.
He’s participated in and organised over 30 group and solo exhibitions. He also believes in supporting other artists
and heads Art Battle UK.

Art can reflect the truth of our reality, anything less is selling us short.

Creativity
It is my natural state.

RULES
Makes RULES. Break RULES. Know RULES. Follow RULES. Rule RULES

Lines
Let the line lead. Trust the hand. Let go of the mind.

Marks
When it’s only a mark and space, make it matter.

Colours
Be bright. Be bold. Be dark. Be yourself.

People
People are interesting and beautiful, Particularly dancers.

Animals
They have personalities. Make sure you paint them.

Objects
Find beauty in the everyday. Share that beauty.

Truth
There is an objective truth. There is a subjective truth. Never sacrifice one for the other.

Exploration
Push the boundaries of what you know, what is possible, what makes sense, what you make.

Yoga
Yoga is art. Yoga is life. Art is life.

Express
Art is everything I am. It is my truth of this reality. It can only be an expression of me. There is no other way.

1
Notes:

2
Artwork 1 Title: Rainbow Ladder (the RULES #1)
Artwork 1 Dimensions: 100 x 70 x 5
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: This was the first of my RULES series. It began on the equinox when I celebrated the equal
length night and day by creating a canvas half black and half white. A ladder grew out of the piece and the RULES
are self imposed by corrispond to the greater truth of the universe.
There are three rules these works follow. Can you figure them out? What do you see as their relativity to truth and
existence?
Artwork 1 Image:

3
Artwork 2 Title: Pyramid (the RULES #4)
Artwork 2 Dimensions: 41 x 33 x 2
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: After watching a consipiracy theory program about how the pyramid as still full of
mysteries. Did you know that there is no smoke stains on the interior walls and there are some images show what
appear to be electric torches being held by ancient Egyptians? Some suspect that the pyramids were built as part of
a crude electric grid that takes advantage of the earth's power. Regardless, it is interesting to speculate.
There are three rules these works follow. Can you figure them out? What do you see as their relativity to truth and
existence?
Artwork 2 Image:

4
Artwork 3 Title: It Looks Good on Paper (the RULES #9)
Artwork 3 Dimensions: 29.7 x 21 x 0
Artwork 3 Medium: Coloured Paper
Artwork 3 Commentary: This was an exploration work that was done with different coloured construction paper
glued together. I very much liked the result and the challenge of a different medium.
There are three rules these works follow. Can you figure them out? What do you see as their relativity to truth and
existence?
Artwork 3 Image:

5
Artwork 4 Title: Centre (the RULES #13)
Artwork 4 Dimensions: 100 x 100 x 5
Artwork 4 Medium: Acrylic on Canvas
Artwork 4 Commentary: Curves. This work needed curves. All flows to Om.
There are three rules these works follow. Can you figure them out? What do you see as their relativity to truth and
existence?
Artwork 4 Image:

6
Artwork 5 Title: Tie (the RULES #15)
Artwork 5 Dimensions: 50 x 40 x 2
Artwork 5 Medium: Acrylic on Canvas
Artwork 5 Commentary: Out with a doctor who happens to be a gynecologist. As we sat and drank, I asked if he
wore a tie to work. He said he couldn't, just it case it fell it! A RULES piece followed.
There are three rules these works follow. Can you figure them out? What do you see as their relativity to truth and
existence?
Artwork 5 Image:

7
Catalogue5 ID0063
Artist ID: 0063

Artist Name: Tamara Tolley


Website: tamaratolleyart.com
IG: tamaratolleyartist

Artist Statement: I live in the corner flat of Frobisher Crescent above the Barbican Centre. My studio is my home. It
expands beyond its walls to incorporate the sense that my home is the entire city. I see myself as an artist-
anthropologist reflecting imaginatively on a space that is part-human and part-material. Immersed in the sculptural
drama of a Brutalist landscape, I see juxtaposed an ancient skyline and a modern metropolis. My process of painting
explores how an individual reclaims creative space within an urban environment.

By reversing and recycling fragile and encrusted palette papers, my work becomes a palimpsest of previous
endeavours carefully preserved. Combined with a spontaneous charcoal or ink expression, the images reflect the
ephemeral yet constant textures, colours and life I observe.

My process, like the City, is in a constant state of salvaging, reutilising and re-emerging. Evolving ways of employing
the recycled palimpsest express a tension between retaining the integrity of the unconsciously created work and my
need as an artist to create deliberately. The ways I facilitate and preserve whole recycled palette papers with only
subtle finishes as opposed to a more deliberate, proactive tearing of fragments in new pieces, raise questions about
whether recycling can alleviate anxiety about the future. To what extent should we be preserving the past in a
modern, diverse world? By exploring how the individual carves out rights to the City in her own space, I am seeking
to understand what we want and need to preserve in our society.

Notes:

1
Artwork 1 Title: Recycling the City
Artwork 1 Dimensions: 50 x 60 x 2.5 (unframed canvas)
Artwork 1 Medium: mixed media: acrylic, charcoal, torn recycled reversed palette papers, ink, linen
Artwork 1 Commentary: “Recycling the City― explores the daunting prospect of painting the City. The window
cleaner, dangling precariously in the foreground, is an Everyman – a metaphor for how I see myself as an artist –
trying to find my footing in the art world. I am toying with the idea of how artists and architects are all engaged in a
risky process – not dissimilar to window cleaners – when creating a City. None uses a blank canvas. London’s
history (evident in the distance in the classical architecture of St Paul’s Cathedral and St Giles juxtaposed with
modernism and the distinctive brutal Barbican Arts Complex roof), like my recycled palette papers, is a palimpsest of
previous endeavours. The real artistic forces in the distance – classical, modern, brutal - make my job as an
emerging artist even more intimidating. What I choose to create, recreate and leave blank (here the colour of
concrete is captured in the original colour and texture of the linen) is all important. Recycled palette papers, collaged
and encrusted, draw attention to my dialogue between secular and religious forms on our skyline and theme of
trying to identify what is useful to preserve in the modern world.
Artwork 1 Image:

2
3
Artwork 2 Title: Our Home is the Entire City
Artwork 2 Dimensions: 40.5 x 51.2 x 2 (unframed canvas)
Artwork 2 Medium: Mixed media: whole recycled reversed palette papers, torn recycled palette papers, acrylic, ink
on canvas
Artwork 2 Commentary: The title of this artwork derives inspiration from photographer Kyoichi Tsuzuki’s
description of Tokyo as a place where “your home is an entire city―. I too see my studio and home expanding
from my balcony over the Barbican roof, the arched crescents of the Estate, towards St Giles and St Paul’s, and
their juxtaposition with modern buildings (the Shard, London Wall Place under construction, 200 Aldersgate). The
painting is a dream-like sequence of the drama I witness played out in different acts depending on the time of day,
light and weather.

Through torn fragments of recycled papers, representing our memories, the palimpsest of ancient London reflected
and layered with new paint, representing emerging buildings, I explore the developing world and my role as an artist
within the City of London. I translate my creative endeavours into a larger question about how individuals find their
home in a city.

Through this tangible reconstruction, I feel I too have created an individual right to this space in my City skyline and
that all can carve out enjoyment of urban spaces even, and especially, if they do not possess proprietary rights. I
seek to employ whole use of palette papers here, preserving their integrity, as well as torn fragments in order to
stimulate a debate about how we are all responsible for our fragments of the City where we work and live because
“our home is the entire City―

Artwork 2 Image:

4
5
Artwork 3 Title: Friday Feeling in Frobisher Crescent
Artwork 3 Dimensions: 29.7 x 35.2 x 4 (framed double sided so the reverse can be seen and with non-reflective glass)
Artwork 3 Medium: Mixed media: whole reversed recycled palette paper, charcoal, acrylic
Artwork 3 Commentary: This is part of a large body of small works employing the integrity of the entire reversed
palette paper and preserving it as a recycled object unconsciously created (visible from the reverse through double-
sided framing) yet added to with fresh acrylic and charcoal. I retain the palimpsest of the palette and have
consciously worked to enhance and work sympathetically with it to create a new work (many works are thus
connected to each other through my process). My role as an artist is primarily a preserver, raising questions about
the extent to which I am deliberately creating a new artwork. This relates to my wider exploration of the nature of
recycling in alleviating anxiety about the future and a debate about how to preserve the past.

The painting is also part of a series dealing with the meaning of home and privacy in the City. We may not know
everyone on the Estate but we are intimately connected with others, especially at night when a certain amount of
discreet “eye-spy― is possible. The City worker at home on a Friday evening reading a book in a cosy
environment reminds us of the nature of private life, our search for intimacy and belonging which is at the essence
of how we carve out space in a modern world. This window into the reader’s life, across the Crescent, enables
me to engage as an anthropologist-artist in my quest to find meaning in the City.

Artwork 3 Image:

6
7
Artwork 4 Title: Brexit City
Artwork 4 Dimensions: 32.2 x 80 x 2 (unframed canvas)
Artwork 4 Medium: Mixed media: torn reversed recycled palette papers, torn recycled palette papers, acrylic,
charcoal on canvas
Artwork 4 Commentary: “Brexit City― looks back to the night of the Brexit vote where Barbican residents
observed a double rainbow over the City of London with varying degrees of delight or horror. In June 2016, the shock
felt was palpable but by the time I created this painting, two years later, we were no clearer to an understanding of
what Brexit would mean for the City. The rough, naïve, breakable charcoal textures that outline the City skyline are
a metaphor for the uncertainty of Brexit and all it entails. The palette papers raise the question of the preservation
of the past and the importance of recycling for the future.

This was the first painting where I tore my palette papers – sacrificing their whole integrity – and stuck them
deliberately onto a canvas destroying the memory of their reverse colour. I even drew on top of fronts encrusted
with dried paint abandoning the subtle palimpsest reflection in favour of something more vivid and textural. This
painting symbolises a tension between my rejection of past practice and my feeling that I have become a more
confident and deliberate art creator. But doubts persist as to whether this is an authentic evolvement of my
palimpsest practice. “Brexit City― represents a personal and professional anxiety.

This painting has an alternate rhetorical title “Rainbow City?―, evoking the term “rainbow nation― given
to post-Apartheid South Africa by Mandela. Here the diversity of architectural forms on the skyline symbolises the
diversity of London. “Brexit City― questions whether we are achieving our aims of a diverse society.

Artwork 4 Image:

8
9
Artwork 5 Title: The Longest Shadow
Artwork 5 Dimensions: 43.2 x 44.6 x 0.5 (unframed dimensions)
Artwork 5 Medium: Mixed media: Recycled cardboard (Dyson fan packaging), acrylic, recycled reversed palette
paper
Artwork 5 Commentary: This mixed media painting is one of many of my artworks painted on recycled cardboard
packaging (all taken from a Dyson fan). It also employs recycled palette papers, drawing attention to the diminutive
couple hugging in the distance. The subject matter is a bird’s eye view of the Barbican podium with its distinctive
large sculptural air vents. These forms evoke the memory of the craters left when this area was bombed. This vast
space can be imagined from a height, yet today it is recreational. The longing in the couple’s hug reflects this
history – and the taller figure, whose outlines are only discernible through the palette paper, is possibly only a
memory of a person now passed.

My process of employing recycling cardboard, paint and palette papers here, as elsewhere, tangibly recreates the
sense in which urban life is constantly being salvaged and re-emerging from the past.

The painting also draws attention to how I forge my identity as a modern female artist. Unlike much traditional
representation of the Barbican landscape in architectural drawings and photography, which focuses on the
monolithic and monochromatic features, my expression of this landscape is characterised by vivid colours, feminine
curves and textures

Artwork 5 Image:

10
11
Catalogue5 ID0064
Artist ID: 0064

Artist Name: Robyn Neild


Website: https://www.robynneildsculpture.com
IG: robynneild

Artist Statement: I worked primarily as a Fashion Illustrator for the last 25 years and always been drawn to texture
and movement and a wish capture it. Having done so in 2D I wanted to explore more tactile, gestural approaches
using clay, wax, paper & found textures. So I started modelling figures in movement which are then cast in bronze
using the 'lost wax' technique.
In 2017 I was fortunate enough to spend the spring and early summer months in Dungeness, a flat shingle expanse
of stark beauty, staying at Derek Jarman's Prospect cottage a wind battered black tarred traditional fisherman's
cottage.
The fact that every day I'd walk the length of the estate from my remote home near the nuclear power station to the
bus stop and travel the slow one hour to my studio and then back each evening. During these walks I'd pass several
of the abandoned shells of an old fishing boat, the timber keel bone dry and sun bleached, and I'd admire its graceful
arcing presence defying the harsh elements in a silent, slow motion destruction. As I repeated these journeys day in
and day out, the form became a familiar and personal image in my mind and so too the idea of creating my own
interpretation as a homage, a reminder, a tactile memory of my time in 'the fifth quarter of the globe'.

Notes:

1
Artwork 1 Title: Source
Artwork 1 Dimensions: 48x9x16
Artwork 1 Medium: Bronze
Artwork 1 Commentary: Unique Solid bronze
Artwork 1 Image:

2
Artwork 2 Title: Dungeness walking figure
Artwork 2 Dimensions: 33x22x9
Artwork 2 Medium: Bronze
Artwork 2 Commentary: Unique solid bronze
Artwork 2 Image:

3
Artwork 3 Title: Dungeness Boat
Artwork 3 Dimensions: 20x22x8
Artwork 3 Medium: Bronze
Artwork 3 Commentary: Unique solid bronze with white patina
Artwork 3 Image:

4
Artwork 4 Title: Two Figures
Artwork 4 Dimensions: 38x48x12
Artwork 4 Medium: Bronze
Artwork 4 Commentary: Unique solid bronze with green patina on brass base
Artwork 4 Image:

5
Artwork 5 Title: Posing Figure
Artwork 5 Dimensions: 21x10x5
Artwork 5 Medium: bronze
Artwork 5 Commentary: Solid bronze figure
Artwork 5 Image:

6
Catalogue5 ID0065
Artist ID: 0065

Artist Name: William Cotterill


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

Artist Statement: My practice is rooted in object making and exists between painting and sculpture. It explores the
anxiety and excitement of being overwhelmed by information, the idea of breakdowns and disrupted narratives, and
how matter can express the over-complicated and transitory. In an age of dislocation, attempts to grip hold of a
sense of certainty feel vital but almost impossible.

I see the work as a physical manifestation of these struggles: the twisting together and metabolising of different
stimuli from art history, popular culture and everyday life. Oil paint and left-over junk from society form a language
of stuttering processes. Through layering and concealing, objects are worked on simultaneously, feeding each other
in a holistic approach to making, that has no hierarchy of materials. I use paint both for its ability to form illusions,
and as another sculptural medium that can be dug into, carved, woven and excavated.

The fragmented, dislocated forms that emerge could give rise to accidental new narratives. However, their inherent
brokenness and ambiguity defies any solid conclusions. I am interested in the feeling of this confusion and
uncertainty as a specific, textural place to exist in and to explore.

Notes:

1
Artwork 1 Title: Ruined Panel
Artwork 1 Dimensions: 60 x 50 cm
Artwork 1 Medium: Oil on panel
Artwork 1 Commentary: In Ruined Panel the paint surface has been covered and recovered, carved into and scraped
back, to construct a turbulent space of crumbling order. I wanted to create an experience of confounded looking,
where depth and direction are tangled in an inescapable web, which simultaneously draws in and repels the eye. The
horizontal of a landscape has been turned on its side as if drunk. Thick broken spines of paint could suggest
weathered, forgotten walls; the skeleton of a once living environment.

This sense of relinquished control in the image was inspired primarily by visits to the Pitt Rivers museum in Oxford.
Entering this space, a sense of excited bewilderment is immediately triggered by the sea of wildly different artefacts
layered and visually interrupting each other from floor to ceiling.
Artwork 1 Image:

2
3
Artwork 2 Title: The Plagiarist Invents Again
Artwork 2 Dimensions: 130 x 82 cm
Artwork 2 Medium: Oil on panel
Artwork 2 Commentary: I was interested here in collisions of improvisation and chance, and creating sense of energy
with the marks as if they were extensions of a overstimulated nervous system. Made with layered wax, paint and
paper, the painting was laid down at several stages to be used as a surface on which other work was made, allowing
a network of accidental traces and stains to build up. By limiting intentional manipulation of the surface, a more
organic and uncanny image was able to emerge.
Artwork 2 Image:

4
Artwork 3 Title: Nervous Painting
Artwork 3 Dimensions: 100 x 75cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: Inspired by images of synapses, I wanted to create with Nervous Painting a space where the
information of the painting is shifting and in flux. It could be seen as a very physical depiction of a state of
uncertainty, like a neural dance that is falling out of rhythm and starting to freeze up.
Artwork 3 Image:

5
Artwork 4 Title: Lost Painting
Artwork 4 Dimensions: 40 x 50 cm
Artwork 4 Medium: Oil on panel
Artwork 4 Commentary: Inspiration for Lost Painting came from a study of objects at the Ashmolean museum in
Oxford, such as decorative bowls, jali screens and ornamental panels. Fascinated by their material power, I wanted
to create a painting that was both illusionistic in its sense of depth, but equally bold and solid.

I was also interested in using Eastern style patterns, associated with symmetry and order, to build up a more
turbulent, Romantic British landscape. The work depicts farmland and perhaps a townscape, which we think of as
permanent, but this being contrasted to the actual fragility of the construction. Each line is made with a thin strand
of lead paint laid down on the panel in relief.
Artwork 4 Image:

6
7
Artwork 5 Title: Eventual Painting
Artwork 5 Dimensions: 60 x 50 cm
Artwork 5 Medium: Oil on panel
Artwork 5 Commentary: With Eventual Painting I was interested in depicting a state of anxiety, a frozen moment of
fight or flight. Order is broken down, perceptions twisted and overwhelmed. No physical orientation or sense of
weight are present as an anchor. A structured underlayer is almost entirely obliterated by frenzied, chance marks.
The eye is left stranded in a maze of oscillating depths and blurred and sharp edges.
Artwork 5 Image:

8
Catalogue5 ID0068
Artist ID: 0068

Artist Name: Vahe Haroutunian Copalian


Website: artistinvogue.com
IG: copalian

Artist Statement: Growing up in a house with both parents architects, also mother and sister artists.
Classical musician, graduate of Trinity College, London.
Living in Southern California, running a small construction company,
Traditional Karate practitioner.
Been painting for the past 10 years.
More consistently, since last year.

Notes:

1
Artwork 1 Title: Passacaglia Bach
Artwork 1 Dimensions: 91.5X122x4
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: 2018
Artwork 1 Image:

2
Artwork 2 Title: Daphnis et Chloe Ravel
Artwork 2 Dimensions: 76X101.5X2
Artwork 2 Medium: Acrilic on Canvas
Artwork 2 Commentary: 2013
Artwork 2 Image:

3
Artwork 3 Title: Souvenir de Florence 2
Artwork 3 Dimensions: 91.5X122X2
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: 2019
Artwork 3 Image:

4
Artwork 4 Title: Firebird Stravinsky
Artwork 4 Dimensions: 61X76X2
Artwork 4 Medium: Acrylic on Canvas
Artwork 4 Commentary: 2012
Artwork 4 Image:

5
Artwork 5 Title: La Mer Ravel
Artwork 5 Dimensions: 122X91.5X2
Artwork 5 Medium: Acrylic on Canvas
Artwork 5 Commentary: 2018
Artwork 5 Image:

6
Catalogue5 ID0071
Artist ID: 0071

Artist Name: Tat Elsbury


Website: https://tat3663.wixsite.com/tat-illustration
IG: tat_illustrations

Artist Statement: I am a portrait artist, specialising in realism. Using charcoal and graphite, I seek to remove the
mask
used to cover the raw, emotional struggles of life. I focus on reflecting the darker pains that people go through.
These issues could be physical, emotional, internal, or external.
I am inspired by black and white photography and it’s potential to generate impact with tonal values. I produce
my portraits to reflect these emotions in every contour of the face, the wrinkles, scars, pores, and age spots. I hope
to generate an awareness and compassion in my audience.

Notes:

1
Artwork 1 Title: Homeless not Hopeless- David
Artwork 1 Dimensions: h: 94 w: 64 d: 4
Artwork 1 Medium: Graphite, Pencil, Charcoal, Collage.
Artwork 1 Commentary: David is one image of a series reflecting the stark realities of life on the streets while also
hinting at elements of hope and humanity.
David is an addict who sleeps on the streets and lives day to day trying to fund his addictions through crime. He is
consistently shunned and alienated by mainstream society. David has developed a lack of trust in 'the system' and
finds himself isolated not only because of his circumstances but increasingly because he no longer believes there is
any real help for people in his position.
I have used graphite powders, pencils and charcoal powder to create a bleak and dark feel for this image reflecting a
look of defeat in the subject’s face. I have used newspaper collage in the background with various words that
hint at the issues of lack of housing and homelessness. My intention was that the collage surrounding the subject
would create a claustrophobic feeling of being trapped by circumstance and the difficulties of finding a way back into
housing and being accepted by the rest of society.

Artwork 1 Image:

2
3
Artwork 2 Title: Homeless not Hopeless- Ramone
Artwork 2 Dimensions: h: 94 w: 64 d: 4
Artwork 2 Medium: Graphite, Pencil, Charcoal, Collage.
Artwork 2 Commentary: Ramone is one image of a series reflecting the stark realities of life on the streets whilst also
hinting at elements of hope and humanity.
With this image of a kind face looking straight at the viewer, I wanted to challenge the public's view of why the
homeless end up in their situations. It is a common misconception that homeless people have little to offer society,
that they are less educated, too lazy to get into employment, and that they are all substance abusers.
Although a lot of people turn to substances whilst on the streets to cope with their circumstances this is not
necessarily why they ended up there in the first place. Often, they have simply found themselves the victims of
circumstances that could affect any one of us. Family fallouts, relationship breakups, domestic violence and
unemployment often play a big part in causing homelessness. Ramone is not an addict. He was ill equipped for the
circumstances he found himself in. He struggled with council benefit forms and had no support to help him fill forms
correctly and follow up with the council. Without that support and without benefits he ended up on the streets.
I have used graphite powders, pencils and charcoal powder for this image to create tension between the darkness of
the situation and the hope of a kind face. The collage of press cuttings in the background, while hinting at the issues
of lack of housing and homelessness, also draws the viewers eye towards the almost perceivable smile on Ramone's
face.

Artwork 2 Image:

4
5
Artwork 3 Title: Homeless not Hopeless- Jane Doe
Artwork 3 Dimensions: h: 94 w: 64 d: 4
Artwork 3 Medium: Graphite, Pencil, Charcoal, Collage.
Artwork 3 Commentary: - Jane doe has been homeless for eight years due to a previous violent relationship, she
frequently visited women’s shelters and after being raped and attacked multiple times, is now on the streets with
her partner Justin.
Jane doe comes from a dysfunc
Artwork 3 Image:

6
Artwork 4 Title: Homeless not Hopeless- Justin
Artwork 4 Dimensions: h: 94 w: 64 d: 4
Artwork 4 Medium: Graphite, Pencil, Charcoal, Collage.
Artwork 4 Commentary: Justin has been homeless for many years now but has only moved to Bristol recently,
attempting to access more help for himself and his partner. They have been on the streets for eight years now.
Although it is unclear whether They became homeless for th
Artwork 4 Image:

7
Artwork 5 Title: Homeless not Hopeless- Kevin
Artwork 5 Dimensions: h: 94 w: 64 d: 4
Artwork 5 Medium: Graphite, Pencil, Charcoal, Collage.
Artwork 5 Commentary: #NAME?
Artwork 5 Image:

8
Catalogue5 ID0073
Artist ID: 0073

Artist Name: David Aston


Website: https://www.rmutt.co.uk
IG: https://www.instagram.com/davidastonart

Artist Statement: David's art practice is inspired by the concept of diachronic and the way that language and culture
has evolved through time. From dia- ‘through’ + Greek khronos ‘time’ + -ic.

David's work is in UK and American collections and has been exhibited at the Royal Academy of Arts London, The
Other Art Fair London & New York and national exhibitions.

David's recent works act as markers for our transition from material past to technology and data fuelled future. They
highlight the profound and sometimes humorous duality of our past, present and future and question our humanity
and culture at a time of unprecedented change.

These multimedia works observe our transition to an age where we need to attest our humanity to machines,
proclaim our rights to data, question our collective cultural legacy through acts of digital archeology, and explore
future digital possibilities through hashtag muses.

Notes:

1
Artwork 1 Title: Nine answers to the question what does it mean to be human in the age of RoBots (Attest You Are
Human)
Artwork 1 Dimensions: 75x75x5
Artwork 1 Medium: Sculpture (enamel on porcelain, acrylic framed for wall mounting)
Artwork 1 Commentary: The historian in me is obsessed by the concept of diachronic and the way that language and
culture has evolved through time. From dia- ‘through’ + Greek khronos ‘time’ + -ic.

I find the current world we live in fascinating. We are sitting on the axis of our material past and the endless
possibilities of a virtual and technology-fuelled future. The evolution is organic but some changes stand out more
than others as markers of this evolution.Â

One such change is the reCAPTCHA, a system designed to establish that a computer user is human and not another
computer system before authorising interaction.

The attest you are human series looks for the humorous, profound and ironic at the point in human evolution
where we have to confirm our humanity to machines. The series explores the randomness associated with a reverse
Turing Test whose method of evaluating humanity is the selection of nine images containing signs, cars, lampposts,
shopfronts and bridges.

Visitors to the Brooklyn, New York, Other Art Fair 2018 were given the opportunity to attest their humanity by
submitting an online attestation answering ‘what does it mean to be human in the age of RoBots’.

More than 200 visitors participated and shared their often profound thoughts. Their attestations have been
incorporated into a specially commissioned art book and a series of commemorative porcelain plates.

"Nine answers to the question what does it mean to be human in the age of RoBots" replicates the original
reCAPTCHA nine box format. The plates and frontispiece to the book include two figures representing humanity
(Venus) and robots standing either side of the tree of life. The figures and motifs are taken from historical western
and Chinese, Han, Ming and Ching dynasty cultures. Together they symbolise a modern day Adam and Eve and mark
a point where humanity meets artificial intelligence, past meets the present and future, and globalisation as east
converges with west.
Artwork 1 Image:

2
3
Artwork 2 Title: No 36 of 211 answers to the question what does it mean to be human in the age of RoBots (Attest
You Are Human)
Artwork 2 Dimensions: 50x70x3
Artwork 2 Medium: Print
Artwork 2 Commentary: The historian in me is obsessed by the concept of diachronic and the way that language and
culture has evolved through time. From dia- ‘through’ + Greek khronos ‘time’ + -ic.

I find the current world we live in fascinating. We are sitting on the axis of our material past and the endless
possibilities of a virtual and technology-fuelled future. The evolution is organic but some changes stand out more
than others as markers of this evolution.Â

One such change is the reCAPTCHA, a system designed to establish that a computer user is human and not another
computer system before authorising interaction.

The attest you are human series looks for the humorous, profound and ironic at the point in human evolution
where we have to confirm our humanity to machines. The series explores the randomness associated with a reverse
Turing Test whose method of evaluating humanity is the selection of nine images containing signs, cars, lampposts,
shopfronts and bridges.

Visitors to the Brooklyn, New York, Other Art Fair 2018 were given the opportunity to attest their humanity by
submitting an online attestation answering ‘what does it mean to be human in the age of RoBots’.

More than 200 visitors participated and shared their often profound thoughts. Their attestations have been
incorporated into a specially commissioned art book and a series of commemorative porcelain plates.

The plates and frontispiece to the book include two figures representing humanity (Venus) and robots standing
either side of the tree of life. The figures and motifs are taken from historical western and Chinese, Han, Ming and
Ching dynasty cultures. Together they symbolise a modern day Adam and Eve and mark a point where humanity
meets artificial intelligence, past meets the present and future, and globalisation as east converges with west.

"No 36 of 211 answers to the question what does it mean to be human in the age of RoBots (Attest You Are Human)"
includes the quote "To constantly check you iPhone for the answer"
Artwork 2 Image:

4
5
Artwork 3 Title: No 192 of 211 answers to the question what does it mean to be human in the age of RoBots (Attest
You Are Human)
Artwork 3 Dimensions: 50x70x3
Artwork 3 Medium: Print
Artwork 3 Commentary: The historian in me is obsessed by the concept of diachronic and the way that language and
culture has evolved through time. From dia- ‘through’ + Greek khronos ‘time’ + -ic.

I find the current world we live in fascinating. We are sitting on the axis of our material past and the endless
possibilities of a virtual and technology-fuelled future. The evolution is organic but some changes stand out more
than others as markers of this evolution.Â

One such change is the reCAPTCHA, a system designed to establish that a computer user is human and not another
computer system before authorising interaction.

The attest you are human series looks for the humorous, profound and ironic at the point in human evolution
where we have to confirm our humanity to machines. The series explores the randomness associated with a reverse
Turing Test whose method of evaluating humanity is the selection of nine images containing signs, cars, lampposts,
shopfronts and bridges.

Visitors to the Brooklyn, New York, Other Art Fair 2018 were given the opportunity to attest their humanity by
submitting an online attestation answering ‘what does it mean to be human in the age of RoBots’.

More than 200 visitors participated and shared their often profound thoughts. Their attestations have been
incorporated into a specially commissioned art book and a series of commemorative porcelain plates.

The plates and frontispiece to the book include two figures representing humanity (Venus) and robots standing
either side of the tree of life. The figures and motifs are taken from historical western and Chinese, Han, Ming and
Ching dynasty cultures. Together they symbolise a modern day Adam and Eve and mark a point where humanity
meets artificial intelligence, past meets the present and future, and globalisation as east converges with west.

"No 192 of 211 answers to the question what does it mean to be human in the age of RoBots (Attest You Are
Human)" includes the quote "Fear of death"
Artwork 3 Image:

6
7
Artwork 4 Title: No 69 of 211 answers to the question what does it mean to be human in the age of RoBots (Attest
You Are Human)
Artwork 4 Dimensions: 50x70x3
Artwork 4 Medium: Print
Artwork 4 Commentary: The historian in me is obsessed by the concept of diachronic and the way that language and
culture has evolved through time. From dia- ‘through’ + Greek khronos ‘time’ + -ic.

I find the current world we live in fascinating. We are sitting on the axis of our material past and the endless
possibilities of a virtual and technology-fuelled future. The evolution is organic but some changes stand out more
than others as markers of this evolution.Â

One such change is the reCAPTCHA, a system designed to establish that a computer user is human and not another
computer system before authorising interaction.

The attest you are human series looks for the humorous, profound and ironic at the point in human evolution
where we have to confirm our humanity to machines. The series explores the randomness associated with a reverse
Turing Test whose method of evaluating humanity is the selection of nine images containing signs, cars, lampposts,
shopfronts and bridges.

Visitors to the Brooklyn, New York, Other Art Fair 2018 were given the opportunity to attest their humanity by
submitting an online attestation answering ‘what does it mean to be human in the age of RoBots’.

More than 200 visitors participated and shared their often profound thoughts. Their attestations have been
incorporated into a specially commissioned art book and a series of commemorative porcelain plates.

The plates and frontispiece to the book include two figures representing humanity (Venus) and robots standing
either side of the tree of life. The figures and motifs are taken from historical western and Chinese, Han, Ming and
Ching dynasty cultures. Together they symbolise a modern day Adam and Eve and mark a point where humanity
meets artificial intelligence, past meets the present and future, and globalisation as east converges with west.

"No 69 of 211 answers to the question what does it mean to be human in the age of RoBots (Attest You Are Human)"
includes the quote "It means losing jobs to machines"
Artwork 4 Image:

8
9
Artwork 5 Title: No 134 of 211 answers to the question what does it mean to be human in the age of RoBots (Attest
You Are Human)
Artwork 5 Dimensions: 50x70x3
Artwork 5 Medium: Print
Artwork 5 Commentary: The historian in me is obsessed by the concept of diachronic and the way that language and
culture has evolved through time. From dia- ‘through’ + Greek khronos ‘time’ + -ic.

I find the current world we live in fascinating. We are sitting on the axis of our material past and the endless
possibilities of a virtual and technology-fuelled future. The evolution is organic but some changes stand out more
than others as markers of this evolution.Â

One such change is the reCAPTCHA, a system designed to establish that a computer user is human and not another
computer system before authorising interaction.

The attest you are human series looks for the humorous, profound and ironic at the point in human evolution
where we have to confirm our humanity to machines. The series explores the randomness associated with a reverse
Turing Test whose method of evaluating humanity is the selection of nine images containing signs, cars, lampposts,
shopfronts and bridges.

Visitors to the Brooklyn, New York, Other Art Fair 2018 were given the opportunity to attest their humanity by
submitting an online attestation answering ‘what does it mean to be human in the age of RoBots’.

More than 200 visitors participated and shared their often profound thoughts. Their attestations have been
incorporated into a specially commissioned art book and a series of commemorative porcelain plates.

The plates and frontispiece to the book include two figures representing humanity (Venus) and robots standing
either side of the tree of life. The figures and motifs are taken from historical western and Chinese, Han, Ming and
Ching dynasty cultures. Together they symbolise a modern day Adam and Eve and mark a point where humanity
meets artificial intelligence, past meets the present and future, and globalisation as east converges with west.

"No 134 of 211 answers to the question what does it mean to be human in the age of RoBots (Attest You Are
Human)" includes the quote "It means we will slowly be overtaken by a superior species"
Artwork 5 Image:

10
11
Catalogue5 ID0074
Artist ID: 0074

Artist Name: Robert Wood


Website: https://www.highervibescollective.com
IG: https://www.instagram.com/higher_vibes_collective/

Artist Statement: I create Visionary Psychedelic Art that will help raise your vibration and expand your
consciousness.

My process begins with sketching it on paper or digitally on my I-pad or I-phone then migrating it to photoshop on
my iMac and then on to a canvas, sheet of metal or block of wood. Basically, any material and media is fair game.

I don’t limit myself to any particular subject matter or theme when I create. Whatever I choose whether it's a
landscape, spacescape, sculpture, architecture or just some abstract interpretation, I do it because it is interesting to
me. The things that influence my decisions most of the time are the music I listen to or my love of space, science
fiction, alternate theories on the creation of the Earth and human existence, alternate realities, higher dimensions
and time travel, but most recently my art reflects my spiritual awakening and the dedication I have made to raise my
vibration in hopes that it will have an effect on all that view it.

I truly believe that we are not human beings having a spiritual experience. We are spiritual beings having a human
experience and hope to express that in my art.

Notes:

1
Artwork 1 Title: Majestic One
Artwork 1 Dimensions: 50.8x50.8x1.9
Artwork 1 Medium: Digital Print On Aluminum
Artwork 1 Commentary: We are all connected through energy a vibrations that originated from the One Creator or
source of all life. We have individual personalities but exist as a collective consciousness derived from the One.
Artwork 1 Image:

2
Artwork 2 Title: Dimensional Shift
Artwork 2 Dimensions: 50.8x50.8x1.9
Artwork 2 Medium: Digital Print On Aluminum
Artwork 2 Commentary: Now on Planet earth, we are going through a dimensional shift from 3D to 5D. The
precession of the equinoxes refers to the observable phenomena of the rotation of the heavens, a cycle which spans
a period of (approximately) 25,920 years. This and a few other things will bring a rise in consciousness.
Artwork 2 Image:

3
Artwork 3 Title: Death To Duality
Artwork 3 Dimensions: 50.8x50.8x1.9
Artwork 3 Medium: Digital Print On Aluminum
Artwork 3 Commentary: We live in a world where duality rules our lives. Through the change of consciousness, our
planet and people are going through it will die and we will be reintegrated as a collective.
Artwork 3 Image:

4
Artwork 4 Title: Galactic Goddess
Artwork 4 Dimensions: 50.8x50.8x1.9
Artwork 4 Medium: Digital Print On Aluminum
Artwork 4 Commentary: This is a new era, the Age of Aquarius is upon us and the divine feminine is reclaiming her
place on the earth. We as people will be hole again and move forward on our galactic journey together.
Artwork 4 Image:

5
Artwork 5 Title: Tribal Technology
Artwork 5 Dimensions: 50.8x50.8x1.9
Artwork 5 Medium: Digital Print On Aluminum
Artwork 5 Commentary: The native people of earth are the original caretakers and keepers of sacred knowledge now
is the time to share the ancient technology throughout the planet so that all may be healed.
Artwork 5 Image:

6
Catalogue5 ID0075
Artist ID: 0075

Artist Name: Nigel Howlett


Website: www.nigelhowlett.co.uk
IG: nigelhowlett

Artist Statement: Nigel Howlett is an artist from London. His work depicts a fragmented amalgamation of cartoony
narratives that form social commentaries exploring what it is to be human right now.

Notes:

1
Artwork 1 Title: Thanks Very Much
Artwork 1 Dimensions: 80cm by 60cm by 2.5cm
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: Using a clay sculpture with a message scratched into its surface as his subject, Howlett’s
painting reminds us of our need to adjust and conform to the social environment we have collectively created.
Surrounding this painted bust - that appears like an ancient ruin from a lost civilisation - are icons from the modern
day creating a scene of whimsical comedy and impending catastrophe.
Artwork 1 Image:

2
Artwork 2 Title: Dreamworld
Artwork 2 Dimensions: 80cm by 60cm by 2.5cm
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: An illuminati dog wears a VR headset and plays a video game, a cartoon character rides the
crest of a wave and an airplane disappears into Bermuda triangle. These elements sit like stickers over a strangely
dissected and glum looking log face, exasperated by the leisure activities surrounding it.
Artwork 2 Image:

3
Artwork 3 Title: Balance
Artwork 3 Dimensions: 80cm by 60cm by 2.5cm
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: Surrounded by creeping vines and exotic flora, this filing cabinet - a symbol of work, order
and conformity – stands like an ancient ruin from a once powerful civilisation. Buzz words we associate with self-
help and emotional growth label the draws of the cabinet which features a ‘Picasso-esque’ face drunk on the
information it contains.
Artwork 3 Image:

4
Artwork 4 Title: Blackmail
Artwork 4 Dimensions: 120cm by 100cm by 2.5cm
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: A tree has a phone imbedded into its trunk, a dissected log floats unnaturally in space, a
cardboard box is infested with a strange leaf growth. Text that might or might not be an actual language punctuates
the composition creating a clash of cultures and loss of purpose or meaning.
Artwork 4 Image:

5
Artwork 5 Title: Pet Magazine
Artwork 5 Dimensions: 120cm by 100cm by 2.5cm
Artwork 5 Medium: Acrylic on canvas
Artwork 5 Commentary: An energetic grid of technology related imagery and strange creatures surround a deranged
smoker on what looks to be the cover of an Asian magazine. One can’t quite be sure if she is the centre of
attention or the victim of all this confusion. ‘Freedom’, ‘self’ and ‘normal’ are some of the words
written in English, yet rather than be aspirational they read more like unattainable states of being in Howlett’s
madcap world of organised chaos.
Artwork 5 Image:

6
Catalogue5 ID0076
Artist ID: 0076

Artist Name: Beatrice Dina


Website: www.beatricedina.com
IG: beatricedina

Artist Statement: WHO BY FIRE?

I will always remember May 23rd 2018. It was the day of my neurosurgery and also my deceased father's birthday.
That day, before the neurosurgeon removed the macro adenoma that was pressing my optical nerves, I prayed in
terror. Was my beloved dad, wherever he was, going to protect me during the surgery? Or were we going to meet
again?

WHO BY FIRE, Leonard Cohen's song, was playing endlessly in my mind. Who dies and who survives?
WHO IN YOUR MERRY MERRY MONTH OF MAY?

I had never experienced such fear before. Years of chronic pain made me realise that things can suddenly turn bad,
but I was never afraid of death. Now blindness, meningitis and a stroke were imminent possibilities.

That day I started taking a series of self-portraits that captured the fear before and after the neurosurgery, the pain,
the prayers, the need of others, the healing, the gratitude for a second chance. I shot to never forget the moments I
grasped what life is all about. How miraculous is the time we are given to live and how precious is to spend it with
our beloved ones.

Notes:

1
Artwork 1 Title: WHO BY FIRE?
Artwork 1 Dimensions: 100x75x1 cm
Artwork 1 Medium: Photo print
Artwork 1 Commentary: WHO BY FIRE is a series of 10 self portraits that should be accompanied, during the
exhibition, by Leonard Cohen's song WHO BY FIRE.
Artwork 1 Image:

2
Artwork 2 Title: WHO IN THESE REALMS OF LOVE?
Artwork 2 Dimensions: 100X75X1 CM
Artwork 2 Medium: PHOTO PRINT
Artwork 2 Commentary: WHO BY FIRE is a series of 10 self portraits that should be accompanied, during the
exhibition, by Leonard Cohen's song WHO BY FIRE.
Artwork 2 Image:

3
Artwork 3 Title: WHO IN THE NIGHT TIME?
Artwork 3 Dimensions: 100X75X1 CM
Artwork 3 Medium: PHOTO PRINT
Artwork 3 Commentary: WHO BY FIRE is a series of 10 self portraits that should be accompanied, during the
exhibition, by Leonard Cohen's song WHO BY FIRE.
Artwork 3 Image:

4
Artwork 4 Title: WHO BY HIGH ORDEAL?
Artwork 4 Dimensions: 100X75X1 CM
Artwork 4 Medium: PHOTO PRINT
Artwork 4 Commentary: WHO BY FIRE is a series of 10 self portraits that should be accompanied, during the
exhibition, by Leonard Cohen's song WHO BY FIRE.
Artwork 4 Image:

5
Artwork 5 Title: AND WHO SHALL I SAY IS CALLING?
Artwork 5 Dimensions: 75X100X1 CM
Artwork 5 Medium: PHOTO PRINT
Artwork 5 Commentary: WHO BY FIRE is a series of 10 self portraits that should be accompanied, during the
exhibition, by Leonard Cohen's song WHO BY FIRE.
Artwork 5 Image:

6
Catalogue5 ID0077
Artist ID: 0077

Artist Name: Jan Chan


Website: www.chanpanjan.com
IG: allinloop, janchanpan

Artist Statement: My practice is to examine the relationship between human and technology. I question about the
freedom and choice that we have, and how digital surveillance is affecting human. Human are now relying on
Internet in daily
lives and the data collected are used in different way in shaping our world. I would like to investigate how
technology changes human behavior both mentally and physically, and to foresee the future society.

Currently I’m focusing on the launch of the ‘Social Credit System’ in China, which was first introduced in
2014 and target to be fully operational in 2020. The system’s aim to assess, or put in other word, to reinforce the
trustworthiness of Chinese citizen. My work explore these topics and bring out the question that how human will
react and change their behavior in response to the ‘social credit system’

I play with a wide range of medium, from photography, drawing, digital art to sculpture. My works are meant to be
read and analyzed as symbolism and meaning are always hidden.

Notes:

1
Artwork 1 Title: Undefine-1
Artwork 1 Dimensions: 65 X 47 cm
Artwork 1 Medium: Marker on digital print
Artwork 1 Commentary: Seeing that human and technology become inseparable, Undefined is to reveal the change
of our behaviour when biometric facial recognition will be used in our daily lives. In face of surveillance everywhere
both physically and online, on one hand people would participate in this surveillance system and become active in
social media even enjoying it. It has become a kind of identity formation. People are happy to go ‘live’ and let
the public know where they are, what they do and how they feel on Internet. On the other hand, people would also
gaming with the surveillance system in order to escape from the watcher and do what is consider as unacceptable by
the watcher. There are people who use Tor to avoid from being trace on Internet, to avoid from the biometric facial
recognition system, wearing a mask might also be a way to stay away from being recognised. Undefined is to reflect
how people play game with surveillance.
Artwork 1 Image:

2
3
Artwork 2 Title: Undefine-2
Artwork 2 Dimensions: 65 X 47 cm
Artwork 2 Medium: Marker on digital print
Artwork 2 Commentary: Seeing that human and technology become inseparable, Undefined is to reveal the change
of our behaviour when biometric facial recognition will be used in our daily lives. In face of surveillance everywhere
both physically and online, on one hand people would participate in this surveillance system and become active in
social media even enjoying it. It has become a kind of identity formation. People are happy to go ‘live’ and let
the public know where they are, what they do and how they feel on Internet. On the other hand, people would also
gaming with the surveillance system in order to escape from the watcher and do what is consider as unacceptable by
the watcher. There are people who use Tor to avoid from being trace on Internet, to avoid from the biometric facial
recognition system, wearing a mask might also be a way to stay away from being recognised. Undefined is to reflect
how people play game with surveillance.
Artwork 2 Image:

4
5
Artwork 3 Title: Undefine-3
Artwork 3 Dimensions: 65 X 47 cm
Artwork 3 Medium: Marker on digital print
Artwork 3 Commentary: Seeing that human and technology become inseparable, Undefined is to reveal the change
of our behaviour when biometric facial recognition will be used in our daily lives. In face of surveillance everywhere
both physically and online, on one hand people would participate in this surveillance system and become active in
social media even enjoying it. It has become a kind of identity formation. People are happy to go ‘live’ and let
the public know where they are, what they do and how they feel on Internet. On the other hand, people would also
gaming with the surveillance system in order to escape from the watcher and do what is consider as unacceptable by
the watcher. There are people who use Tor to avoid from being trace on Internet, to avoid from the biometric facial
recognition system, wearing a mask might also be a way to stay away from being recognised. Undefined is to reflect
how people play game with surveillance.
Artwork 3 Image:

6
7
Artwork 4 Title: Undefine-4
Artwork 4 Dimensions: 65 X 47 cm
Artwork 4 Medium: Marker on digital print
Artwork 4 Commentary: Seeing that human and technology become inseparable, Undefined is to reveal the change
of our behaviour when biometric facial recognition will be used in our daily lives. In face of surveillance everywhere
both physically and online, on one hand people would participate in this surveillance system and become active in
social media even enjoying it. It has become a kind of identity formation. People are happy to go ‘live’ and let
the public know where they are, what they do and how they feel on Internet. On the other hand, people would also
gaming with the surveillance system in order to escape from the watcher and do what is consider as unacceptable by
the watcher. There are people who use Tor to avoid from being trace on Internet, to avoid from the biometric facial
recognition system, wearing a mask might also be a way to stay away from being recognised. Undefined is to reflect
how people play game with surveillance.
Artwork 4 Image:

8
9
Artwork 5 Title: All in Loop
Artwork 5 Dimensions: 84X268cm
Artwork 5 Medium: digital print
Artwork 5 Commentary: Loop is to reflect how technology changes our behaviour and to question the freedom that
we have. Do we really have freedom in our lives? To elaborate the rationale behind this project, I would like to
mention search engine is one of the examples that our choice is being ‘arranged’ for us. It is not a free place
that we can search and see everything that we want to see, to me it is kind of pseudo-freedom that we thought we
are free to find everything available for us. Another factor that would influence our search result is how many people
have chosen the search result before. We are living in a loop that our choices are influenced by others and at the
same time our choices are affecting the people in the future.

I have started recording the Google trend result on a daily basis for 6 months. I draw the most popular search key
word on the search result that I screen capped everyday to prepare my artwork.

This is to experience that we are in the loop of influencing each result and to raise this question to audience.

Artwork 5 Image:

10
11
Catalogue5 ID0079
Artist ID: 0079

Artist Name: Patricia De Isidoro Martin


Website: www.patriciadeisidoro.com
IG: @patriciadeisidoro

Artist Statement: My artist/sculptural practice is based on an exploration of materials, to create evocative images of
intimate emotions and to represent poetic minuscule or infinite worlds.

I am fascinated about the inherent qualities of materials; the tectonic and textural aspects, and the intrinsic capacity
that they have to transform and create reactions between themselves when manipulated with different media
techniques.

My artwork is informed by my training as an architect. I work hands-on with tools as if I am ‘building’ the
sculptures, arranging the different parts until every element occupies it’s own place in space. The construction of
the space is also fundamental to most of my pieces.

The palette of materials that I use spans from delicate gold powder and brittle glass wax to broken fabrics, textured
earth pigments, concrete and resin.

Operating on a variety of scales, since childhood I have been fascinated by the notion of ‘craft’ in relation to
art and architecture. This theme runs throughout my projects, resulting in a permeable ‘synthesis of the arts’
which spans from concept design to realisation/detail.

My work uncovers the mystical aspect of life, exploring metaphysical concepts such as the duali between physical
and spiritual existence. In an attempt to reveal life in its barest form, my art captures the vital force of nature,
hoping to evoke powerful feelings and inspire a deeper connection with the observer by communicating the poetic
aspect of life through the act of storytelling.

Notes:

1
Artwork 1 Title: Rhizome
Artwork 1 Dimensions: 18x120x60
Artwork 1 Medium: Sculpture (concrete, gingko blob leaves, acrylic and black stone gravel)
Artwork 1 Commentary: On a grid-like format, Rhizome is composed of fifty dark-grey concrete cubes that create an
irregular landscape base. Covering it, delicate ginkgo biloba leaves and acrylic spires emerge from it, following the
same bi-directional orientation that the base. Each cube represents an individual entity in isolation, although
somewhere in the depths of the dark base, they remain connected. They appear separated, yet always linked to the
whole.
See more details on website:
http://patriciadeisidoro.com/projects/rhizome/

Artwork 1 Image:

2
3
Artwork 2 Title: In[Cube]
Artwork 2 Dimensions: 9x25x25
Artwork 2 Medium: Sculpture (wax and acrylic)
Artwork 2 Commentary: The sculpture In[Cube] consists of twenty-five cell units on a clear box. Each cell encloses a
small ‘embryo’ figure inside, isolated from the other ones. All ‘embryos’ appear the same at first look,
since all of them are casted from the same mould. However, there is a ‘golden seed’ inside each of them that
makes them unique.
It is a reflection about the uniqueness found into the repetitive multiplicity; it also speaks about isolation and
separation.
See more details on website:
http://patriciadeisidoro.com/projects/incube/

Artwork 2 Image:

4
5
Artwork 3 Title: Beyond Blue 02
Artwork 3 Dimensions: 70x50
Artwork 3 Medium: Printing (monoprint: ink and fabric)
Artwork 3 Commentary: Part of a series, Beyond Blue 02 searches the depth of the space within the surface of the
paper through different layers of textures. The same piece of fabric is inked and passed through a press several
times, generating an image of overlaid imprints on the paper.
See more details on website:
http://patriciadeisidoro.com/projects/beyond-blue/

Artwork 3 Image:

6
Artwork 4 Title: Icaro - Departure
Artwork 4 Dimensions: 70x60
Artwork 4 Medium: Mix-media (fabric, wax and pigments)
Artwork 4 Commentary: A fragile surface made of fabric is the support where a combination of burning melted wax
and earthy pigments are laid to generate an explosion of shapes and textures. The brief liquid aspect of the melted
wax allows some time for movement while solidifying. The final image that is left imprinted on to the fabric captures
the spontaneous movement of the process.
See more details on website:
http://patriciadeisidoro.com/projects/icaro/

Artwork 4 Image:

7
8
Artwork 5 Title: Con|Fine - Presence
Artwork 5 Dimensions: 15x15x15
Artwork 5 Medium: Sculpture (wax and acrylic)
Artwork 5 Commentary: This sculpture consists of a clear acrylic cube that contains and forms a boundary to
identical small shapes. They remain in a still position facing the same direction in the infinite space.
The lively and bright reflection on the surface of the wax generates a unique spark of life to each individual figure.
See more details on website:
http://patriciadeisidoro.com/projects/confine/

Artwork 5 Image:

9
Catalogue5 ID0080
Artist ID: 0080

Artist Name: Freny Green


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

Artist Statement: Freny Green is a figurative artist working directly from life predominantly in oil. Through repeat
and constant observation, re-questioning, re-looking and re-evaluating, each mark is the constant attempt to depict
onto a flat surface the truth of the real form. The presence of the figure and its emotional energy are channelled
onto the canvas. Space is a particular important theme as well as tone and each picture has been carefully
considered for its composition and design. Freny is a young artist in her artistic journey having only painted for three
years so is very much still experimenting with ways of seeing and depicting in an authentic way to her self.

Freny trained at The Heatherley School of Fine art and is a 2018 graduate of the Diploma in Portraiture.

Notes:

1
Artwork 1 Title: Four Faces
Artwork 1 Dimensions: 77x66x2cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Four Faces refers to the combination of objects each with their own 'face' who all face
outwards onto the horizon. An unusual collection of characters the viewer wonders why and how they are bought
together creating this intriguing picture.
Artwork 1 Image:

2
Artwork 2 Title: Blue and red Hugh
Artwork 2 Dimensions: 87x46x2cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: ‘Blue and red Hugh’ is a realisation of re-looking, re-working and re-evaluating the
subject and trying to depict the actual form onto a flat surface. The artist questioned and corrected herself as each
mark is made, never really getting to completion. Originally drawn on paper, the composition was then carefully
considered with the canvas being stretched specifically to the subject as the feeling of presence and the sitter’s
occupancy within that space is very important in the artist’s work. Playfulness of geometry and colour is also
explored.
Artwork 2 Image:

3
Artwork 3 Title: Robert and Nicole
Artwork 3 Dimensions: 77x122x2cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: The portrayal of ‘Robert and Nicole’ is after intense analysis of space and the
occupancy of the figures within. The picture is a realisation of re-looking, re-working and re-evaluating the subjects
and their relationship and trying to depict the actual form onto a flat surface. The artist questioned and corrected
herself as each mark is made, never really getting to completion. Tone and perspective are also evaluated and
hopefully the result is truthful, interesting and engaging.
Artwork 3 Image:

4
Artwork 4 Title: Heatherley's
Artwork 4 Dimensions: 66x82x2cm
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: Painted ‘contra jour’ from life, this figurative study explores the meaning of a portrait
– is a portrait still a portrait if the subjects are not clearly seen? Degas was an influence in this exercise as an artist
who frequently depicted this theme. Again, space and the presence of the figures within are investigated and a
limited palette is used to depict light and tone.
Artwork 4 Image:

5
Artwork 5 Title: A different view
Artwork 5 Dimensions: 92x61x2cm
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: ‘A different view’ is a dynamic composition between two sitters painted using vertical
brush strokes only. The result is a fragmented collage of block colour and an experimentation on the two figure
composition, exploring new approaches to a traditional subject.
Artwork 5 Image:

6
Catalogue5 ID0081
Artist ID: 0081

Artist Name: Daisy Harris-Burland


Website: www.daisyharrisburland.com
IG: @daisyharrisburland

Artist Statement: I specialise in the design and creation of wearable art- bespoke couture gowns made entirely from
recycled materials. Each piece is hand crafted and brings new life and beauty to materials that might otherwise be
thrown away. They can be exhibited on the mannequin as a 'sculpture’, worn on the catwalk to create a show
stopping headliner, or photographed to create striking pictures sometimes even sardonic posters highlighting todays
throwaway society.

When I’m working with my hands, that’s my happy place, that’s where I can breath… My calm. I’m
obsessed with what I do and I believe in it. The technical process involves me working straight onto the mannequin.
The shape and silhouette of the dress come together as the build progresses. I rarely draw a design; and have no
idea what the end result will look like when I first start. Its all about how a material folds/bends/tears, seeing what
works and what doesn’t. It’s addictive and anarchic, instinctive almost.

The constant challenge is turning three-dimensional materials into something beautiful and wearable without
losing the origins of the source. I believe anything is possible with any material, you just have to push it to the
absolute limits. This means trying things that have never been done before and finding a way to make it work. It’s
beautifully chaotic, from start to finish.

I see rubbish as more than a nuisance. it is an abundant material of which I will to create intricate, precise,
stunning, wearable pieces of art.

Notes:

1
Artwork 1 Title: cardboard queen
Artwork 1 Dimensions: 60x60x60
Artwork 1 Medium: sculpture
Artwork 1 Commentary: A wearable art piece made entirely from 100% recyclable and locally sourced materials. The
bottom consists of over 200 loo rolls and poster kitchen roll tubes, with a woven cardboard lattice breast plate. The
sides of the bodice have been created from meters of intricately pleated brown paper.

The creation comes as a sculpture on a mannequin bust. however works best when displayed with an image of
someone wearing the dress together.

Artwork 1 Image:

2
3
Artwork 2 Title: Handle with care
Artwork 2 Dimensions: 84x95x95
Artwork 2 Medium: Photograph
Artwork 2 Commentary: The image highlights the world’s consumption patterns exponentially increasing. The
dress is made entirely from packaging materials with the FRAGILE tape drawing light to the detriment our fast paced
consumerism is casting on the planet. I believe in sustaining the Earth’s prosperity and have pushed to create
awareness around the subject by fostering more sustainable practices. Creating art out of things that other people
may deem as rubbish.

This is of course an image, however the creation also comes as a sculpture on a mannequin bust and work best when
displayed together. Oh by the way the dimensions I have given are of the piece not the photograph... that can be any
size. hope that makes sense!
Artwork 2 Image:

4
5
Artwork 3 Title: Cereal Killer
Artwork 3 Dimensions: 70x100x40
Artwork 3 Medium: Photograph
Artwork 3 Commentary: Cereal killer is a bespoke dress hand crafted, bringing new life and beauty to materials that
might otherwise be thrown away. We go through 1000s of cereal and food packaging a year and this picture
highlights that rubbish can be more than a nuisance. it is an abundant material of which I will to create intricate,
precise, stunning, wearable pieces of art.

This is of course an image, however the creation also comes as a sculpture on a mannequin bust and work best when
displayed together. Oh by the way the dimensions I have given are of the piece not the photograph... that can be any
size. hope that makes sense!
Artwork 3 Image:

6
7
Artwork 4 Title: Simply complicated
Artwork 4 Dimensions: 60x60x60
Artwork 4 Medium: sculpture
Artwork 4 Commentary: As simple as black and white...A wearable art piece made entirely from 100% recyclable and
locally sourced materials. This structured optical illusion is formed from individual 3D boxes interlinked with each
other. Out of chaos comes order with no endings and no beginnings.

The creation comes as a sculpture on a mannequin bust. however works best when displayed with an image of
someone wearing the dress together.
Artwork 4 Image:

8
Artwork 5 Title: Plenty of Brexit
Artwork 5 Dimensions: 100x60x60
Artwork 5 Medium: sculpture
Artwork 5 Commentary: A wearable art piece made entirely from 100% recyclable materials. Formed from over 40
rolls of discarded 'Plenty' kitchen roll. Whether you are a remainer or a leaver, Brexit is a croc of S**T and this dress
signifies the throw away society we have all created. You can attempt to wipe away the mess, with paper towels, or
you can wear them. Red, white and blue has never seemed so apposite just now.

The creation comes as a sculpture on a mannequin bust. But work best when displayed with pictures of the dress
being worn.

Artwork 5 Image:

9
10
Catalogue5 ID0082
Artist ID: 0082

Artist Name: Johannah Muriel


Website: www.johannahmuriel.com
IG: @johannahmuriel

Artist Statement: Johannah Muriel is a Hackney-based artist and printmaker. Her mixed-media studies are concerned
with paint and colour forming organically as paper emerges through the printing press. Johannah’s prints are the
result of instinctive reactions to mainly natural references- inspiration taken from nature, everyday life or beauty
found in decaying objects discarded by others. Works document the unpremeditated journey of oil paint as
impulsive mark making hits the paper.

Detailed hand-embroidery manifests on paper into organic forms- it’s delicate application working in deliberate
contrast to the prints’ spontaneity of colour and abstract shape formations.

Notes:

1
Artwork 1 Title: Whoa!
Artwork 1 Dimensions: 42 x 30 x 0CM
Artwork 1 Medium: Original mixed-media monotype on paper. Hand-embroidery, oil paint, fabric dye, pencil &
varnish.
Artwork 1 Commentary: Whoa! Is an abstract landscape, representing life and colour as it explodes in the changing
seasons. A variety of tools have been used to create texture in the multiple layers of oil paint and varnish, whilst
delicate hand-embroidery and areas of woven thread have been carefully stitched into place to contrast the
artwork’s immediate spontaneity, intriguing the viewer to explore the piece further.
Artwork 1 Image:

2
Artwork 2 Title: Spill
Artwork 2 Dimensions: 42 x 30 x 0CM
Artwork 2 Medium: Original mixed-media monotype on paper. Hand-embroidery, oil paint, fabric dye & varnish.
Artwork 2 Commentary: Spill is a mixed-media, abstract study of the Universe. Multiple layers of monotype create
depth in the background, whilst rich, dark areas of scratched oil paint, fabric dye and varnish in the foreground
create contrast and spontaneity. The intricate embroidery juxtaposes organic mark-making, representing the
explosive nature and infinite complexity of Space.
Artwork 2 Image:

3
Artwork 3 Title: Purple Rain
Artwork 3 Dimensions: 42 x 30 x 0CM
Artwork 3 Medium: Original mixed-media monotype on paper. Hand-embroidery, oil paint, pencil & varnish.
Artwork 3 Commentary: In this piece, subtle background layers of soft grey and lilac monotyping produce bursts of
violent, unpredictable clouds. In the foreground, deeper tones of purple and green oil paint have been scratched
into, replicating rushes and reeds trying to weather the storm. Multiple hand-embroidered stitches, running off the
page, represent a gale that cannot be confined.
Artwork 3 Image:

4
Artwork 4 Title: Chill
Artwork 4 Dimensions: 42 x 30 x 0CM
Artwork 4 Medium: Original mixed-media monotype on paper. Hand-embroidery, oil paint, fabric dye, pencil &
varnish.
Artwork 4 Commentary: Chill represents an icy riverbank in winter. The long, relaxed threads and twists of nylon,
cast shadows onto the paper and contrast the finer stitches and tree impressions which line the bank. Tiny flecks of
silver thread highlight the water’s reflection, whilst loose marks work their way down the river and draw the eye
into the foreground.
Artwork 4 Image:

5
Artwork 5 Title: Spring
Artwork 5 Dimensions: 42 x 30 x 0CM
Artwork 5 Medium: Original mixed-media monotype on paper. Hand-embroidery, oil paint, fabric dye, pencil &
varnish.
Artwork 5 Commentary: Spring is an abstract landscape, interpreting nature as it leaps forward into spring. Tiny
knots of hand embroidery and running stitches represent exploding foliage- their delicate application, working in
contrast to the abstract marks and spontaneous shapes, as the oil squeezes through the press to create layers of
texture.
Artwork 5 Image:

6
Catalogue5 ID0083
Artist ID: 0083

Artist Name: Mingzhang Sun


Website: www.mingzhangsun.com
IG: mingzhangsunofficial

Artist Statement: I have never really forgotten about the moment when I was seven that I painted my little rabbit for
the first time. It was a red-eyed rabbit, small, and cute, and I created it with just some paint and my memory. That
was the day I understood that I could make people understand me through paint.

As a very sensitive Chinese boy, I was sometimes violently taught to always hide my emotions and to never cry. This
progressive caging of my soul left me feeling hollow and empty. But then I discovered the freedom of the canvas.
What I was not allowed to express in laughter or tears I could express with paint. Emotions that I could not find
words to adequately describe I could show with paint.

Painting is my native language. It is the only way that I can communicate with complete honesty. And with complete
honesty is the only way that I paint.

Notes:

1
Artwork 1 Title: Lotus Thief
Artwork 1 Dimensions: 120cm*90cm*4cm
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: I had a lovely adventure when I was around 10. It was the hot summer day that I and my
cousin went for a really long journey for a lotus farm. It was only we got there we found that we have walk nearly
out of the city.

If you ever walk pass by a lotus farm you would definitely remember the fresh sweet cold smell like magic wind
diffused under the hot weather, the flower was way more fragile than I can describe, if there is frogs, fishes and
snakes in the water, you will be so lucky to see them killing each other.

The only water drop would shine under the sunshine gently wave with the wind on the big lotus leaves, and it smells
sweet.

Lotus always know that kids love to pick them up so they grow very fuzzy surface to make our skin itchy. After the
flower got stolen and there won’t be any seed from that root. the lotus farmer must hate that little thief a lot.
Artwork 1 Image:

2
3
Artwork 2 Title: Eating Lotus
Artwork 2 Dimensions: 120cm*90cm*4cm
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: How does it feel to went through your puberty? I do feel it was a bit salty, and there were
few unhappy things did happen and I am sure it affects some of my thinkings as well. when I slow down my steps
and started to call back all of the memories and tried to find the hint of me become me,

And I do notice there is always a bit filthy taste of the years discovering the world with a new sense through my
veins, and it was the time of shame and excitement, hate and joy all mixed into the drops of that explosion.

I got driven by my body and mood quite often after I discover the changed of my body. it is still happening, and I am
glad that something has not changed since the breakdown.
Artwork 2 Image:

4
5
Artwork 3 Title: A guy is having a bath
Artwork 3 Dimensions: 51cm*61cm*4cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: One day a guy was having a bath in this small room, and it was relaxed and joyful. The
sunlight was bright and warm. because no one else in the room so he can hear the water leaking somewhere in the
room. so he was checking all over his body, but nothing really that he found special. He has lovely hands, which
makes him able to feel the colours of the surroundings.
Artwork 3 Image:

6
Artwork 4 Title: A worrying guy
Artwork 4 Dimensions: 40cm*50cm
Artwork 4 Medium: Oil on canvasboard
Artwork 4 Commentary: A guy who is just worrying about what to do next, when there is too many things need to
make decisions and all of them seems big enough to hit the small world. I believe that will be the moment that he
would forgive and be less mean to himself.
Artwork 4 Image:

7
Artwork 5 Title: Curiousness
Artwork 5 Dimensions: 40cm*50cm
Artwork 5 Medium: Oil on Canvasboard
Artwork 5 Commentary: Those two people are curious about what is happening in it, they spent quite a long time
watching, listening and feeling the scenes changing. I don't think they are waiting for anything, instead, they might
join in, and it would be a lovely time.
Artwork 5 Image:

8
Catalogue5 ID0084
Artist ID: 0084

Artist Name: Day Bowman


Website: www.daybowman.com
IG: daybowmanartist

Artist Statement: Tearing up the Rule Book is a an exhibition of new paintings by Day Bowman whose large scale
canvases echo the marks, lines and shapes that she and her brother made as children in the wet grey sand of their
hometown beach.
Growing up in a holiday destination, small seaside town the artist recognises that her work has frequently
referenced the sea, the beach and the littoral and, from an early age, was acutely aware of the life of the seasons
with the tsunami of summer visitors followed by the closed-up, out-of-season, winter months.
In this current series of paintings she sees these works as squaring the circle of her life and reaffirming her sense of
play along with a deep questioning of the notion of place, identity and belonging in present Britain.

Notes:

1
Artwork 1 Title: Holiday Destination 3
Artwork 1 Dimensions: 152 x 168 x 4 cm
Artwork 1 Medium: oil, charcoal and conte on canvas
Artwork 1 Commentary: Tearing up the Rule Book is a an exhibition of new paintings by Day Bowman whose large
scale canvases echo the marks, lines and shapes that she and her brother made as children in the wet grey sand of
their hometown beach.
Growing up in a holiday destination, small seaside town the artist recognises that her work has frequently
referenced the sea, the beach and the littoral and, from an early age, was acutely aware of the life of the seasons
with the tsunami of summer visitors followed by the closed-up, out-of-season, winter months.
In this current series of paintings she sees these works as squaring the circle of her life and reaffirming her sense of
play along with a deep questioning of the notion of place, identity and belonging in present Britain.

Artwork 1 Image:

2
3
Artwork 2 Title: HOliday Destination 2
Artwork 2 Dimensions: 152 x 168 x 4 cm
Artwork 2 Medium: oil, charcoal and conte on canvas
Artwork 2 Commentary: Tearing up the Rule Book is a an exhibition of new paintings by Day Bowman whose large
scale canvases echo the marks, lines and shapes that she and her brother made as children in the wet grey sand of
their hometown beach.
Growing up in a holiday destination, small seaside town the artist recognises that her work has frequently
referenced the sea, the beach and the littoral and, from an early age, was acutely aware of the life of the seasons
with the tsunami of summer visitors followed by the closed-up, out-of-season, winter months.
In this current series of paintings she sees these works as squaring the circle of her life and reaffirming her sense of
play along with a deep questioning of the notion of place, identity and belonging in present Britain.

Artwork 2 Image:

4
5
Artwork 3 Title: Flood and Ebb 2
Artwork 3 Dimensions: 45 x 50 x 3 cm
Artwork 3 Medium: oil and charcoal on canvas
Artwork 3 Commentary: Tearing up the Rule Book is a an exhibition of new paintings by Day Bowman whose large
scale canvases echo the marks, lines and shapes that she and her brother made as children in the wet grey sand of
their hometown beach.
Growing up in a holiday destination, small seaside town the artist recognises that her work has frequently
referenced the sea, the beach and the littoral and, from an early age, was acutely aware of the life of the seasons
with the tsunami of summer visitors followed by the closed-up, out-of-season, winter months.
In this current series of paintings she sees these works as squaring the circle of her life and reaffirming her sense of
play along with a deep questioning of the notion of place, identity and belonging in present Britain.

Artwork 3 Image:

6
7
Artwork 4 Title: Flood and Ebb 3
Artwork 4 Dimensions: 45 x 50 x 3 cm
Artwork 4 Medium: oil and charcoal on canvas
Artwork 4 Commentary: Tearing up the Rule Book is a an exhibition of new paintings by Day Bowman whose large
scale canvases echo the marks, lines and shapes that she and her brother made as children in the wet grey sand of
their hometown beach.
Growing up in a holiday destination, small seaside town the artist recognises that her work has frequently
referenced the sea, the beach and the littoral and, from an early age, was acutely aware of the life of the seasons
with the tsunami of summer visitors followed by the closed-up, out-of-season, winter months.
In this current series of paintings she sees these works as squaring the circle of her life and reaffirming her sense of
play along with a deep questioning of the notion of place, identity and belonging in present Britain.

Artwork 4 Image:

8
9
Artwork 5 Title: Flood and Ebb 5
Artwork 5 Dimensions: 45 x 50 x 3 cm
Artwork 5 Medium: oil and charcoal on canvas
Artwork 5 Commentary: Tearing up the Rule Book is a an exhibition of new paintings by Day Bowman whose large
scale canvases echo the marks, lines and shapes that she and her brother made as children in the wet grey sand of
their hometown beach.
Growing up in a holiday destination, small seaside town the artist recognises that her work has frequently
referenced the sea, the beach and the littoral and, from an early age, was acutely aware of the life of the seasons
with the tsunami of summer visitors followed by the closed-up, out-of-season, winter months.
In this current series of paintings she sees these works as squaring the circle of her life and reaffirming her sense of
play along with a deep questioning of the notion of place, identity and belonging in present Britain.

Artwork 5 Image:

10
11
Catalogue5 ID0085
Artist ID: 0085

Artist Name: Natalia Lewandowska


Website: www.natalialewandowska.co.uk
IG: @natalia.lewandowska.art

Artist Statement: Through art direction and multidisciplinary design I would like to capture the idea of life without
stereotypes. It seems like a straightforward direction, yet it is almost impossible to achieve considering a global need
for a desirable lifestyle. My art methodology investigates a subconscious mind influenced by stereotypes,
behavioural change theories and an impact of current political system on a general public.

My creative process unravels science behind creativity and social factors that influences mental health. Neurologists
at Harvard Extension School compared the conscious state of the human brain during sleep with delirium, which
proves that dreams, hallucinations and imagination are all connected by similar neurological states of human
consciousness.
Theories like this support my ability to portray how subconscious desires depicts enduring addictions of modern
society.

My latest artworks are influenced by personal stories from women who have experienced an emotionally abusive
relationships. Most people acknowledge domestic violence and tend to underestimate the emotional abuse which,
as a matter of fact, is more psychologically harmful than physical one. Through my mixed media collages I would like
to raise awareness of the complexity of psychological scars and introduce survivors who deserve to have a voice.

Notes:

1
Artwork 1 Title: Mrs Klaudia
Artwork 1 Dimensions: 30cm x 20cm x 1cm
Artwork 1 Medium: Mixed media / collage
Artwork 1 Commentary: Mindset of an opera singer Mrs Klaudia
"Now I can travel. My stories, my scars, my hair…"
Artwork 1 Image:

2
Artwork 2 Title: Mrs K.
Artwork 2 Dimensions: 30cm x 20cm x 1cm
Artwork 2 Medium: Mixed media / collage
Artwork 2 Commentary: Mindset of Mrs K.
"Now I can feel joy inside me.―
Artwork 2 Image:

3
Artwork 3 Title: Herself
Artwork 3 Dimensions: 30cm x 23cm x 1cm
Artwork 3 Medium: Mixed media / collage
Artwork 3 Commentary: Mindset of Miss H.
"I am myself again"
Artwork 3 Image:

4
Artwork 4 Title: Filaments
Artwork 4 Dimensions: 20cm x 23cm x 1cm
Artwork 4 Medium: Mixed media / collage
Artwork 4 Commentary: Mindset of Miss F.
"There is no void inside me anymore"
Artwork 4 Image:

5
Artwork 5 Title: About the Universe
Artwork 5 Dimensions: 19cm x 17cm x 1cm
Artwork 5 Medium: Mixed media / collage
Artwork 5 Commentary: Mindset of Miss A.
"I feel the universe inside me"
Artwork 5 Image:

6
Catalogue5 ID0086
Artist ID: 0086

Artist Name: Nadia Shaukat


Website: https://www.nadiashaukat.com
IG: https://www.instagram.com/nadia.shaukat/

Artist Statement: Born in Lahore I have always shown an aptitude for drawing. I was lucky to go to an art college;
National College of Arts was founded by the British in1875 that proved to be the first Modern Art College of
Pakistan. The college had a vast curriculum in art, design, sculpture, architecture, print making, photography and
miniature painting. My first 3 years of college were spent in this fluid process of learning and have always assisted
the exploration and expression of my ideas in my work.

While I was studying I explored many materials and mediums which include, oils, inks, crayons, pastels and
watercolours, etc., I have always carried on the practice of combining all or some in my works.
I do not follow a particular style which is always evolving. I am often interested in the life as I am living it. My
surroundings and my everyday mundane living, the imagery is derived from these visual observations. The ordinary
and mundane appeals and inspires me and the imagery is derived from these visual sources.

Through my art books I fell in love with Impressionism and post Impressionism which continue to divergently inform
my mark-making. Pure, unblended and bright colours emphasise and gives the impressionistic effect of light and the
loose brushworks I use in circular forms gives an effect of spontaneity and effortlessness and masks often carefully
constructed compositions.

Notes:

1
Artwork 1 Title: Circles of Reason
Artwork 1 Dimensions: 21cm x 21cm
Artwork 1 Medium: watercolour on cotton rag paper
Artwork 1 Commentary: I have always been attracted towards the luminosity and light therefore i have used the
watercolour, which is a luminous medium and the circles in this work are different lights, illuminating.
Artwork 1 Image:

2
Artwork 2 Title: Perpetual Pleasure
Artwork 2 Dimensions: 57cm x 76cm
Artwork 2 Medium: Watercolour on cotton rag paper
Artwork 2 Commentary: This work is one on the same series I made on the subject of Light and luminosity. Being a
city dweller almost all my life, I feel i am often overwhelmed by these lights especially in the cities at the night time.
The repetitive nature of the day and night as well as the repetitiveness in which I lead my life, I think I tried to
capture in this work, the circles that are overlapping and are repetitive. I used different colours, hues and tones as I
observe them while I see them on the streets coming from all sources, the street lights, restaurants, the traffic as
well as the stars above me.
Artwork 2 Image:

3
Artwork 3 Title: Vision and Reality
Artwork 3 Dimensions: 57cm x 76cm
Artwork 3 Medium: Acrylic on cotton rag paper
Artwork 3 Commentary: Vision and reality stands between the threshold of observation and perception, between
actuality and imagination, between order and chaos. Sensitive divisions of tones and shades leads into a pictorial
manifestation of our memory of being in nature, may that be a garden, a meadow, a field or a forest or simply street
lights, the reality of our modern day living.

Artwork 3 Image:

4
Artwork 4 Title: In the Garden of Painterly Delight
Artwork 4 Dimensions: 57cm x 76cm
Artwork 4 Medium: watercolour, colour pencils and graphite on paper
Artwork 4 Commentary: The work invokes the sense of freedom our imagination enjoys and practice. The forms
refer to body, plants, geometry and the act of mark making, all that reveal different facets of a human existence.

Artwork 4 Image:

5
Artwork 5 Title: Life Like
Artwork 5 Dimensions: 40cm x 30cm
Artwork 5 Medium: watercolour and pencil on paper
Artwork 5 Commentary: Life Like addresses the link between nature and culture, between softness of touch and
hardness of metal. It revolves around domestic situation yet transforming it into poetic, painterly and personal
narrative.

Artwork 5 Image:

6
Catalogue5 ID0087
Artist ID: 0087

Artist Name: Selina Mayer


Website: www.selinamayer.com
IG: instagram.com/selinkamayer

Artist Statement: I am a visual artist working primarily with analogue photography. I also make and bind my own
photobooks, as well as intermittently working with mixed-media print making.
I began taking photographs of naked people with the intention of exploring a subject that has been prominent
throughout art history (namely, the nude human figure), but from an uncommon perspective. The vast majority of
nude figures depicted in art are female; most of artists who have made these works are men (especially straight
men). Most of the people I work with are part of a small but vibrant global community of travelling artists models
and artists who don’t conform to ‘the norm’, and being queer, female as well as periodically working as a
nude model myself means that I am their contemporary as well as their collaborator. This allows me an immediate
level of familiarity and intimacy with my subjects that other (typically male) artists aren’t privy to. I make nude
portraits, tired of the endless stream of nude female figures bereft of identity, and being able to connect with the
people I work with in this way makes the resultant portraits more genuine.
My medium of choice is black and white film, processed and printed by hand. The final prints are unairbrushed, with
stray processing artefacts left intact, drawing attention to the tactile and physical qualities of the prints themselves
as well as the subjects within; a counterpoint to the incorporeal and ephemeral, overly photoshopped photography
that surrounds us every day.

Notes:

1
Artwork 1 Title: The Forest (Ali & Devin)
Artwork 1 Dimensions: 55x45x1
Artwork 1 Medium: Silver gelatin photographic print
Artwork 1 Commentary: Ali & Devin, a pair of American queer, sex-positive leatherworkers and analogue
photographers who passed through London whilst travelling Europe in the summer of 2017. Part of my ongoing
series ‘The Forest’, the images of which have all been taken in Epping Forest on the eastern outskirts of
London. The series contrasts the traditional imagery of nude figures in nature with contemporary subjects.
Artwork 1 Image:

2
Artwork 2 Title: Cam in Maryland
Artwork 2 Dimensions: 55x45x1
Artwork 2 Medium: Silver gelatin photographic print
Artwork 2 Commentary: Model, photographer, adult performer and shibari rigger Cam Damage, in the room
adjacent to her rope studio in her house in Baltimore. Part of my ongoing series Some American Women, which
began in 2014 when I spent six weeks roadtripping across USA with American traveling art model Roarie Yum. This
was taken during my second trip pursuing this project in the summer of 2016.
Artwork 2 Image:

3
Artwork 3 Title: The Forest (Dovile)
Artwork 3 Dimensions: 55x45x1
Artwork 3 Medium: Silver gelatin photographic print
Artwork 3 Commentary: Lithuanian art and erotic model Dovile Paris, who briefly passed through London in the
summer of 2018. Part of my ongoing series ‘The Forest’, the images of which have all been taken in Epping
Forest on the eastern outskirts of London. The series contrasts the traditional imagery of nude figures in nature with
contemporary subjects.
Artwork 3 Image:

4
Artwork 4 Title: Jessa in Philadelphia
Artwork 4 Dimensions: 55x45x1
Artwork 4 Medium: Silver gelatin photographic print
Artwork 4 Commentary: Model, writer, sex worker and t-shirt company Brown Girl Party’s founder Jessa Jordan,
photographed in her apartment in Philadelphia. Part of my ongoing series Some American Women, which began in
2014 when I spent six weeks roadtripping across USA with American traveling art model Roarie Yum. This was taken
during my second trip pursuing this project in the summer of 2016.
Artwork 4 Image:

5
Artwork 5 Title: The Forest (Rose)
Artwork 5 Dimensions: 55x45x1
Artwork 5 Medium: Silver gelatin photographic print
Artwork 5 Commentary: American analogue photographer and model Rose McKenzie, who spent several months
travelling Europe in the autumn of 2017. Part of my ongoing series ‘The Forest’, the images of which have all
been taken in Epping Forest on the eastern outskirts of London. The series contrasts the traditional imagery of nude
figures in nature with contemporary subjects.
Artwork 5 Image:

6
Catalogue5 ID0088
Artist ID: 0088

Artist Name: Agnes Bruck


Website: www.agnesbruck.com
IG: https://instagram.com/aggybees

Artist Statement: I am a self taught artist and am not or ever have been represented by a gallery .I have been
selected for art prize exhibitions and that has encouraged me to pursue a career in art. I have explored every
available medium and method including house paint, soil, coffee ,assemblage , water colour and oil paint. I have
painted in earnest for 6 years having previously worked as a lawyer. I think it is only in the last year that I have found
a painting style that is truly my own and I am excited to tell more stories in paint in the future.

Notes:

1
Artwork 1 Title: Hot Pink Frangipanis On A Starry Night
Artwork 1 Dimensions: 135cm x 135cm
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: This painting is a true embodiment of my new found style. I paint quickly. Using raw colours
straight from the tin. I do not use thinnesr. I apply the paint thickly with minimal mixing. I apply colours so that they
contrast and resonate against each other. I am also interested in showing narrative and expressionism in my
painting. This is a self portrait . I often sketch at night in my room. Painting the night is another new found passion in
my work. The night is romantic and holds so much promise .Particularly a summers night in the Beach side suburb
where I live in Sydney.
Artwork 1 Image:

2
Artwork 2 Title: The Last Paradise
Artwork 2 Dimensions: 40cm x 40cm
Artwork 2 Medium: Oil on Canvas.
Artwork 2 Commentary: This painting is a testament to all the places of natural beauty and wilderness I love in
Australia. I fear for the continued destruction of these most sacred and unimaginably beautiful places on our earth.
Again this is painted in my new found style. No thinner and very little mixing. I often use the end of the paint brush
or a spoon to apply the paint. I want to keep a rawness to my work.
Artwork 2 Image:

3
Artwork 3 Title: Misplaced People.
Artwork 3 Dimensions: 160cm x 160cm
Artwork 3 Medium: Charcoal and oxide on paper
Artwork 3 Commentary: This work is my response to the refugee crisis. I wanted to embody each figure with soul so
as to inspire empathy in the viewer .Drawing and creativity in general is a visceral process for me. I am not
particularly drawn to traditional drawings or works that are just a slavish facsimile of a photograph. I hope to achieve
the expressive and instinctive in my work and it's what I admire in the works of others .I am an autodidact but have
drawn from a very young age. My early drawings as a child were honest attempts and observations from the life
around me. I had a pencil a sharpener a rubber and a sketchbook and I drew a lot. My hands my family. Make
believe. Drawing was my first love in art.
Artwork 3 Image:

4
5
Artwork 4 Title: Beauty In Old Age.
Artwork 4 Dimensions: 50cm x 50cm
Artwork 4 Medium: Oil on canvas.
Artwork 4 Commentary: This painting is a study of my dear friend and artistic mentor. It is also an example of my
new found style. I scrape the paint on with the side of the brush and keep mixing to a minimum. I like the pops of
bright undiluted oil colour that remind me of the wonderful colours and textures in the skin of an elderly person.
Olive green, violet, crimson, alazarin, pthalo green . They are all there under the skins surface.
Artwork 4 Image:

6
Artwork 5 Title: Self Portrait of Landscapes
Artwork 5 Dimensions: 142cm x 106cm or greaqter
Artwork 5 Medium: digital and traditional art.
Artwork 5 Commentary: I am self taught in Photoshop. It is an extraordinary tool. Whilst my main art practice is
using traditional mediums such as oil paint, ink and pencil on canvas or paper. I am excited by the power of digital
technology and its potential to interact with traditional mediums. This work is a self portrait , painted using a digital
combination of a number of my oil paintings, both portraits and landscapes. I used a Wacom screen and pen to
"paint" it. It would be best displayed on a high resolution screen.
Artwork 5 Image:

7
Catalogue5 ID0091
Artist ID: 0091

Artist Name: Annika Ancverina


Website: coming soon/work in progress
IG: @annika_art___ @blondetuesday @blondestreet

Artist Statement: My work explores the inter- relationship between psychological and physical presence, but in such
a way that the viewer becomes a participant, not a passive receiver. I try to promote this active engagement by
intentionally leaving the image, video and still, incomplete and open.
The collages present a space where the viewer may journey through glimpses of given visual moments enabling
interpretation from the viewer’s own memory associations as cultural associations. The works are open to
interpretation.
As a multidisciplinary artist, the two-dimensional work is important, because it informs the rest of the media, that I
work with -video/installation/performance and can easily be translated into 3d as a sculpture, since the objects
depicted in collages embody a very physical and textural presence.
These particular collages evoke delicate and dream-like qualities, made with thin paper and card, although I
sometimes use wood, steel, hair, perspex or other materials to show the materials’ contrasting characteristics.
Most of my work conveys a longing for solitude. There is a sense of someone walking into one’s personal space, a
play between the said and unsaid. The gaps and missing images relate to solitude and silence.
These are as much sound-scapes as dream-scapes, where one can experience the joy of being alone and silent,
daydreaming, reconnecting to a wilderness and source of being.
I am fascinated by fragilities of human existence, a quest for belonging with the sense of being in flux in relation to
the continuation of life.

Notes:
Vimeo: https://vimeo.com/user95191855/download/318449883/d3111135b0 Password:Hudson54,
https://vimeo.com/318448902 Password: Hudson54 MISSING FOR ARTWORK 5 in Manual Entrants

1
Artwork 1 Title: One Morning
Artwork 1 Dimensions: 42cm x 29.7cm x 0cm
Artwork 1 Medium: Collage / Mixed Media on Paper
Artwork 1 Commentary: Also available framed.
Artwork 1 Image:

2
Artwork 2 Title: Elegy
Artwork 2 Dimensions: 26.6cm x 24.4cm x 0cm
Artwork 2 Medium: Collage/ Mixed Media on Paper
Artwork 2 Commentary: Also available framed.
Artwork 2 Image:

3
Artwork 3 Title: Immersion
Artwork 3 Dimensions: 0
Artwork 3 Medium: New media/ Video/Performance/Installation
Artwork 3 Commentary: Duration: 4min (without the titles)
2013

Meant to be projected onto a wall so that is seen as an installation.

Vimeo:

https://vimeo.com/user95191855/download/318449883/d3111135b0

Password:Hudson54
Artwork 3 Image:

4
5
Artwork 4 Title: Revisiting (As Follows)
Artwork 4 Dimensions: 0
Artwork 4 Medium: New Media/Video/Installation
Artwork 4 Commentary: Duration : 4min 32sec
2013

Meant to be projected onto a wall so that it is seen as an installation.

Vimeo:

https://vimeo.com/318448902

Password: Hudson54
Artwork 4 Image:

6
7
Artwork 5 Title: We Are Going Around (In Circles)
Artwork 5 Dimensions: 0
Artwork 5 Medium: New Media/Video/Live Performance/Installation
Artwork 5 Commentary: Still from a Video/Live Performance/Installation

The piece is a live performance where the artist is standing as a background to the video that is projected onto her
body with a projector and the movie is moving clockwise in a circle.

Duration: May very since the film is on the loop.

Artist statement available.

Artwork 5 Image:

8
9
Catalogue5 ID0092
Artist ID: 0092

Artist Name: Deborah Davies


Website: www.dddavies.com
IG: https://www.instagram.com/dddaviesart/

Artist Statement:
My work is and ongoing process of questioning popular held narratives and meaning behind cultural icons and
offering up alternative narratives, exploring and questioning social and political environments. A career working first
as a private investigator and then as an undercover reporter and documentary film maker has informed my work
where I question power structures in a quest for transparency, knowledge and empowerment. I work mainly in
sculpture in a variety of materials. I reference open source design files, open source software and often collaborate
with others from a multitude of disciplines. My work is about communities and society and their input can often
change the state of the work with many of my pieces being interactive, or at the very least based on data and
conversations that I have pulled into the work.

Notes:

1
Artwork 1 Title: When Things Come Apart
Artwork 1 Dimensions: various but largest 8400x400x400
Artwork 1 Medium: Construction timber, screws
Artwork 1 Commentary: When Things Come Apart depicts the Statue of Liberty. The aim of the work is to show the
demise of liberty and freedoms across the world and this is achieved by never showing it fully constructed. The
statue became an icon of freedom in the United States, but was actually a gift from the French. Impressed by
America’s Union’s victory in the Civil War in 1865 and the abolition of slavery, the gesture was an attempt on
behalf of Laboulaye's to inspire and encourage the people of France to call for their own democracy in the face of a
repressive monarchy. The statue became a welcoming sight to immigrants arriving from abroad, this statue throws
into questions if that welcome is still applicable. Originally a matchstick kit it also references the history of
matchstick art that is commonly practiced by those in prison, building on the idea of loss and liberty, each matchstick
replaced with a length of 2―x 2― timber.

When constructed to stand at full height When Things Come Apart measures 8.4 meters tall but with various glued
and screws panels removed, trailing along the floor in wall-like structure. Another configuration sees it de-capitated,
captured as a falling mass, the work responding to the space it is exhibited in, therefore, it is a site-specific piece. I
am happy to work within any space given, should this piece be selected. The photo attached shows a couple of
configurations of install.

Artwork 1 Image:

2
3
Artwork 2 Title: Fuck Love
Artwork 2 Dimensions: Each mirror is 75x75x45 there are two mirrors
Artwork 2 Medium: Mirror, leds, acrylic, microcontroller
Artwork 2 Commentary: Fuck Love is an interactive sculpture that decides whether you should Fuck, or Love, or Fuck
Love. The sculpture comprises of two heart-shaped infinity mirrors, one showing the word “fuck― and other
the word “love―. A ‘game’ played by two people who activate the system by connecting hands on a
console. When connected, the heart lights flash, pattern spin, and colours collide, working through the combinations
of love and fuck. Eventually the machine settles on one of three possible verdicts questioning our own
understanding of what it is to love playing with the meaning of the words. My ambition is to exhibit it in a gallery
space at night where it is viewable from the street. The interface works like a touch screen on a smart phone (
capacitance )and so could be attached to the window so people could play at night without even coming into the
gallery space.

Artwork 2 Image:

4
5
Artwork 3 Title: Ammunition
Artwork 3 Dimensions: 70x194x251
Artwork 3 Medium: wood, vinyl
Artwork 3 Commentary: The oversized packaging of an empty box of bullets lays slumped on the floor like a dead
body. The scale reflects the size and depth of the problem, the marketing text on the box replaced with a true story
of a death by suicide with a gun.
Artwork 3 Image:

6
Artwork 4 Title: DickTators En Masse
Artwork 4 Dimensions: various: 200x 150x150 but can be smaller as site specific
Artwork 4 Medium: Multimedia
Artwork 4 Commentary: DickTators En Masse is an installation showing a production line of felt fabric effigies of
Donald Trump. Piles of hand-made effigies of the ‘orange one’ in various stages of completion serve to show
the surge in “authoritarian, xenophobic, far-right politics – from Marine Le Pen in the France, to the UK
Independence Party, to Narendra Modi in India and their counterparts... threatening to take power around the
world..― N. Klein. (Book: No Is Not Enough). This installation shows an ongoing production of dictators that spans
history, the work referencing a long tradition of satirizing political figures. #DicktatorDon is a figure for ridicule,
dressed in Y-fronts with his long tie, jack boots and pale sunbed circles under his eyes. And yet, power is restored to
those who hold a pin, as #DicktatorDon is an interactive modern-day equivalent of a voodoo doll, stab him in the Y-
Fronts and his eyes light up completing the feedback loop. He has been posted out to people globally who request
one, so their interaction with him makes up part of this installation.

Artwork 4 Image:

7
8
Artwork 5 Title: Faded Glory and A New Union
Artwork 5 Dimensions: 94x28x153 each and there are two of them
Artwork 5 Medium: fabric, micro-controller, wood, data
Artwork 5 Commentary: Faded Glory and A New Union are two sculptures that can be shown individually or as a
pair. These pieces combine both the digital with the analogue both with respect to materials and processes. The
American flag (Faded Glory) and the Union Jack (A New Union) are etched onto silk fabric using a traditional textile
technique called devoré. A third flag is present in these pieces, with the white, red blue stripes of the Russian flag
emerging behind both the USA and the UK flag as an array of LEDS light up in response to conversations outside the
gallery setting. Running a sentiment algorithm looking for conversations pertaining to the Russian involvement in the
USA presidential elections and Russian influence behind the Brexit vote, the Russian flag appears and retracts in real
time at varying speeds dependant on the volume of sentiment shown in the tweets

Artwork 5 Image:

9
10
Catalogue5 ID0093
Artist ID: 0093

Artist Name: Steve Urwin


Website: www.steveurwin.com
IG: https://www.instagram.com/steve_urwin_artwork/

Artist Statement: My Art education is in the form of peer learning, taking inspiration from my environment and
absorbing as many artists’ practices through attending previews, artist lectures, festivals and exhibitions. I find
studying other artists’ work empowering as well as an instant education.

MY ARTWORK
My artwork is highly textured with vibrancy and rhythmic elements. I use acrylic paint and inks, recycled glass and
resin in addition to acrylic Hi flow paints, gels and inks. This is dependent on my own personal creative endeavours.
My work is contemporary with expressive style.

I have been experimenting with paint and resin on canvas for over 7 years, trying to bring new and exciting
combinations to my work.
I am an original thinker with creative independence to stretch my own imagination and techniques. The work with
resin has enabled me to create totally unique and original dried flowers embedded into a resin pools on canvas for
clients as a wedding memory.
My own use of recycled windscreen glass has enabled me to drive my focus into further experimentation to bring all
my passions of light, texture and colour together. I would use the bursary to create far more ambitious silicone
moulds and also luminescent pigments and artwork, to capture resin and E L lighting and neon LED, combining light,
colour and texture. My intension is to create images for an outdoor environment that reflect and enhance my
contemporary and beautiful artwork. My canvas work is a starting point and has been the foundation with the
continued hard work using all my creative inventiveness.

DEVELOPING MY PRACTICE FOR HEALTH AND WELLBEING


I am currently in discussion with the Parks Trust to bring some resin art that would enable those with mobility and
mental disabilities, including Alzheimer’s disease, to recognise embedded objects and numbers that may
enhance their outside walks and experiences.
In the past I have worked as part of a team for Arts for Health Milton Keynes assisting the Alzheimer’s group
using art therapy. This experience has shown me the power of communication through art for those who would find
it distressing to have conversation, especially with non-family members.
Art has been scientifically proven to enhance our mind, spirit and soul.

It is said that by looking at an artwork you are particularly fond endorphins are released in our brain bringing a sense
of well-being and an enhanced experience. My desire is that when people focus on my artwork, they too will feel all
those emotive responses and more.

Notes:

1
Artwork 1 Title: Ice Circle
Artwork 1 Dimensions: 30.48
Artwork 1 Medium: Open white frame recycled glass ,glass frits, resin and acrylic ink and paints
Artwork 1 Commentary: A fascination with textures and glass reflections has led me to produce a series of artworks
that embrace several elements into a unity of wonder.
I love the melding and separation of the colours in this piece.Some of the processes are planned however, I do
allow the colours to decide their direction and flow.
The art work has an ability, with external lighting, to show more and more variations.

The artwork has been affixed in a white wooden frame without glass
Artwork 1 Image:

2
3
Artwork 2 Title: Crystal Moon
Artwork 2 Dimensions: 30.48
Artwork 2 Medium: Open white frame recycled glass, glass frits, resin and acrylic ink and paints
Artwork 2 Commentary: This has a multi faceted visual impact, so many colours bounce through depending on the
angle of light. Photographs cannot express the lovely and exciting visual effects on show.I love this very much!

I have kept to white and gold throughout to impart an impression of innocence and calm, however the spectacle
sparkles!

The art work has an ability, with external lighting, to show more and more variations of light and surprise

The artwork has been affixed in a white wooden frame without glass
Artwork 2 Image:

4
5
Artwork 3 Title: Uncontained
Artwork 3 Dimensions: 39 x 25
Artwork 3 Medium: acrylic resin gold powder
Artwork 3 Commentary: highly textured small size work
I have defined the world as a dark matt environment with many textured waves as if frozen or stalled.The pool
represents hope which cannot be contained. Hope has a way of leaking into the most impossible situations. Life
produces many rock between and hard place situations but hope brings life.

A love the small size which expresses a huge possibility


Artwork 3 Image:

6
Artwork 4 Title: Blues Go
Artwork 4 Dimensions: 46 x 61
Artwork 4 Medium: acrylic paint on stretched canvas
Artwork 4 Commentary: Blue is probably my most favourite colour with cobalt blue at the top.
I find this painting draws me into the depth of the colour,.it helps to concentrate vision and anticipation of the
flowing multi tones.
I have kept a tighter control over the acrylic pour elements. I really centres the paining to have a strong background
with a lighter more explosive tone the almost slips away.
Artwork 4 Image:

7
Artwork 5 Title: Reaching Out
Artwork 5 Dimensions: 30 x 100
Artwork 5 Medium: acrylic paint on stretched canvas
Artwork 5 Commentary: I began to focus on the innermost cranial activity, the synapse which is where this painting
appeared and developed.I had previously sold another version and wished to create further studies. There is so
much to consider in our daily life how autonomous activities seamlessly take place. The painting reaching out says,
there is so much more to consider.We are truthfully and fearfully made.
Artwork 5 Image:

8
Catalogue5 ID0096
Artist ID: 0096

Artist Name: Ellie Burkett


Website: (Under construction) https://londonsartistquarter.org/artist-hub/users/ellie-burkett/profile
IG: ellie_burkettpaperandtextiles

Artist Statement: After completing a Fine Art Textile Degree at Goldsmith’s College my interest in hand made
paper took me to Japan for three years. In Fukushima, Northern Japan, I researched traditional paper techniques,
following which I set up a studio in Tokyo. The work I produce is largely process led, incorporating elements such as
bamboo or wire, paper, paper thread, print and textiles and is influenced by this formative time in Japan. Paper
provides a surface to print on and at others times takes the character of a textile, crushed, manipulated or spun into
paper thread.

Through material based reflective investigations I explore the untold stories contained within fragments of the past,
whether these are personal or collective memories. Layering, patching and tearing become metaphors for meaning,
known or lost, or the gaps and spaces in our conversations with the past. Work which seems fragile and decorative
often contains problematic, painful or radical narrative suggested through text or stitch or disguised in pattern.
Paper casts provide a further way of capturing the ‘memory’ of objects. In recent local exhibitions I have
responded to specific sites and drawn inspiration from the calico trade of the 1700‘s based in Bow, and to
dedications and stained glass in a church in East London currently under threat of demolition. Â

After a career in art education I am now metaphorically and literally ‘picking up the threads’ of this passion for
paper and work from a studio in East London.

Notes:

1
Artwork 1 Title: Shirone Fragment
Artwork 1 Dimensions: 24cm x 22cm Framed 52cm x 52cm
Artwork 1 Medium: Paper cast with ‘kami-ito’ paper thread Japanese kite fragments
Artwork 1 Commentary: Each piece of paper, each object and the process of recording a response tells a story. Metal
discs, and door furniture were picked up for their interesting shapes in brocantes and flea markets and paper casts
taken on discarded fragments of Japanese kites after the Shirone Kite Festival in Japan.
The fluid calligrahic strokes of the kite contrast with the hard edges of the mechanical pieces, and stitched paper
thread ‘kami-ito’ highlights the detail and repetition of these ordinary objects. Paper and process holds this
memory from 35 years ago.
Artwork 1 Image:

2
Artwork 2 Title: Bromley Hall Textiles
Artwork 2 Dimensions: 3 panels each 142cm x 30cm. finished width with gap in-between each panel 142cm x 95
Artwork 2 Medium: Silk voile, calico, Japanese ‘washi’ paper & handmade ‘kami-ito’ paper thread
Artwork 2 Commentary: This piece was devised for the windows of Three Mills House from which the factory of the
celebrated Bromley Hall Textiles would have been viewed in the 1760‘s. Collective local history was a central
element to my research and response to the calico designs of this area. The channels of the river around Three Mills
echo the characteristic ribbon-like designs of Bromley Hall Textiles and decorative elements carry a painful legacy,
the fabric ‘memory’ of trade and colonialism.
Artwork 2 Image:

3
Artwork 3 Title: 'Little Albert'
Artwork 3 Dimensions: 32cm x 35cm Framed 43cm x 43cm
Artwork 3 Medium: Lino print and collage with silk and stitch on Japanese ‘washi’ paper
Artwork 3 Commentary: ‘Little Albert’ a collage of paper, stitch and print taken from an unworn child’s
garment of 1893. The delicate rose bud pattern is interwoven with documentation hinting at the tragic story
contained within this precious family heirloom.
Artwork 3 Image:

4
Artwork 4 Title: Soufriere
Artwork 4 Dimensions: 38cm x 34cm Framed 52cm x 52cm
Artwork 4 Medium: Hand made paper with silk fabric and ‘kami-ito’ paper thread
Artwork 4 Commentary: Working intuitively with hand made paper and handmade paper thread, textiles and paper
are fused together in this piece. The viewer needs to get up close and notice the subtle changes of colour and
texture and the tracks and traces of stitched line.
Artwork 4 Image:

5
Artwork 5 Title: Ode to Fukushima
Artwork 5 Dimensions: 30cm x 21cm (A4) Framed 43cm x 33cm
Artwork 5 Medium: Risograph
Artwork 5 Commentary: Combining traditional stencil designs with drawing for new interpretations of a traditional
artform using risograph printing. Katazome stencils were gifted to me when I lived in Fukushima and following the
devastating earthquake and tsunami of 2011 this work resonates on a deeper level and celebrates the unknown
craftspeople who made them.

Artwork 5 Image:

6
Catalogue5 ID0097
Artist ID: 0097

Artist Name: Agata Å»Ychliå„Ska


Website: http://agatazychlinska.pl/
IG: https://www.instagram.com/

Artist Statement:
All my life I create illustrations documenting my experiences. To cope with the contemporary reality,
instead of posting my lunch on the social media I recreate it in painting. I collect the trivial
situations and force them to be just a little bit startling or extraordinary. With art, i try to
enchant the mundane. I hope to tame it, to bring back magic to my personal universe.
I am a female artist in the second decade of the 21st century. Those pictures are the journal of my
inner world. An autobiography by paintings.

Notes:

1
Artwork 1 Title: Instead of a head
Artwork 1 Dimensions: 150 cm x 160 cm
Artwork 1 Medium: acrylic, gouache, textile and pastels on cotton canvas
Artwork 1 Commentary: Me in the kitchen.
Artwork 1 Image:

2
Artwork 2 Title: Fairy Tale
Artwork 2 Dimensions: 150 cm x 130 cm
Artwork 2 Medium: acrylic, gouache and oil on cotton canvas
Artwork 2 Commentary: My friend and her boyfriend
Artwork 2 Image:

3
Artwork 3 Title: On the table next to coffee
Artwork 3 Dimensions: 120 cm x 160 cm
Artwork 3 Medium: acrylic and pastels on cotton canvas
Artwork 3 Commentary: A meeting with my friends.
Artwork 3 Image:

4
Artwork 4 Title: Sleeping lady
Artwork 4 Dimensions: 130 cm x 180 cm
Artwork 4 Medium: acrylic, gouache and textile on cotton canvas
Artwork 4 Commentary: Me, when I am sleeping.
Artwork 4 Image:

5
Artwork 5 Title: Playing with fire
Artwork 5 Dimensions: 180 cm x 150 cm
Artwork 5 Medium: acrylic, charcoal and gouache on cotton canvas
Artwork 5 Commentary: In my village.
Artwork 5 Image:

6
Catalogue5 ID0098
Artist ID: 0098

Artist Name: Nicola Beattie


Website: www.nicolabeattie.co.uk
IG: @nicolabeattie.art

Artist Statement: I work predominantly in sculpture but also paint when further exploring an idea in two dimensions.
My current sculptural work is concerned with contrasting forms and textures, smooth rounded forms and rougher
textured principal forms. Sometimes the smooth form is incorporated within the textured form, at other times
entirely separate to the main form. The perfect forms represent a longing for order in a chaotic and disordered
world; these curved forms give a feeling of calm which is fundamental to our peace. In the Erosion series the
breaking away leaves a scar in the land, symbolizing our wounded world, yet there is hope and light within the
smooth perfect spheres and water drop forms.

Notes:

1
Artwork 1 Title: Erosion - Departure
Artwork 1 Dimensions: 42cm x 23cm x 20cm
Artwork 1 Medium: Polyphant Stone, Granite
Artwork 1 Commentary: The smaller spherical form has broken out and now sits away from the main body of the
piece; although it appears intact, there is obvious damage left behind. This was made to represent the difficulty and
lasting effects that result from breaking away from a situation or environment; from divorce and relationship
breakdowns through to Brexit and migrants leaving country and family. This sculpture was hand-carved from
Polyphant stone then oiled and waxed.
Artwork 1 Image:

2
Artwork 2 Title: Erosion - Contra
Artwork 2 Dimensions: 43cm x 40cm x 20cm
Artwork 2 Medium: Polyphant Stone, Granite
Artwork 2 Commentary: The perfect sphere which stands apart from the main body of the piece can be seen as a
result of either the polishing effects of sea on rock and stone, or the effects of mankind's manipulaton of the earth's
natural resources. The main body of the sculpture is partially worked but left natural in some areas to illustrate the
tear in the landscape that humanity has made through ‘progress’. It is a representation of the natural world
alongside the impression of mankind upon the earth.
This sculpture has been oiled and waxed.
Artwork 2 Image:

3
Artwork 3 Title: Erosion - Fragile Earth
Artwork 3 Dimensions: 37cm x 20cm x 18cm
Artwork 3 Medium: Polyphant Stone, Granite
Artwork 3 Commentary: Time and texture is the focus of this sculpture with its contrasting rough and smooth areas.
It illustrates the erosion of natural resources; either as the natural stone being eroded by physical elements of sea
and weather, or natural resources being eroded and manipulated by mankind. This sculpture was hand-carved from
polyphant stone then oiled and polished
Artwork 3 Image:

4
Artwork 4 Title: Blessing
Artwork 4 Dimensions: 63cm x 33cm x 27cm
Artwork 4 Medium: Bronze
Artwork 4 Commentary: This piece of contrasting textures is inspired by water and light; it represents the blessing of
water being received by the parched earth – the ripples going across the lower textured part of the sculpture
represent the washing of the earth with water, shot through with gold highlights symbolizing light and therefore
hope. The original was made in plaster.

Artwork 4 Image:

5
Artwork 5 Title: Testimony
Artwork 5 Dimensions: 57cm x 26cm x 16cm
Artwork 5 Medium: Bronze
Artwork 5 Commentary: This piece of contrasting textures is inspired by water and light; the smooth waterdrop form
and the textured crescent shape underneath represent smooth water drops falling on to the rough earth and seas.
The gold tip is echoed by gold highlights elsewhere representing light and therefore hope. The original was made in
plaster.

Artwork 5 Image:

6
Catalogue5 ID0099
Artist ID: 0099

Artist Name: Laura Belevica


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

Artist Statement: Laura Belevics is a Latvian multimedia artist, illustrator, designer and architect based in Los
Angeles, California. She studied economics and business administration in Riga, Latvia and has earned a Masters of
Architecture in the United States. She has also studied in Finland and Japan, and has spent most of the past decade
living and working as an architect in Shenzhen, China. Thanks to her design background and experience, she prefers
creative collaboration and enjoys working with a wide range of concepts and mediums to communicate a narrative.
Her Shadow Series drawings highlight the beauty of the mundane and the potential of the shadow - literally as well
as metaphorically. She photographs simple natural objects in the environment using natural light to capture their
unique shadows and then uses the photography as the starting point/ a collage to transform the original objects into
new pieces of digital art that tell a new story about the original subject. Shadow Portraits are series of works that
were born out of the same desire to explore the potential of shadows but instead of found objects in nature, these
pieces feature human beings who are wise or curious enough to explore the importance of their personal shadow in
defining their identity and courageous enough to be transformed into something else.

Notes:

1
Artwork 1 Title: CHIN UP
Artwork 1 Dimensions: 200x200x1
Artwork 1 Medium: aluminum fine art print
Artwork 1 Commentary: One can be taught within the calm but the greatest lessons are learned from the storms
Artwork 1 Image:

2
Artwork 2 Title: BALANCE
Artwork 2 Dimensions: 200x200x1
Artwork 2 Medium: aluminum fine art print
Artwork 2 Commentary: “Dance is the hidden language of the soul.― Martha Graham
Artwork 2 Image:

3
Artwork 3 Title: THE POINT OF NO RETURN
Artwork 3 Dimensions: 200x200x1
Artwork 3 Medium: aluminum fine art print
Artwork 3 Commentary: “Performance is an act of faith.― Marya Mannes
Artwork 3 Image:

4
Artwork 4 Title: BARK
Artwork 4 Dimensions: 200x200x1
Artwork 4 Medium: aluminum fine art print
Artwork 4 Commentary: “The only way to find your voice is to use it.― Austin Kleon
Artwork 4 Image:

5
Artwork 5 Title: INTO THE WILD
Artwork 5 Dimensions: 200x200x1
Artwork 5 Medium: aluminum fine art print
Artwork 5 Commentary: “The brighter the light, the darker the shadow.― Carl Jung
Artwork 5 Image:

6
Catalogue5 ID0100
Artist ID: 0100

Artist Name: Charles Inge


Website: charlesinge.com
IG: @charles.inge

Artist Statement:
Charles Inge’s recent paintings explore the depiction of the female figure and male gaze in art, advertising,
manuscript and film. His work intends to be both reverential and questioning.

Notes:

1
Artwork 1 Title: Dishabille
Artwork 1 Dimensions: 160x120x4
Artwork 1 Medium: acrylic and oil on canvas
Artwork 1 Commentary: A fusion of references from film stars, pin-ups and art history construct this life-sized
painting.
Artwork 1 Image:

2
Artwork 2 Title: Redux
Artwork 2 Dimensions: 160x120x4
Artwork 2 Medium: Acrylic and oil on canvas
Artwork 2 Commentary: Quotations from art history bring back to life a female figure for modern times.
Artwork 2 Image:

3
Artwork 3 Title: Atomic Beach
Artwork 3 Dimensions: 160x120x4
Artwork 3 Medium: acrylic and oil on canvas
Artwork 3 Commentary: Advertising slams into abstraction in this apocalyptic beach scene
Artwork 3 Image:

4
Artwork 4 Title: Truth and beauty
Artwork 4 Dimensions: 120x100x4
Artwork 4 Medium: Oil and copper tape on canvas
Artwork 4 Commentary: A romanticised painting of a nun and the depiction circuitry of a polygraph machine
combine. Both seek 'truth' but what is truth these days?
Artwork 4 Image:

5
Artwork 5 Title: Worshipped
Artwork 5 Dimensions: 160x120x4
Artwork 5 Medium: acrylic and oil on canvas
Artwork 5 Commentary: Indian and western art references combine in this adoration of the feminine.
Artwork 5 Image:

6
Catalogue5 ID0101
Artist ID: 0101

Artist Name: Ian White


Website: ianwilliamwhite.co.uk
IG: ian_william_white

Artist Statement: Creating, for me, is a way out of the bland and controlled world around me. I paint and draw for
my own escapist needs. I can add colour and intrigue into my own dull life and that is why I do it.

My practice involves creating images on a digital tablet,


I then convert the final image into templates and spray paint the image, passing over and over, almost like the
slowest singular screen print, carefully onto the prepared board. I enjoy watching the image build up as I'm painting,
merging the ages together into an unexpected and exciting artwork, which, hopefully challenges the viewers
relationship with there perception of contrasting media.

The images I create are usually sub-consciously bought to the fore from my psyche, rather than subjects situated in
reality, and I see creating a story about them as an important part of my creative process. I enjoy experimenting and
perfecting techniques and am thrilled when I finally become skilled in a newly self-taught aspect of art such as frame
making. 175

What I see in my finished art reflects the darkness of life that we endure as a human/animal collective but also the
bright joyfulness and the wild broadness of a free imagination.

Notes:

1
Artwork 1 Title: pop
Artwork 1 Dimensions: 82x61.5x4.5 cm
Artwork 1 Medium: Spray-painting on cradled wooden panel
Artwork 1 Commentary: A glossy surface shifts and shines crisply. Below, all sorts of highly-pigmented shinanigans,
with a strange gold disc adding to our problems, putting the locals in a spin, and it would also appear as if gallons of
sickly pop has been recently consumed.

An original, gold edged spray-painting on a purpose made cradled board. Signed by the artist on the reverse and
ready to hang.
Artwork 1 Image:

2
Artwork 2 Title: canaries
Artwork 2 Dimensions: 81x61x4.5
Artwork 2 Medium: Spray-painting on cradled wooden panel
Artwork 2 Commentary: Under a bright and free blue sky, peace is abound, and joyous birds pop and fizz off the
edges in wild yellow excitement.

A study of hyperactive wild canaries and the freedom they inspire.

An original ready to be hung painting. Painted mostly with spray-paint with a few brush strokes, and protected in a
high gloss varnish.
Artwork 2 Image:

3
4
Artwork 3 Title: spit-string
Artwork 3 Dimensions: 82x60x4 cm
Artwork 3 Medium: Spray-painting on cradled wooden panel
Artwork 3 Commentary: Simple maps turning our everyday pleasures into mournful regrets. Crisp lines lay lazy like a
creamy summer tennis match, emotions overflow, push and pull, in this watery overture to a crumpled summer with
comfortable soft covers on a mysterious patio.

A beautiful, simple looking painting, but with lots of complexities and dramatic dead ends.

Painted mainly with spray paints, and (apart from the glossy bubble line/spit-string) protected with low sheen plastic
varnish.
Artwork 3 Image:

5
6
Artwork 4 Title: leisure
Artwork 4 Dimensions: 82x60x4 cm
Artwork 4 Medium: Spray-painting with carpet on cradled wooden panel
Artwork 4 Commentary: Waves tumble like melted glass in this joyful painting of happy lives unknown. Three
carefree youths drift closely about catching the abundant sweet and herby plum—plant in their eager mouths
before sneaking back to sunday service.

Painted mainly with spray paints, with a few brush marks. An acrylic varnish has been applied thickly and in an
uneven wave technique. With attached spray painted carpet circle 'plum-plants'.
Artwork 4 Image:

7
Artwork 5 Title: power
Artwork 5 Dimensions: 82x60x4 cm
Artwork 5 Medium: Spray-painting on cradled wooden panel
Artwork 5 Commentary: A powerful figure dominates the sky. It appears fixedly, with enormous dominance. It is as
providing as it is secretive and dark (oppressive). Society bows and obeys (worships). Nature trampled and forgotten
(death). It's a very greedy master. Can you see the war coming in it's toothy skull?

Artwork 5 Image:

8
Catalogue5 ID0102
Artist ID: 0102

Artist Name: Sizuo Chen


Website: http://www.chensizuo.com
IG: @chensizuo

Artist Statement: Si-zuo Chen fuses mange-like female figure into a geometric, graphic narrative. She utilized
consistently female image as one composition of her art practice from 2015 to present. By combining element
form geometric construction and figure, she creates a image rendering hardness and flesh, to escape the hold of
the logical. She refine her approach which is informed and deeply connected to character, space, volume, and
perspective. Since she realized the central core of mange is driven by made dominates, the identity (protagonist
fantasy) she has been cognizant of since she was a child is contradict with her initial gender. Arranging these clues
on 2D surface using multi-media, to speak a visionary language.

Notes:

1
Artwork 1 Title: Ghoyobasis
Artwork 1 Dimensions: 20-20cm
Artwork 1 Medium: Watercolor
Artwork 1 Commentary: A serie of same dimension artwork, selecting social media blogger as subject, puting their
dynamic pose into preposterous ambient.
Artwork 1 Image:

2
Artwork 2 Title: Ghotobasis
Artwork 2 Dimensions: 20-20cm
Artwork 2 Medium: Watercolor
Artwork 2 Commentary: A serie of same dimension artwork, selecting social media blogger as subject, puting their
dynamic pose into preposterous ambient.
Artwork 2 Image:

3
Artwork 3 Title: Ghotobasis
Artwork 3 Dimensions: 20-20cm
Artwork 3 Medium: Watercolor
Artwork 3 Commentary: A serie of same dimension artwork, selecting social media blogger as subject, puting their
dynamic pose into preposterous ambient.
Artwork 3 Image:

4
Artwork 4 Title: Untitled
Artwork 4 Dimensions: 35/45cm
Artwork 4 Medium: Watercolor
Artwork 4 Commentary: One painting of serie “Delights―,from 2015-2017
Artwork 4 Image:

5
Artwork 5 Title: Silent Running
Artwork 5 Dimensions: 168-224cm
Artwork 5 Medium: Watercolor
Artwork 5 Commentary: One painting of serie “Cobalt Night―, 2017.
Artwork 5 Image:

6
Catalogue5 ID0104
Artist ID: 0104

Artist Name: Pia Malmstrup


Website: malmstrup.com
IG: Pia Malmstrup

Artist Statement: Pia Malmstrup is a Danish artist currently living in the small Channel Island of Jersey. Her work is
dominated by the sometimes conflicting concepts of chaos and order, abstract and reality. Infused with a passion for
art from an early age her work is redolent of the colours and energy that drive her inspiration, resulting in what she
describes as an explosion on canvas. Whilst her subjects and themes frequently vary, much of her portfolio explores
the combination of colours, strict lines and sometimes random running ink. Often the viewer can see other colours in
the background which are almost non-existing, but they have been a part of the process to the final result.
‘My work is a window into my self; with each I have a sense of revealing something very personal about my
soul.’
Pia also works in bronze and leather and has exhibited in Denmark, Portugal, Germany and Britain. She has been the
founder and Chair of a Danish art club for 10 years and has a love for running big open studio projects.

Notes:

1
Artwork 1 Title: No 1
Artwork 1 Dimensions: 100 x 50 cm
Artwork 1 Medium: Acrylic and Ink
Artwork 1 Commentary: I find in my life setbacks and challenges along with many positive experiences too. This
painting has been painted at a time of more concern than necessary.
I generally eschews titles preferring the story for each piece to evolve with the person who looks at it it. This allows
for a collaboration between me as artist and the viewer.
‘My work is a window into my self; with each I have a sense of revealing something very personal about my
soul.’
Artwork 1 Image:

2
Artwork 2 Title: No 2
Artwork 2 Dimensions: 100 x 50 cm
Artwork 2 Medium: Acrylic and Ink
Artwork 2 Commentary: This painting gives me pleasure with the colours from the nature. The light behind the bold
colours reminding me of that there always is a way out of the darkness

I generally eschews titles preferring the story for each piece to evolve with the person who looks at it it. This allows
for a collaboration between me as artist and the viewer.
‘My work is a window into my self; with each I have a sense of revealing something very personal about my soul
Artwork 2 Image:

3
Artwork 3 Title: No 3
Artwork 3 Dimensions: 80 x 60 cm
Artwork 3 Medium: Acrylic and Ink
Artwork 3 Commentary: The power of orange is like the warm in my heart. I never met anyone who hasn't
something to struggle with in their personal life. I like to warm their souls in colour.

I generally eschews titles preferring the story for each piece to evolve with the person who looks at it it. This allows
for a collaboration between me as artist and the viewer.
‘My work is a window into my self; with each I have a sense of revealing something very personal about my soul
Artwork 3 Image:

4
Artwork 4 Title: No 4
Artwork 4 Dimensions: 80 x 60 cm
Artwork 4 Medium: Acrylic and Ink
Artwork 4 Commentary: Alone in a tent. Looking to the sky and feel the fake safeness from the textile wall.

I generally eschews titles preferring the story for each piece to evolve with the person who looks at it it. This allows
for a collaboration between me as artist and the viewer.
‘My work is a window into my self; with each I have a sense of revealing something very personal about my soul
Artwork 4 Image:

5
Artwork 5 Title: No 5
Artwork 5 Dimensions: 80 x 60 cm
Artwork 5 Medium: Acrylic and Ink
Artwork 5 Commentary: Go wild and fight back. Never give up, no matter how many times you are setback

I generally eschews titles preferring the story for each piece to evolve with the person who looks at it it. This allows
for a collaboration between me as artist and the viewer.
‘My work is a window into my self; with each I have a sense of revealing something very personal about my soul
Artwork 5 Image:

6
Catalogue5 ID0105
Artist ID: 0105

Artist Name: Anton Byrne-Carter


Website: www,antonbyrnecarter.com
IG: https://www.instagram.com/_antonart/

Artist Statement: I am a painter who is intrigued by the human form and portraiture, with a fascination with the use
of colour and technique by notable abstract artists, and how they apply paint to canvas.

Growing up in Blackpool, I became interested in the juxtaposition between the bright neon lights of the towns
attractions against the bleak, weathered surroundings and how the use of colour can alter and challenge
perceptions. The colourful glow from the attractions can change a dreary, grey day in this seaside town to something
quite magical and nostalgic. My focus through the act of painting is to discover real identity and portray the
pressures and fragility of younger generations.

Using bold, exaggerated brush strokes and with a conflicting colour palette my paintings aim to evoke an emotion,
confuse and unsettle the viewer. Each layered brush stoke is representative of time, loss, attraction, despair and
even our desires - physical marks left like scars throughout a persons life.

I don't want to be considered just a portrait painter but an artist that investigates the subjects personal and intimate
state and in doing so allowing the viewer to do so too. A far cry from social media’s manufactured reality.

Notes:

1
Artwork 1 Title: introspection
Artwork 1 Dimensions: 168x122x2.5
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: I am a painter who is intrigued by the human form and portraiture, but i am facinated in the
way notible abstract painters apply paint to canvas and use colour as a device in shifting emotions.

We live in a world where what we post online has the potential to be shared with millions of people in an instant.
Our choice of what we share is influenced by image and how society will judge us. What we perceive to be
“beautiful― “trendy― etc. will be challenged and in turn, insecurities will be created and highlighted. This
leads us to mask our identity and only invite the viewer into our self manufactured reality. My focus through the act
of painting is to freeze reality and show intimate moments that wouldn't necessarily be shared by the subject . The
portraits ask questions rather than answers and depict times of vulnerability or a time of reflection.

Artwork 1 Image:

2
3
Artwork 2 Title: Device
Artwork 2 Dimensions: 168x135x2.5
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: The Sitter is a young male trying to find his place in todays society. The two faces is a device
to prompt questions rather than answers but touches on the fact that young males find it hard to be their true self.
With social media being a main platform for people to interact with others we are now open to adverts and fake
representations of these so called influencers lives. It's easy to feel unfufilled and like we havent accomplished
anything leaving us to mask our true identity. In this painting I have used a combination exaggerated brushstrokes
along with more thought out and considered strokes which represent our actions in life. There is also a subtle shift in
palette from one head to the other using cyans to give the viewer more of an emotional pull.

Artwork 2 Image:

4
5
Artwork 3 Title: Introspection study
Artwork 3 Dimensions: 61x50x4
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: 'Introspection study' Is a timed four hour self portrait. The reason I added a time restriction
to this piece is so that I would not aim for perfection or intentionally flatter myself. With the introduction of social
media 'the selfie' has become almost a daily routine in the world, and questions have been asked why? This is my
take on the selfie. An estimated 1000 selfies are uploaded onto instagram every 10 seconds. From the time I started
and finished this painting approximately 1.4 million selfies had been uploaded to instagram.

Artwork 3 Image:

6
Artwork 4 Title: Colour Blind
Artwork 4 Dimensions: 153x113x3
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary: This is a painting of my older brother, he suffers with an extremely rare syndrome called
'Bahcet's Syndrome' although on the outside he can seem like he is not suffering, but for the last 10 years he has
been suffering with immense daily pain.
In this piece I have captured him in a relaxed state but I feel the pain within has come out in his expression. I chose a
conflicting colour palette which I feel makes the image hard to read. Normally we associate a bright bold colourful
palette with pretty, happy images but I have intensely looked at the way Rothko and other notable abstract artists
could convey real emotion through there use of colour.

Artwork 4 Image:

7
8
Artwork 5 Title: Josh (With Cigarette)
Artwork 5 Dimensions: 150x102x5
Artwork 5 Medium: Oil on Canvas
Artwork 5 Commentary: In this painting I am paying homage to the great Chuck close and Tai Shan Schierenberg by
posing my model in the way the painted self portraits. this piece is also an exploration in a muted colour palette, in
brush strokes and with leaving areas unfinished.
Artwork 5 Image:

9
Catalogue5 ID0107
Artist ID: 0107

Artist Name: Andy Waite


Website: www.andywaite.net
IG: andywaitepaintings

Artist Statement: I have largely been a landscape painter but these figures have started to inhabit and become part
of the fabric of nature in one way or another.
As we move through the land our thoughts and emotions are not separate from where we are, they are affected by
it and become absorbed into it; merging, disappearing, living and dying.

Notes:

1
Artwork 1 Title: All These Blessings
Artwork 1 Dimensions: 120 x 150 x 4
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: This painting celebrates all the blessings we have been given by nature - the mother figure
embraces and protects the Earth.
Artwork 1 Image:

2
Artwork 2 Title: The Ghost of No.54 (The Assured Woman)
Artwork 2 Dimensions: 100 x 120 x 4
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: I made a series of paintings of women in period clothing derived from photographs. I was
struck by the contrasting flamboyance of the clothing compared to the stifling restriction of their corseted lives.
What were their thoughts and feelings?
I am fortunate enough to live in a 19th century building and during the process of painting I became aware that as
these faces and figures emerged, they could be the ghosts of people that lived here.

In this image the ghostlike figure emerges from the shadows, she appears assured but will she speak the
unanswered questions she has?

Artwork 2 Image:

3
4
Artwork 3 Title: Betrayal
Artwork 3 Dimensions: 90 x 90 x 4
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: I made a series of paintings of women in period clothing derived from photographs. I was
struck by the contrasting flamboyance of the clothing compared to the stifling restriction of their corseted lives.
What were their thoughts and feelings?
I am fortunate enough to live in a 19th century building and during the process of painting I became aware that as
these faces and figures emerged, they could be the ghosts of people that lived here.

In this image there is a sense that there has been or will be a confidence betrayed.

Artwork 3 Image:

5
6
Artwork 4 Title: Knowledge
Artwork 4 Dimensions: 80 x 90 x 4
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary: I made a series of paintings of women in period clothing derived from photographs. I was
struck by the contrasting flamboyance of the clothing compared to the stifling restriction of their corseted lives.
What were their thoughts and feelings?
I am fortunate enough to live in a 19th century building and during the process of painting I became aware that as
these faces and figures emerged, they could be the ghosts of people that lived here.

The child has some knowledge that the grownups don't want her to know and it feels like it will not be held back, but
when will it emerge?

Artwork 4 Image:

7
8
Artwork 5 Title: All My Unborn Days
Artwork 5 Dimensions: 22 x 27 x 4
Artwork 5 Medium: Oil on Wood
Artwork 5 Commentary: This painting is about what we were before our birth and that in one form or another we
are as old as the universe or beyond and made up of so many things that will constitute who and what we become.
Artwork 5 Image:

9
Catalogue5 ID0111
Artist ID: 0111

Artist Name: Lisa Rigg


Website: lisa.rigg.wordpress.com
IG: @lisariggpainting

Artist Statement: In 2015, Lisa Rigg re-engaged with painting after a gap of 18 years. Rigg grew up in London against
a backdrop of her parents’ military life in the Middle East, and family visits to the Gower and Port Talbot. She
graduated from Fine Art in 1994, but painted only briefly from 1990-97. During this period, Rigg’s work was
autobiographical – exploring loss – due to the sudden deaths of her father (d. 1990), brother (d. 1997) and
mother (d. 2001). She found painting difficult during this period, and decided to pursue an alternative career in
building conservation. Since 2000, she’s trekked in numerous wilderness areas in Patagonia, America, the Nordic
region and Europe. Her work is inspired by these places, as well as those that she’s not yet visited, but dreams of
seeing. Her paintings combine pristine wilderness and post-industrial landscapes to create an imagery of the
Anthropocene and the sublime. She’s fascinated by glaciers, deserts, and mountains; as well as oil fields, coal
mines and industrial plants. Slag heaps, pitch lakes, derricks, pylons and non-native flora populate her work – as
they do the furthest reaches of the globe. Using her a photographic archive, as well as images found on the internet,
she creates highly-coloured anthropocentric landscapes. Her work depicts the intriguing beauty experienced within
these blemished locations. The paintings are made with delicacy and beauty in mind – striking notes of hope
within complex subject matter. Born in London in 1971, she lives and works in London.

Notes:

1
Artwork 1 Title: Mountain, 2017
Artwork 1 Dimensions: 76.2cmx101.6cmx3.5cm
Artwork 1 Medium: Oil on linen
Artwork 1 Commentary: The painting ‘Mountain’ is an image of a barley field dominated by an ambiguous
black hill. Is it a prehistoric earthwork, like Silbury, a mound of lava or a post-industrial slag heap? This painting uses
a simple composition to balance supposedly man-made and natural forms, combining impressionistic strokes to
depict a field of crops with a more detailed rendering of a black mound. Rigg’s painting shows the beginnings of
plant life colonising the mound’s surface, perhaps pointing to the ultimate fragility of man’s dominance of the
natural world. The painting also questions what is ‘man-made’ and ‘natural’ as the landscape of
farming, associated with the agricultural revolution which started 12,000-15,000 years ago, is firmly rooted in human
activity and the Anthropocene. The loss of primary forest to farming, and the development of large-scale food
production, paradoxically powered by fossil fuels, is not lost on Rigg and is integral to understanding her image,
which questions our perception of natural landscape. Inspired by the Nord-Pas-de-Calais mining basin in northern
France, which was designated a World Heritage Site in 2012, the painting explores our ambivalence towards the
incremental changes to habitats that have occurred ‘before our eyes’ over the last few centuries. The World
Heritage Site contains 108 built and industrial assets associated with coal extraction, the most striking of these being
the 350 ‘terrils’ or slag heaps which randomly populate the landscape.
Artwork 1 Image:

2
3
Artwork 2 Title: Cultural Capital II (after Vitruvius), 2018
Artwork 2 Dimensions: 76.2cmx101.6cmx3.5cm
Artwork 2 Medium: Oil on linen
Artwork 2 Commentary: Fascinated by the anthropogenic impact on the natural world that has ensued from the
colonising of the wild and the creeping cultural imperialism that is its talisman, Rigg creates a hybrid and part-
imagined scene that is set in several time periods at once. It’s almost like looking at a painting as geological time
– layers of activity, decay and adjustment build up behind the scenes. This painted image hides stories of
destruction and change. The classical building depicted in here links the influence of Vitruvius on architecture and
the ensuing ubiquity of Palladian architectural motifs with the spread of enlightenment ideas across the globe.
Native and non-native plants and other anomalies populate the setting in what becomes a historical theatre set of
competing moments. The busts of the Amerigo Vespucci (Italian explorer, financier, navigator and cartographer) and
Sir Walter Raleigh (English landed gentleman, writer, poet, spy and explorer) occupy the colonnade with a bust of
Pocahontas, the daughter of Native American chief Powhatan, located in a pedimented niche above the door. She
was presented at the Court of King James I in 1616 as a personification of primitive royalty and the prize of
colonialism.
Artwork 2 Image:

4
5
Artwork 3 Title: Arctic Dreams, 2017
Artwork 3 Dimensions: 40.6cmx61cmx3.5cm
Artwork 3 Medium: Oil on linen
Artwork 3 Commentary: Rigg’s painting ‘Arctic Dreams’ features the school bus in which young adventurer
Christopher McCandless set up camp in Alaska in 1992, seeking a life living off the land, but unfortunately meeting
his untimely death instead. That the resting spot of the bus has become a site of pilgrimage for environmentalists
and idealistic explorers illustrates how layers of projection and fantasy infuse our view of our place in the world. Rigg
has arrived at a mode of image making informed by man’s travels into the wild. The animals and plants are
painted with care with the animal’s winter snow-white coats creating an eerie mood to what should be an idyllic
scene. In this painting and her work overall, Rigg is interested in the legacy of explorers, like Franklin, Scott and
Amundsen, as well as the women, like Louise Arner Boyd, who’ve ventured to remote places in pursuit of
personal achievement, scientific knowledge and spiritual awakening.
Artwork 3 Image:

6
7
Artwork 4 Title: Pyramiden, 2016
Artwork 4 Dimensions: 35.6cmx61cmx3.5cm
Artwork 4 Medium: Oil on linen
Artwork 4 Commentary: This stark image juxtaposes mountains and glaciers with an abandoned Russian coal-mining
town, located on the island of Svalbard, in the Norwegian Artic. The head of Lenin dominates the foreground, but
looks out towards the vast and empty wilderness beyond. This actual place, despite in recent times becoming a
destination for tourist cruise ships, has captivated Rigg for many years, although she has never had the chance to
visit it. The image used for the basis of this painting, was found on the internet – the optical instrument of choice
for contemporary artists, rivalling Lippershey’s original telescope (meaning tele ‘far’ skopian ‘to look or
see’). Pyramiden remains a place that Rigg would like to explore, but realises that by doing so she’d expose
her own hypocrisy in travelling to this ecologically sensitive region. For Rigg, the act of painting becomes a way to
assuage her inexplicable call to the North.
Artwork 4 Image:

8
9
Artwork 5 Title: What Glory may be Ours? (after the Great Acceleration), 2019
Artwork 5 Dimensions: 76.2cmx101.6cmx3.5cm
Artwork 5 Medium: Oil on linen
Artwork 5 Commentary: This painting takes the iconic Entenza House CSH#9 in the Pacific Palisades, California –
designed by Eames and Saarinen between 1945-49 – to an impossible location in the Arctic. Reminiscent of science
fiction imagery from 20th-century film, this painting seems to compositionally have everything in the right place,
despite symbolically everything being out of place. Whilst letting the expansive view in, the window signifies a
frontier to the wilderness outside – separating man-made and natural worlds. Ice cap, glaciers, mountains, and
three of Jupiter’s Galilean moons – Europa, Io and Ganymede – sit comfortably in this ‘realistic’ scene.
Perhaps this is the home of Louise Arner Boyd, the historically significant, but much overlooked explorer? Boyd, who
grew up in California, explored East Greenland in the 1920s/30s with money inherited from her father’s
goldmine. The Jaette and Gerard de Geer Glaciers, taken from a photograph by the artist Anne Lydiat, can be seen
on the left and right horizons. Rigg, who was supposed to accompany Lydiat on her expedition to Louise Boyd Land
in 2018, was unable to undertake this challenging sea voyage due to illness. An empty Eames LAR chair positioned by
the window, but facing away from the view, perhaps signals her disappointment, as well as our collective collusion in
man-made climate change. The geological age of the Anthropocene, as well as American modernism’s significant
influence on the Great Acceleration co-exist in the space of the painting, prompting the viewer’s reflection on
these widely debated themes.
Artwork 5 Image:

10
11
Catalogue5 ID0113
Artist ID: 0113

Artist Name: Oceana Rain Stuart


Website: https://www.oceanarainstuart.com/
IG: https://www.instagram.com/oceanarainstuart_sculpture

Artist Statement: My desire is to share the particular qualities that provoked my feeling of anticipation during the
molding process. My work reflects my inspiration and curiosity from the beginning stages through to the finished
bronze and patina. I search for a deeper reality combining the mysterious to a world of subtleties. I am fascinated by
the beauty and grace of the human form and by how each face shares a unique lifetime of stories, to me this is true
beauty.

Notes:

1
Artwork 1 Title: Eternal Bliss
Artwork 1 Dimensions: 69x38x23
Artwork 1 Medium: Bronze with a bronze base
Artwork 1 Commentary: A female bust that represents an aspect of life that has an eternal effect on the human
condition. This work is one of seven bronze sculptures from my Eternity series.
Artwork 1 Image:

2
Artwork 2 Title: A Love Remembered
Artwork 2 Dimensions: 122x18x33
Artwork 2 Medium: Bronze
Artwork 2 Commentary: A sculpture of a woman holding a human skull above her head that represents an aspect of
life that has an eternal effect on the human condition. This work is one of seven bronze sculptures from my Eternity
series.
Artwork 2 Image:

3
Artwork 3 Title: Eternal Embrace
Artwork 3 Dimensions: 54x54x21
Artwork 3 Medium: Bronze
Artwork 3 Commentary: A kneeling nude female and a male couple that represents an aspect of life that has an
eternal effect on the human condition. This work is one of seven bronze sculptures from my Eternity series.
Artwork 3 Image:

4
Artwork 4 Title: The Guessing Game
Artwork 4 Dimensions: 96x56x36
Artwork 4 Medium: Cast resin with bronze and a granite base
Artwork 4 Commentary: A female nude figure wearing a mask on top of her head.
“Can we see beyond the metaphorical mask and accept what is there?―

Artwork 4 Image:

5
Artwork 5 Title: The Woman from the Mountain
Artwork 5 Dimensions: 56x18x15
Artwork 5 Medium: Cast resin with bronze and a granite base
Artwork 5 Commentary: A standing nude female figure.
Artwork 5 Image:

6
Catalogue5 ID0116
Artist ID: 0116

Artist Name: Antonia Glynne Jones


Website: www.antoniagj.com
IG: paintingsantonia

Artist Statement: “For me drawing and painting is about the interaction between the discipline of observation
and the spontaneity of mark making in terms of my response to the subject―.
Born and raised absorbing a spectrum of African colour, Antonia Glynne Jones’ work, often abstract studies,
characterise vision and emotion, through a wealth of colour, vibrancy and texture. Subjects, often land and
seascapes, are studied and primarily depicted through collage and oil paints, sometimes via mono-printing or maybe
pastels with their immediacy and impact.
“I tend to explore places and landscapes, for example Cornish harbours, from a flattened aerial perspective with
unusual colour schemes. I like some grittiness in the landscape, some man-made aspect, for example. Whatever
“it― is that inspires me, I need to have a strong emotional response to “it― – even if it is dislike.―
“Colour is my primary consideration after the “it― has been drawn and processed etc., the colours used are
often at odds with the subject but in tune with my emotional response to the subject. A series of the same
“it― are often in different colours, sizes and even media to reflect my different feelings about the subject.―
Antonia Glynne Jones has established her presence across the UK, exhibiting extensively since 1990, including
involvement in shows such as The Pastel Society at the Mall Galleries in London and the ING Discerning Eye
Exhibition, London in 2016, 2017 and 2018.

Notes:

1
Artwork 1 Title: Protection
Artwork 1 Dimensions: 76x116x2 cms
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Porthleven is an iconic Cornish harbour, right at the bottom of Cornwall and is exposed to
some extreme weather conditions. This working harbour has a double set of piers for extra protection against the
elements. The painting is based on drawings and collages done from multiple views all-round the harbour.
Artwork 1 Image:

2
Artwork 2 Title: Slice of Menorca
Artwork 2 Dimensions: 50x60x2 cms
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: Menorca is a beautiful island, almost too beautiful to paint, until one day I was able to view
the island from a small plane. The flattened aerial perspective added an extra dimension and I have since been able
to create work based on my experiences in Menorca.
Artwork 2 Image:

3
Artwork 3 Title: Bude Estuary
Artwork 3 Dimensions: 92x60x2 cms
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: This painting was based on a visit to the seaside town of Bude in Cornwall on a gorgeous hot
sunny day in 2018.

Drawings of multiple perspectives of the estuary were done on the same large piece of paper and in a sketchbook.
Once back in the studio using oil paint and these drawings, the painting becomes a distillation of the whole
experience.
Artwork 3 Image:

4
Artwork 4 Title: Dance of the Piers II
Artwork 4 Dimensions: 25x28x1 cms
Artwork 4 Medium: Collage and Mixed Media
Artwork 4 Commentary: Based on the harbour piers at Port Isaac in Cornwall, which due to the nature of the
surrounding landscape can be viewed from 3 sides. The two protective piers form a slow revolving dance as you
walk round overlooking the harbour.
Artwork 4 Image:

5
Artwork 5 Title: Slice of Bude
Artwork 5 Dimensions: 46x36x2 cms
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: Abstracted perspective of the landscape around the beautiful seaside town and estuary of
Bude in Cornwall
Artwork 5 Image:

6
Catalogue5 ID0117
Artist ID: 0117

Artist Name: Donna Brewins-Cook


Website: https://donnabrewinscook.com
IG: https://donnabrewinscook.com

Artist Statement: I draw inspiration from the constant possibilities of painting and the challenge of its unpredictable
nature in conveying a subject. I am particularly interested in the process of painting and the expression it provides,
translating a depth of feeling that is both personal but also shared with the viewer. I predominantly use oil paint for
its texture and vibrancy, which creates a strong dynamic.
Psychotherapy has directly influenced recent pieces and renewed my interest in abstract expressionism, allowing
ideas to flow with the freedom of colour, line and allowing the subconscious and memory to guide the work. I have
begun to explore this more with recent paintings, exploring memory and emotion associated with it.
Some of my current work explores the raw emotions I have experienced through personal challenges including the
corrosive effects of obsessive-compulsive disorder and infertility. These two conditions feed a cycle of serious
depression.
After a long pause in facing my feelings, it finally felt an appropriate time to get some of my darkest thoughts and
experience onto canvas. The most obvious word that sprang to mind when starting the project was
‘invisible’. Society pushes the family unit as the benchmark so infertility erodes and diminishes a sense of self,
building fear of disappearing altogether. This, coupled with debilitating OCD is a toxic cocktail. Whilst these
experiences are highly personal, I need to explore these emotions in my work to create a voice where one might
normally be at risk of being suppressed and hidden.

Notes:

1
Artwork 1 Title: Dread Guest - you cross boundaries and violate my inner self
Artwork 1 Dimensions: 80x80cm
Artwork 1 Medium: Oil on canvas (2016-19)
Artwork 1 Commentary: This piece is an attempt to express my raw and dark feelings when depression and OCD
started to eat me from within through a decade of infertility treatment. OCD has been omnipresent through my life,
but became extremely strong at this time.

I produced a series of paintings that took a period of three years to complete, as trying to put such dark emotions
onto canvas took a lot of inner strength. The dread guest is the penetrating force of depression, uninvited and
destroying from within.
Artwork 1 Image:

2
3
Artwork 2 Title: May Blossom
Artwork 2 Dimensions: 28x35cm
Artwork 2 Medium: Oil on wooden panel (2017-19)
Artwork 2 Commentary: This piece was begun in 2017 and took a long time to convey the joy I feel in response to
early Spring in England. Particularly the May blossom in North Yorkshire, exploding like seafoam across the
landscape. It lifts my mood, making my heart sing and my spirits rise.

The painting is unashamedly an emotional response when I am confronted with the sheer beauty of May blossom.
Artwork 2 Image:

4
Artwork 3 Title: Wonderful memories of Rhodes, May 2002
Artwork 3 Dimensions: 0
Artwork 3 Medium: Oil on canvas (2015-19)
Artwork 3 Commentary: This piece began as a en plein-air painting of a real landscape in Yorkshire. Then, I put it
away for 6 months as it didn't have enough energy. When I took it out again its blue hues reminded me of a holiday
in Rhodes back in 2002.

The more I thought about Rhodes, the more I wanted to paint my memories. The palette became much brighter and
my brush marks much looser and expressive. It is an attempt to depict the wonderful Mediterranean light and how
it falls on the sea, juxta posed with historical grandeur. It is a visual diary of a wonderful holiday full of sun and
exploration.
Artwork 3 Image:

5
6
Artwork 4 Title: Meadow, sea and sunlight, St Ives 2004
Artwork 4 Dimensions: 0
Artwork 4 Medium: Oil and pencil on wooden board (2016-19)
Artwork 4 Commentary: This painting is about the joy of the bright, brilliant sunlight in the early English spring that
has an intensity unlike any other I think.

The painting explores memories of St Ives in Cornwall in 2004. Although the St Ives light could be considered a
cliché, it was apparent to me that it does differ tremendously from the northern light I am used to in Yorkshire. I
enjoyed the challenge of depicting the sensation such a long time after the experience.
Artwork 4 Image:

7
Artwork 5 Title: Memories of Howard - Coptic Street, the murmer of the Underground
Artwork 5 Dimensions: 0
Artwork 5 Medium: Oil, canvas and wooden frame painted (2016-19)
Artwork 5 Commentary: Over last the four years I've been revisiting the work of Howard Hodgkin. When I first
visited an exhibition as a student in London in 1993, I disliked Hodgkin's work intensely. I didn't understand it at all
and felt afraid by what I saw. However, the emotional and striking images wouldn't leave me and soon I was
completely fascinated by his work.

Strangely, years later I discovered that my cousin lived in the same building to Hodgkin and I could see the glass roof
of his studio from my cousin's kitchen window. It was exciting to be near a real painting hero! I started this painting
in 2016 as a homage to Hodgkin, and when he sadly died in 2017 I returned to the painting.

The painting conveys memories of visits to London and the profound affect the link to Hodgkin and my cousin had on
me. My cousin works in the media so I got to access clubs, theatre and arts venues that I wouldn't normally. The
painting is about the vibrancy of London, its energy and intrigue.

Artwork 5 Image:

8
9
Catalogue5 ID0118
Artist ID: 0118

Artist Name: Simon Klein


Website: simonklein.co.uk
IG: @simonklein3

Artist Statement: My father was taught printmaking by Karel Fleischmann, an artist and doctor from the Czech
Republic, who died along with my father’s mother in Aushwitz. Years later, my English mother met my father at
St Martins School of art, but he burnt all his artwork when I was born. My mother painted all her life.

I was taught painting at the Slade by Euan Uglow and John Hoyland. My work has often straddled between a
figurative and abstract divide. I have supported myself and family by teaching art part-time since leaving the Slade,
which has allowed me to rediscover artists and take inspiration from them through my research and teaching. I took
a postgraduate course in Contemporary Art Practice at Kingston University, where I looked at the work of Maurice
Merleau Ponty and how painting processes can be an embodiment of human experience within the world. I
sometimes sell my work, so far mostly to my friends, however in recent years I have sold works at the Pall Mall
Galleries, the Ruth Borchard foundation and at One Paved Court in Richmond Upon Thames.

Within all my work, my starting points are memory and drawings, but the images seek their own logic. The pictorial
patterns dig into the figures, creating a certain tension and out of the fulcrum comes a narrative. Often about love,
they are an unwritten metaphor for spiritual desire; I look and wait for movement in the figures hoping for a certain
kind of poise. Traversing my hands, eyes and thought, the images are arrived at through process.

Notes:

1
Artwork 1 Title: Laugh!
Artwork 1 Dimensions: 56 x 38 cms
Artwork 1 Medium: Chalk pastel and charcoal on paper
Artwork 1 Commentary:
Hat flying, an overheated sense of desire… man with stripy socks and flailing tie. His pierrot face, the touch a
feather, yet this woman is unaware of her powerful legs, arms and skin. Abstract shapes, nightie and door laugh
quietly!

Artwork 1 Image:

2
Artwork 2 Title: King and Queen.
Artwork 2 Dimensions: 100 x 70 cms
Artwork 2 Medium: Oil paint, R & F Pigment sticks, and charcoal on canvas
Artwork 2 Commentary: Mournful king comforts his queen. By the sea, loss alone yet two, with collar and
woman’s kissed lips, legs cross a four square space.
Artwork 2 Image:

3
Artwork 3 Title: Self-Portrait
Artwork 3 Dimensions: 42 x 30 cms
Artwork 3 Medium: Watercolour on paper
Artwork 3 Commentary: Face scarred by fear or pain. Hand scattering an unknown quantity of strange scent and
white noise, a lone man’s thought.
Artwork 3 Image:

4
Artwork 4 Title: Figures with drapes
Artwork 4 Dimensions: 160 x 120 cms
Artwork 4 Medium: Oil paint and charcoal on canvas
Artwork 4 Commentary: Facing the world, drapes, snake-like yet friendly, a woman dances like a bird. Her prophet
man holds a basket of flowers and staff. They are expectant of the morrow.
Artwork 4 Image:

5
Artwork 5 Title: Great big kiss
Artwork 5 Dimensions: 120 x 120 cms
Artwork 5 Medium: Oil paint and charcoal on canvas
Artwork 5 Commentary: Busty-blond a mother and wife, tickling kissing noises out of of lonely man’s ear. He
touches, no, he clutches a magic wand.
Artwork 5 Image:

6
Catalogue5 ID0122
Artist ID: 0122

Artist Name: Thomas Cameron


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

Artist Statement: My paintings stem from an interest in the scenes and moments that often go overlooked
due to their familiarity. I collect numerous potential reference images from a wide range of
subjects. These are gathered intuitively, and often involve taking snapshots on my mobile
phone or making quick sketches from life.

I am drawn to the urban landscape, domestic interiors and candid moments, particularly the fleeting moments of
beauty found in these.
I have also used found images as references for paintings. I am drawn to their anonymity and sometimes unexpected
subjects, as well as their compositions and understated quality,
all which contribute to an often unintentionally artistic image. These elements give the
images a certain appeal, which I have embraced in my work.

Film is another important influence in my practice, I often think of my paintings as stills from
a film – small parts of a bigger story with the suggestion of narrative.

Notes:

1
Artwork 1 Title: Tam Shepherds Trick Shop
Artwork 1 Dimensions: 60x74x3
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: This painting is the interior of one of the oldest shops in Glasgow, opening in 1886, Tam
Shepherds Trick Shop. The shop is run by world-renowned card magician Roy Walton, who can be seen at the door
leading to the back of the shop. This painting is part of a project exploring places of importance to the city of
Glasgow. As shops are closing all the time I wanted to make a painting celebrating this unique shop, full of magic
trick, costumes, wigs and jokes.
Artwork 1 Image:

2
Artwork 2 Title: The Night Watch
Artwork 2 Dimensions: 60x74x3
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: This painting shows Rembrandt's 'The Night Watch' in Amsterdam being admired by a large
crowd of people. The painting has recently undergone restoration and displayed as part of an exhibition with 'all the
Rembrandt paintings', celebrating his 350th year. This painting is a homage to Rembrandt and the museum. I wanted
to capture a sense of energy in the painting, which was completed from life in one sitting to achieve this. The people
in the crowd are depicted with daubs of paint, blending into 'The Night Watch' were they become almost
indistinguishable. I used a limited palette of 4 or 5 colours.
Artwork 2 Image:

3
Artwork 3 Title: The Barbican Conservatory
Artwork 3 Dimensions: 60x74x3
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: The painting shows people having afternoon tea at the Barbican Conservatory in London.
Artwork 3 Image:

4
Artwork 4 Title: The Night Swimmers
Artwork 4 Dimensions: 60x80x3
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: This painting is of an outdoor swimming pool by the River Clyde during one of the midnight
swims that take place during the summer. The reference for this image comes from a snapshot taken on my mobile
phone. I work with a wide range of reference materials and subjects, often of the seemingly ordinary - places and
situations that are often overlooked.

A keen sense of narrative and cinematic imagery inform my approach, lending an element of mystery and intrigue. I
invite the viewer to question the image selection, the story behind it and around this moment in time.

I painted quickly and in one go, to ensure the fluidity of the oil paint, and to capture a sense of movement and
energy of the water and swimmers.
Artwork 4 Image:

5
6
Artwork 5 Title: Glasgow Botanic Gardens
Artwork 5 Dimensions: 88x64x3
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: This painting of the Glasgow Botanic Gardens came from a desire to focus on composition,
colour and mark making, whilst creating a painting that was still representational. The plants behind the glass lend
themselves well to depicting abstraction in realism, as well as subtle colour changes.
Artwork 5 Image:

7
Catalogue5 ID0125
Artist ID: 0125

Artist Name: Matt Herriot


Website: www.herriotart.com
IG: @herriot_art

Artist Statement: Matt Herriot is a 19 year old contemporary portrait artist from London, UK, who is currently
studying at Yale University.

Notes:

1
Artwork 1 Title: 'Bevis'
Artwork 1 Dimensions: 121 x 91 x 4
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: The subject of the painting is Charlie Bevis, a close friend of mine. The primary image I
worked from was taken just before he went travelling to South America this summer. The closeup perspective we
see Charlie in when looking at ‘Bevis’ is similar to the way I saw him whilst he was travelling: on a phone
screen. It’s interesting how we can talk to someone on Snapchat or FaceTime and feel so close in proximity to
them, despite being so far away from each other geographically. This concept is reflected in the cold colours I chose
for my palette - white, blue and magenta. The cool temperature of the portrait makes Charlie sink back into the
canvas, therefore creating a distance between him and the viewer.

In ‘Bevis’, I chose not to paint some areas of the face in order to direct the viewer’s attention to more
important parts of the piece. The focal point is the subject’s eyes, so they are what I rendered with the most
detail. The rest of the face transitions away from intricate detail to expressive brushstrokes - a technique that I first
explored in ‘Remote III’. This time, I used larger brushstrokes and made bolder gestures. To prevent them
from overpowering the piece, I had to think carefully about how the movement of these marks describes the
contours of the subject’s face, and how the colour of each fits in with its surroundings.
Artwork 1 Image:

2
3
Artwork 2 Title: 'Remote III'
Artwork 2 Dimensions: 121 x 121 x 4
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: I enjoy giving my portraits an unfinished look to them. It deconstructs the painting to reveal
how it was made, and it adds an unexpected flair to an otherwise meticulous piece. In 'Remote III', I combined
realism with loose brushwork to draw focus to the centre of the piece - particularly the left eye. This technique, the
dramatic colour scheme, and the striking facial expression all work together to form a very captivating piece.

Oftentimes I paint my subjects square-on and cropped at the forehead. The confrontational setup gives the illusion
that you are at eye level with the subject, thereby gravitating your gaze toward theirs. Through the subject’s
eyes, I want my portraits to inspire a genuine connection - I want the viewer to feel seen.

Artwork 2 Image:

4
5
Artwork 3 Title: 'Headspace I'
Artwork 3 Dimensions: 152 x 152 x 4
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: On social media, everyone strives to be noticed. Yet we’re not truly seen. The
combination of realism and abstraction displayed in 'Headspace I' relates to an aspect of life I’ve been
questioning more and more: our online image. Most people carefully construct their online image to appear as if
their life is more enjoyable, more successful, and more adventurous than it really is. However, rather than displaying
a flawless image of reality in my paintings, I embrace imperfection with unexpected mark making and seemingly
unfinished brushwork. Rather than striving to present ideal versions of ourselves online, we should welcome our
imperfections and celebrate our own uniqueness.
Artwork 3 Image:

6
7
Artwork 4 Title: 'Remote II'
Artwork 4 Dimensions: 152 x 152 x 4
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: A key driving force behind the creation of ‘Remote II’ was to create a piece in which
the viewer is made to feel part of the scene. For instance, the large scale of the canvas means that the subject is
close to life-size. This, accompanied with the centrality of the subject, makes interaction with him inevitable - he is
made to feel part of the room with you. Further, the striking colour scheme adds to the dramatic mood. Flat, dark
tones are intentionally placed behind vivid red highlights to give the lighting dominance of the scene. The expressive
splatters of paint drip from the lamp covey a melting effect, so that the warmth of the light emanates from the
painting.
Artwork 4 Image:

8
9
Artwork 5 Title: 'Inez'
Artwork 5 Dimensions: 182 x 121 x 7
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: In my most recent painting ‘Inez’, I used illusionistic techniques to induce a tension of
power within the portrait and provide a commentary on traditional portraiture. The photograph which the portrait
was based from was left intentionally uncropped to allow the subject’s shirt to have more dominance of the
scene, and therefore compete with the centralised face for the viewer’s attention.

The warm, vibrant orange of the shirt is contrasted to the cold grey that occupies the remainder of the piece. Given
that the background fades from dark to light in value as it approaches the top of the canvas, the head is pushed
forwards to give the impression that the subject is leaning into the viewer’s space. The flatness of the shirt is
further exaggerated due to this changing gradient, causing it to float at the foreground of the piece as its own body.
Artwork 5 Image:

10
11
Catalogue5 ID0126
Artist ID: 0126

Artist Name: Emily Marbach


Website: www.emilymarbach.com
IG: emilymarbachart

Artist Statement: As a mixed-media artist, my work emerges from layers of collage, paint, illustration and natural
elements to create stirring, chromatic, human landscapes from both the exterior and interior of experience. My
pallet reflects the subdued British light. I focus on colour, line and form to achieve a clear mood when depicting the
countryside and urban landscape.
After collaging with painted figures on landscapes and backgrounds, I have changed my focus to printmaking. I
prepare prints for their second phase of embellishments. Most recently, I have been focusing on building block and
towers. I print with small, scarred metal plates and piece them together. In these unstable times, the foundations of
our country, like a foundation of a structure may withstand the assaults or may not. This lack of stability is reflected
in these towers. Finding images from vintage magazines, I have created images of the past, nostalgia, which is partly
responsible for the confusing times that we are in in Britain today.

Notes:

1
Artwork 1 Title: Landing
Artwork 1 Dimensions: 50x35x1
Artwork 1 Medium: Mixed Media Collage on Fabriano Paper
Artwork 1 Commentary: This picture is one in a series of collages of towers. This one is being used by a parachuting
man. Tied to balloons rather than a proper parachute, he could be a balloon salesman caught up in a powerful
breeze, a victim of a prank or just a resourceful man in need of an escape route. The sky was his chosen method.
Artwork 1 Image:

2
Artwork 2 Title: The Missing Piece
Artwork 2 Dimensions: 50x35x1
Artwork 2 Medium: Mixed Media Collage on Fabriano Paper
Artwork 2 Commentary: This picture is a variation on the tower theme. The backgrounds were printed and then
collages upon. This girl is a classic teenager, a bit bent out of shape, but nothing to worry about. She is a bit mixed
up, confused about her body. She reminds one of a series of postcards. She is waiting for a reply.
Artwork 2 Image:

3
Artwork 3 Title: True Love’s Kiss
Artwork 3 Dimensions: 50x35x1
Artwork 3 Medium: Mixed Media Collage on Fabriano Paper
Artwork 3 Commentary: Another from my series of printed towers. Although the viewer does not see the lips of
these lovers, one can still image the kiss. What is revealed is as important as what is not.
Artwork 3 Image:

4
Artwork 4 Title: Princess and the Pea
Artwork 4 Dimensions: 50x35x1
Artwork 4 Medium: Mixed Media Collage on Fabriano Paper
Artwork 4 Commentary: In this print of the tower, I am spinning the tale of the princess and the pea on its head
where instead of a series of mattresses she appears to be lying under the longest quilt on an ever extending bed.
When I printed the tower, I was worried that if I removed the stubborn plate close to the top I would tear the paper,
so I left the plate where it has stayed lodged eternally.
Artwork 4 Image:

5
Artwork 5 Title: Texaco Tower
Artwork 5 Dimensions: 50x35x1
Artwork 5 Medium: Mixed Media Collage on Fabriano Paper
Artwork 5 Commentary: This tower is adorned with a piece of the Texaco petrol star that was once a landmark in
small towns, like this one, across America. Like a church spire, one could see the star, like a beacon, from most
places surrounding the station.
Artwork 5 Image:

6
Catalogue5 ID0129
Artist ID: 0129

Artist Name: Shahrzad Sharif


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

Artist Statement: I am a British -Iranian portrait and figurative Artist . Graduated from Tehran Univeristy , school of
fine art. usually the subject of my painting are modern men and women in a modern time with a connection to their
culture, personal thought , and memories. i like to study that part of each individual which is in conflict with their
apperance and the personality on surface. I have exhibited my work In London both as a solo and in group .

Notes:

1
Artwork 1 Title: connection
Artwork 1 Dimensions: 120x90
Artwork 1 Medium: oil
Artwork 1 Commentary: a challang between not so long past and ones dream to be.
Artwork 1 Image:

2
Artwork 2 Title: Panj Toranj
Artwork 2 Dimensions: 90 X 120
Artwork 2 Medium: oil
Artwork 2 Commentary: a deep connection between real imagination interpreted in persian rugs and a real dream of
creative hands.
Artwork 2 Image:

3
Artwork 3 Title: cemetery
Artwork 3 Dimensions: 100 x 100
Artwork 3 Medium: oil
Artwork 3 Commentary: My Husband wrote a poem about a few stories that happend a few years a go back in Iran.
in each story there was a girl. the poem is a story that he tell when he visited a cemmetry and saw a few graves with
different stories.
Artwork 3 Image:

4
Artwork 4 Title: red demon
Artwork 4 Dimensions: 120 x 90
Artwork 4 Medium: oil
Artwork 4 Commentary: modern woman with supersticoius believes. using old and ancient talisman to get through
difficult times.
Artwork 4 Image:

5
Artwork 5 Title: pure love
Artwork 5 Dimensions: 100 x 100
Artwork 5 Medium: oil
Artwork 5 Commentary: an interpretation of the inner myself. when Love is big part of my existance.
Artwork 5 Image:

6
Catalogue5 ID0130
Artist ID: 0130

Artist Name: Mrs Thiara Takhar


Website:
IG: thiaratakhar

Artist Statement: I am always thinking and my inspiration is music...... I love art and this is meditation for me and my
hobby......
I like constructive criticism and am aware that sometimes a person won't understand my work.
Regards
Mrs RTT

Notes:

1
Artwork 1 Title: DiscO Luna
Artwork 1 Dimensions: A3
Artwork 1 Medium: Ink
Artwork 1 Commentary: Well DiscO Luna is a DiscO on the MOoN
Artwork 1 Image:

2
Artwork 2 Title: The time machine
Artwork 2 Dimensions: A3
Artwork 2 Medium: Ink and pencil
Artwork 2 Commentary: Again vErY David Bowie inspired and a strange piece...... ?
Artwork 2 Image:

3
Artwork 3 Title: Marigolds
Artwork 3 Dimensions: A3
Artwork 3 Medium: Ink and pencil
Artwork 3 Commentary: Marigolds are special as in India used for celebrations
Artwork 3 Image:

4
Artwork 4 Title: Electric
Artwork 4 Dimensions: A3
Artwork 4 Medium: Ink
Artwork 4 Commentary: Electric is Electric
Artwork 4 Image:

5
Artwork 5 Title: Ice Queen
Artwork 5 Dimensions: A3
Artwork 5 Medium: Ink
Artwork 5 Commentary: The ice Queen is actually catching the star to be released from the ice
Artwork 5 Image:

6
Catalogue5 ID0131
Artist ID: 0131

Artist Name: Flavia Birsan


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

Artist Statement: Each of us is looking for a way to express ourselves. I discovered my passion for contemporary
visual arts years and years ago and since then I’ve created an inextricable connection with expressing myself
through painting.

My artistic vision is driven by my inside voice and by usual or unusual personal experiences, transposed in either
abstract compositions or impressionist works, with a calm, colorful message.

I think my art is an art of beauty, of the positive, the vibrant, of the discovery of meanings.

The fear of mistakes melts at the beginning of each project, under the magic of the canvas, brushes and colors.
It’s simple. You can not go wrong when choosing colors with soul and daring to lay on canvas your own ideas and
concepts.

Owning a portfolio of original paintings, I like to experiment contemporary expression supports and techniques, such
as dripping, palette knives & large brushes/housepainter's brushes, and backlit photo-painting.

My work covers various themes, from urban landscapes to visual expression of music and human feelings. Some of
my works were exhibited in group or personal events.

I want to paint the gray and to share with you some of my work and experiences; I hope you will enjoy it!

Notes:

1
Artwork 1 Title: Autumn by the lake
Artwork 1 Dimensions: 80x120x2
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: This is a special painting for me, because working on it has been a wonderful experience
and I am really pleased with the final result. I received an order from a customer who did not want a specific theme,
but let me instead find a concept. After few sessions of searches, in only one working session I changed the whole
concept worked so far and I painted what I imagined for that client. My canvas captures the autumn on a lake in rich
colors, carefully displayed. I worked with large brushes and with palette knives, in acrylic colors, on 80x120 cm
canvas. I rotated the work many times, so it can be displayed landscape or portrait.
Artwork 1 Image:

2
Artwork 2 Title: Seasons
Artwork 2 Dimensions: 70x50x1,5
Artwork 2 Medium: Acrylic on canvas
Artwork 2 Commentary: I am attracted by gestural painting style because I believe it expresses so much to the
viewer; I understand the communion that the artist feels with the canvas and it's own independence in the creative
process. You know that when you paint you cannot make mistakes, because the multitude of colours, even those
meant to correct something, will give more and more charm and expressiveness to the canvas. I worked in front of
the easel, with ample movements (action painting), on 50x70 cm canvas. I used large brushes, housepainter's
brushes (can be seen in very thick paint coats), acrylic colors, pallet knife, charcoal.
Artwork 2 Image:

3
Artwork 3 Title: Under snow spell
Artwork 3 Dimensions: 50x70x1,5
Artwork 3 Medium: Acrylic on canvas
Artwork 3 Commentary: This is an older work, recently renewed. It was a painting with a bouquet of tulips,
meticulously painted with brushes, which I totally changed the day the first snow fell (few days ago). I intervened
with wide brushes and pallete knives to give the sensation of a blooming garden over which a fine snow fell. Acrylics
on 50x70 cm, brushes and palette knife technique.
Artwork 3 Image:

4
Artwork 4 Title: Woman by the lake
Artwork 4 Dimensions: 50x70x1,5
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: It's such a great feeling when people enter in my studio and look at the paintings ... but it's
even better when they describe their impressions and things they see in my artworks. That's the thing with abstract
paintings: they create a different world for every viewer, reinvent themselves every time you look. "Woman by the
lake", acrylic painting on 50x70 cm canvas, palette knife technique, is one of the paintings that brings me the most
interpretations from the public.
Artwork 4 Image:

5
Artwork 5 Title: Dreaming about
Artwork 5 Dimensions: 50x70x1,5
Artwork 5 Medium: Acrylic on canvas
Artwork 5 Commentary: Although lately I use a "colorful" palette, the black-white-yellow combination has great
charm to me. I only worked with the palette knives, using acrylics.
Artwork 5 Image:

6
Catalogue5 ID0132
Artist ID: 0132

Artist Name: Hans Thierstein


Website: www.multimirror.pictures and www.hansthierstein.ch
IG:

Artist Statement: In my endeavours I strive for innovation at the fringes of known artistic activities. This is likely a
consequence of my past professional work in science and research, where the challenge was to transgress the limits
of the known towards the unknown. Besides innovation I also focus my art projects on aspects of surprise and
attractive form. Among these have been various sculptures using moving sunlight and partially covered mirrors to
reflect wandering symbols or numbers onto walls (including new type of solar clock) or an elegant cube hovering in
the air and turning slowly in the wind (see also www.multimirror.pictures). My most recent project is the
multimirror, which is a square tunnel of four elongated mirrors that are joined at their long sides, similar to a
kaleidoscope, but with four rather than three mirrors inside. The effect is, that an object placed at one end of the
tunnel, when observed from the other end, is reflected repeatedly in four directions. Reproducing this feature
digitally on a computer on various images leads to the emergence of totally unexpected, highly variable, and
fascinating patterns. Such patterns resulting from 49 times the same image, can be printed as multimirror graphs.
With the development of the multimirror I built a bridge from three- to two-dimensional art. Four examples of
multimirror-graphs related to U.K. royalty are submitted here. I find royal traditions fascinating, because I grew up
and live in a bottom-up democratic system – and obviously both have worked for centuries.

Notes:

1
Artwork 1 Title: Face-Multimirror
Artwork 1 Dimensions: 60x200x150cm
Artwork 1 Medium: Sculpture
Artwork 1 Commentary: This multimirror sculpture (file Multimirror.jpg left side) allows visitors to experience the
unique and fascinating optical effects of a four-sided mirror-tunnel. If a visitor places his head at one end of the
tunnel, his companion's head at the other end of the tunnel gets mirrored in four directions many times (and vice-
versa). This physical effect forms the basis of multimirror-graphs of various objects that I produce on a computer. On
such graphs (of 49 times the same picture) show surprising and fascinating patterns when observed from the
distance.
Artwork 1 Image:

2
Artwork 2 Title: Multimirror Royal Splendor: Imperial Crown
Artwork 2 Dimensions: 70x70x1cm
Artwork 2 Medium: Computer-print
Artwork 2 Commentary: The uniquely marvellous Imperial Crown - a symbol of the Kingdom's greatness
Artwork 2 Image:

3
Artwork 3 Title: Multimirror Her Royal Highness Elizabeth I
Artwork 3 Dimensions: 70x70x1cm
Artwork 3 Medium: Computer-print
Artwork 3 Commentary: Style of the highest class
Artwork 3 Image:

4
Artwork 4 Title: Multimirror Royal Palace (Buckingham)
Artwork 4 Dimensions: 70x70x1cm
Artwork 4 Medium: Computer-print
Artwork 4 Commentary: Courtesy of google-maps
Artwork 4 Image:

5
Artwork 5 Title: Multimirror Royal History (Queen Elizabeth I)
Artwork 5 Dimensions: 70x70x1cm
Artwork 5 Medium: Computer-print
Artwork 5 Commentary: Painted 1588 by George Gower
Artwork 5 Image:

6
Catalogue5 ID0133
Artist ID: 0133

Artist Name: Rita Sennik


Website: www.ritasennik.uk
IG:

Artist Statement: Artist Statement


I have a vague memory of a five-year old me telling my father that I was going to study ‘painting’ in Paris - real
or imagined? Memory itself is so elusive. Are my memories stored experiences or fabricated dreams to substantiate
my perceived reality of who I am. Unfortunately this desire was squelched by my parents when it came to university
so I spent a large part of my life working as an architect.
Three years ago, throwing caution to the wind, forgetting the lessons of ‘experience’, I decided to act out my
dream and in 2011 enrolled at WSA to paint. And today I work in my studio (a converted garage) to relive and review
my experiences of being woman and hopefully communicate them through the female form. Derrida’s self
portrait repeated endlessly! But where does self stop and art begin, both are intertwined, in the end the work is the
seen, heard, felt experiences and emotions of the artist.
I speed paint in acrylics on gesso on paper or canvas to capture fleeting moments of emotion, movements, feelings
and thoughts, using colour to complement, and multi-layering to show the depths of being “woman―. The use
of oil or acrylic for secondary layers is dictated by the painting and is often beyond my control.
My work focuses not only on those assumed appearances but hopefully touches on what’s hidden beneath the
facade, the torrent of submerging waves which lie beneath.

Notes:

1
Artwork 1 Title: Earth
Artwork 1 Dimensions: 170x60
Artwork 1 Medium: Oil and Acrylic on Paper
Artwork 1 Commentary: None!

I strongly feel that art (if it is ART) cannot be explained, it can only be felt, experienced. I do not want to provide a
commentary on what I consider to be a language older than the written word.
Artwork 1 Image:

2
Artwork 2 Title: Reviewing The Nude
Artwork 2 Dimensions: 105x65
Artwork 2 Medium: Acrylic on Paper
Artwork 2 Commentary: None!

I strongly feel that art (if it is ART) cannot be explained, it can only be felt, experienced. I do not want to provide a
commentary on what I consider to be a language older than the written word.
Artwork 2 Image:

3
Artwork 3 Title: Descending Blue
Artwork 3 Dimensions: 50x150
Artwork 3 Medium: Acrylic on board mounted Paper
Artwork 3 Commentary: None!

I strongly feel that art (if it is ART) cannot be explained, it can only be felt, experienced. I do not want to provide a
commentary on what I consider to be a language older than the written word.
Artwork 3 Image:

4
Artwork 4 Title: Models
Artwork 4 Dimensions: 85x70
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: None!

I strongly feel that art (if it is ART) cannot be explained, it can only be felt, experienced. I do not want to provide a
commentary on what I consider to be a language older than the written word.
Artwork 4 Image:

5
Artwork 5 Title: Playground
Artwork 5 Dimensions: 150x150
Artwork 5 Medium: Acrylic on Canvas
Artwork 5 Commentary: None!

I strongly feel that art (if it is ART) cannot be explained, it can only be felt, experienced. I do not want to provide a
commentary on what I consider to be a language older than the written word.
Artwork 5 Image:

6
Catalogue5 ID0134
Artist ID: 0134

Artist Name: Christina Ismail


Website:
IG: @my_arty_depression

Artist Statement: I am a 27 Greek self taught artist living in a small town in Kent. Art helps me heal from depression
and anxiety I suffer especially since my mother’s passing. Most of my artworks remind me of her. I started to
paint since I was 7 years old and I stopped for a couple of years while I came to England. Since my mom’s death I
had no other option than to start painting again. I consider myself as an artist of ‘emotions’. I would love to be
part of this competion and If I have the opportunity to enter again I will do next year . I want people to look at my
paintings and feel something as well. This might be nostalgia, happiness or even sadness To me art is a therapy and I
hope I am worthy enough to enter this competion. Thank you so much for your time and consideration. I look
forward to have the opportunity to hearing from you.

Notes:

1
Artwork 1 Title: If I could hug you again
Artwork 1 Dimensions: 30x23cm
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: Self portrait .2017. I wish I had the opportunity to hug someone for one more time. This
painting represents my feelings , my loneliness and my pain.
Artwork 1 Image:

2
Artwork 2 Title: A waltz for Amelia ( Une Valse pour Amélie)
Artwork 2 Dimensions: Aprox 62x80cm
Artwork 2 Medium: Oil On Canvas
Artwork 2 Commentary: Inspired by the colours of Van Gogh’s Cafe Terrace. A scenery of my childhood . A
friendly neighbourhood in my town in Greece. I remember my mom would stay awake all night, sitting in her
balcony, listening to beautiful melodies in the streets and have a ciggarette or two . Colour pallette is inspired by Van
Gogh ‘s masterpiece Cafe Terrace and by the summer night colours of Greece.
Artwork 2 Image:

3
Artwork 3 Title: Praying to death
Artwork 3 Dimensions: Aprox 41x55cm
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: The tree of death. I am praying to death to keep someone safe . Autumn colours in the dark.
A tree with theshape of the skull . Death is certain and sometimes is fear. But there is colour and beauty in it.
Artwork 3 Image:

4
Artwork 4 Title: Silence
Artwork 4 Dimensions: Aprox 62x80cm
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary: Painted mostly with pallette knife and fingers. The giirl who cries in silence. The person who
cries inside. Self portrait.
Artwork 4 Image:

5
Artwork 5 Title: Mother
Artwork 5 Dimensions: 23x30cm
Artwork 5 Medium: Oil On Canvas
Artwork 5 Commentary: A mother will keep me safe and happy . Pallette knife and brush. Ispired by the orthodox
pictures of Mary and child in churches. This is a picture I pray to.
Artwork 5 Image:

6
Catalogue5 ID0135
Artist ID: 0135

Artist Name: Adrian Marden


Website: www.adrianmarden.ac.uk
IG:

Artist Statement: PRACTICE


It might be argued that our consumer society is wasteful with too many commodities unfairly distributed and
advertising feeding on vulnerability and dissatisfaction. However, our material culture has provided many of us with
a ‘quality of life’ that would not have been enjoyed in the recent past and is unobtainable in numerous parts
of the world.

To explore our materialism, I am examining simple domestic objects in a style that I am referring to as
‘EcoPop’ or ‘Pop Art with a Conscience’. These images catalogue the careful crafting of the forms and
detailed finishes of ‘Everyday Things’ which encompass social concerns and observations. Each image is
displayed with a short text which summerises the issue posed.

These digital multiples are made by observing and recording the subjects. There is no computer trickery or
photographic process involved. The technique is a balance between making enough marks to give the illusion of light
and form whilst, at the same time, leaving the elements that make up the image clearly visible.

PROFILE
Initially I studied Fine Art before working in the design industry and in consultancy. This was followed by time in art
& design education, where I co-created, then ran, the design course at Goldsmiths’ College and later became
Head of School at the University of Hertfordshire.Â

Currently I am represented by two regional galleries with work in local private collections. I enter selected open art
competitions and was recently shortlisted for the 2017 London Contemporary Art Prize.

Notes:

1
Artwork 1 Title: Things to Think About / EXERCISE
Artwork 1 Dimensions: 118 x 84 x 1 [A0]
Artwork 1 Medium: Digital Print / A multiple in an edition of 250
Artwork 1 Commentary: A general decline in activity since the 1960’s is claimed to be a cause of disease and
disability and is responsible for one in ten deaths in the UK.

Nick Cavill from Oxford University Department of Public Health says “we weren’t built to sit in front of a
computer, TV screen or steering wheel but remain hunter gathers designed to be physically active all day long.
Whilst our minds are in the 21st century our bodies are still stuck in neolithic times―.
Artwork 1 Image:

2
Artwork 2 Title: Things to Think About / BREAD
Artwork 2 Dimensions: 118 x 84 x 1 [A0]
Artwork 2 Medium: Digital Print / A multiple in an edition of 250
Artwork 2 Commentary: Bread is one of the UK’s most popular foods but an estimated 24 million slices are
thrown away each day. This is part of the 10 million tons of food that is wasted in Britain each year. Of this only 0.5
tons is recycled. In landfill waste food creates methane which is a 25 times more potent greenhouse gas than Carbon
Dioxide
Artwork 2 Image:

3
Artwork 3 Title: Things to Think About / MILK
Artwork 3 Dimensions: 118 x 84 x 1 [A0]
Artwork 3 Medium: Digital Print / A multiple in an edition of 250
Artwork 3 Commentary: In order to produce milk cows must have calves and are therefore serially pregnant. When
they give birth, female calves are kept by the farmer as future milk producers. However, according to the BBC
Countryfile programme, the young bulls are of less worth and some 10,000 a year are shot soon after birth.
Artwork 3 Image:

4
Artwork 4 Title: Things to Think About / STICKING PLASTER
Artwork 4 Dimensions: 118 x 84 x 1 [A0]
Artwork 4 Medium: Digital Print / A multiple in an edition of 250
Artwork 4 Commentary: The Sticking Plaster provides instant access to a dressing that is sterile and absorbent. The
tape has to be flexible enough to wrap around a finger, yet strong enough to withstand daily wear and tear. It also
has to be waterproof and breathable. The adhesive has to stay in place when needed, yet peel off easily when no
longer required.

Ikea stocks red, vivid green and black plasters and there are clear versions with white or beige dressings. Although
80% of the world population are not white, I can only find one company who make plasters to match black and other
ethnic skin tones.
Artwork 4 Image:

5
6
Artwork 5 Title: Things to Think About / SLEEP
Artwork 5 Dimensions: 118 x 84 x 1 [A0]
Artwork 5 Medium: Digital Print / A multiple in an edition of 250
Artwork 5 Commentary: Matthew Walker in his book ‘Why We Sleep’ claims that many people today see
sleeping as a weakness and put social and business demands before the need to sleep. When I was born in the
1940’s less than 8% of the population was surviving on less than 6 hours, today almost 1 in 2 are doing so.

With only 4/5 hours sleep our natural ‘killer cells’ drop by 70% and research shows that the shorter our
slumbers the shorter our life. Lack of a proper rest each night is being linked to cancer of the bowel, prostrate and
breast as well as Alzheimer’s disease.
Artwork 5 Image:

7
8
Catalogue5 ID0136
Artist ID: 0136

Artist Name: Sinclair Webster


Website: https://www.stcw.pictures
IG:

Artist Statement: After working as an architect designing large hospitals here and abroad, I have now returned to
painting and drawing full time, enjoying the dialogue between the image and the artist, with the pleasure of
immediate results.

While still a student, I took part in group shows and held one-man exhibitions in Nairobi, in Ypres and Roeselare in
Flanders, in Cambridge and in Edinburgh. In the last year I have been in three group shows in London and Surrey.

Most of my work features charismatic encounters with people and animals in landscapes with which I have become
familiar, whether in Africa, Sussex or Yorkshire, and some arise out of religious beliefs.

An image arising out of an encounter would demand to be set down. Some images are retained for years and there
is a dialogue between memory and the way the image wants to express itself on paper or canvas. Others recur and
find different forms depending on the medium used. My work is influenced by German and Flemish expressionists.

My interest in animals began when I was living in East Africa as a child and young man, and I sought to catch the
essence of the animals I saw every day.

I live in North Surrey and in addition to painting I enjoy outdoor pursuits in the Surrey hills and Sussex weald,
allowing me to restock my images of the land and its wildlife.

Notes:

1
Artwork 1 Title: Below the ridge
Artwork 1 Dimensions: 60 x 80 x 2
Artwork 1 Medium: Oil paint on canvas
Artwork 1 Commentary: If you walk in Petworth park in September you may come across a buck that is tired out and
resting. This one moved off as we approached, so you can only see his antlers. The tree where he had been eating
the fallen sweet chestnuts was an interesting shape, which is why I remembered it and painted it months later. It is
not a real view. The elements are there but you will not find the clump of trees on the left and the sweeping ridge on
the right. That is compositional licence.
The tree bark more or less painted itself. Grass is always difficult - how do you get the shimmer?
Artwork 1 Image:

2
Artwork 2 Title: Moon over water
Artwork 2 Dimensions: 60 X 80 X 2
Artwork 2 Medium: Oil paint on canvas
Artwork 2 Commentary: These are the bulwarks around Ieper, with the Menin Gate on the right. I have family in
Ieper and have walked not ramparts many times. Whilst there are willow trees across the moat, you won't find them
as close as i have shown them. There are swans, but I doubt if they would fly that close to you.
This picture was about playing off the diagonal of their flight again the horizontal and vertical man made elements.
I used the texture of my brushstrokes to suggest the foliage of the trees on the ramparts and scratched the willow
branches through the paint with a palette knife.
Artwork 2 Image:

3
Artwork 3 Title: In deep cover (Sheepleas)
Artwork 3 Dimensions: 60 X 80 X 2
Artwork 3 Medium: Oil paint on canvas
Artwork 3 Commentary: Only once have I managed to catch a roebuck feeling so secure he could have a doze. I gave
this one antlers of a size and girth that you won't find in Surrey. He is the ur-buck! We looked at each other for
several seconds before he crashed off back into the wood. I went over to have a look at the place he had being lying
up - hence the interest in the texture of the fallen birch trunks.
The interest for me here was in the patterns of the ground cover int bottom of the picture and how I could play off
their shapes against the simplified curves of the buck and the diagonal slashes of the tree trunks.I let the main areas
of paint on the trunks get tacky before adding in some of the textures to suggest the roughness characteristic of the
tree.
The ride behind is not there., but in a different wood entirely.
Artwork 3 Image:

4
5
Artwork 4 Title: Charlie in the garden
Artwork 4 Dimensions: 45 X 55 X 2
Artwork 4 Medium: Oil paint on canvas
Artwork 4 Commentary: This suburban fox thought he had found a quiet place to doze in the sunshine after chasing
vixens all night. I think he only had one good eye, but I chose not to show that.
When I painted this picture I went into the garden to check the shape of the flowers. This was a break from my usual
practice of painting from memory. So the bare earth under the bushes, the rhododendron stems and had leaf from
the previous year were all real.
Artwork 4 Image:

6
Artwork 5 Title: Mary
Artwork 5 Dimensions: 60 X 80 X 2
Artwork 5 Medium: Oil paint on canvas
Artwork 5 Commentary: People have come to expect me to paint or draw something on the theme of the Nativity
every year. I have painted mother and child with various supporting casts of animals, kings or shepherds but last
year, because my daughter was coping wither second child and not getting much sleep, I decided to concentrate on
Mary and the baby. This is entirely imaginary.
Its not the child that dominates, but the mother.
I put in the palm fronds to locate the scene in people's imaginations and I gave Mary cushions from a sofa in our
house to support her on all that straw laid on a hard tiled manger.
Artwork 5 Image:

7
8
Catalogue5 ID0137
Artist ID: 0137

Artist Name: Blair Vina


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

Artist Statement: I am from Malaysia


I am blair vina female
I hope I can take this opportunity to participate in my work.
I hope that the production unit will give me this opportunity.

Notes:

1
Artwork 1 Title: PINK MOSQUE
Artwork 1 Dimensions: 100CM*100CM
Artwork 1 Medium: Malaysia, my home country Pink mosque
Artwork 1 Commentary: Malaysia, my home country Pink mosque in putra jaya
Artwork 1 Image:

2
Artwork 2 Title: back view
Artwork 2 Dimensions: 100cm*100cm
Artwork 2 Medium: back view the girl
Artwork 2 Commentary: Black world, there is a back of her
Artwork 2 Image:

3
Artwork 3 Title: Black world
Artwork 3 Dimensions: 100cm*100cm
Artwork 3 Medium: black world
Artwork 3 Commentary: Black world, there is a back of her
Artwork 3 Image:

4
Artwork 4 Title: flower in the garden
Artwork 4 Dimensions: 100cm*100cm
Artwork 4 Medium: flower in the garden
Artwork 4 Commentary: flower in the garden 。
Artwork 4 Image:

5
Artwork 5 Title: yellow light
Artwork 5 Dimensions: 100cm*100cm
Artwork 5 Medium: yellow light
Artwork 5 Commentary: yellow light in the cafe
Artwork 5 Image:

6
Catalogue5 ID0139
Artist ID: 0139

Artist Name: Ilona Skladzien


Website: www.ilonaskladzien.com
IG:

Artist Statement: I was born in Poland, and currently live and work in the UK. I received my MA from The Academy of
Fine Arts in Cracow in 2010, ( Arts and Design) following by MA in Fine Art from Arts University Bournemouth in
September 2018.

I concentrate on mixed media paintings, which explore the socio-political 'grey' areas through a psychological lens.

In my most recent practice, my works are increasingly informed by psychology, including fictional narrative,
manipulation, memory and YouTube imagery, such as documentaries on genocide and slaughterhouse.

Explored through the process of layering and repetition, with additional introduction of the notion of chance, I delve
into the question of the objectivity of our perception.

By blurring the characteristics of different media and looking for the ambiguity in the work, I aim to offer the viewers
various avenues of interpretation- a mirror to their unconscious.

Notes:

1
Artwork 1 Title: 'After YouTube' Series No I
Artwork 1 Dimensions: 84 x 59 x 2 cm
Artwork 1 Medium: Mixed media: acrylic, resin, charcoal on MDF board
Artwork 1 Commentary: While working on 'After YouTube' Series No I, I was interested in the tension between
nature and nurture, which can be observed in life and death situations. This stemmed from my research on the
subject of genocide, where I focused on our survival instinct.

The source material for this painting was taken from pausing then photographing the YouTube documentary on the
Myanmar genocide, which showed the body of a young boy lying on the beach. I chose it because of the strong
emotional impact it had on me and wanted to explore its visual potential within the context of genocide.

This work marked the start for me incorporating the 'start, stop pause' videos navigators in my work. It also
developed my interest in our relationship with online sources.
​
Artwork 1 Image:

2
3
Artwork 2 Title: " You need to have a website" /'After YouTube' Series No III
Artwork 2 Dimensions: 84 x 59 x 2 cm
Artwork 2 Medium: Mixed media: acrylic, resin, charcoal on MDF board
Artwork 2 Commentary: Painting " You need to have a website" is also based on photographs taken from the
documentary on Myanmar genocide, in particular a photo of the genocide survivor carrying his child by the beach.

In here, I began using other online visual materials included in the video, such as the advertisement of WIX.COM, a
popular website builder. I thought that allowing myself to use the irrelevant information would be a more truthful
representation of my experience of watching the documentary on Myanmar genocide.

The sentence "You need to have a website" landed on the fertile soil. I was repeating writing it on the painting until
my thoughts shifted in other direction. By then I managed to cover most of the painting in writing.

My interest in the memory and its unreliable qualities/ e.g. misinterpretation effect/ made me accept the
transformations of the photographs into more unrecognisable shapes in my paintings, which created a new reality.

Artwork 2 Image:

4
5
Artwork 3 Title: '18:03/1:46:41'
Artwork 3 Dimensions: 128 x 128 x 2cm / 128 x 200 x 2cm/ 128 x 128 x 2cm
Artwork 3 Medium: Mixed media: acrylic, resin, charcoal on plywood board
Artwork 3 Commentary: The triptych featured in my MA Final Show 2018 is based on the photos taken of the
YouTube documentary entitled "Lucent 2014".

The video explores the darker side of Australia's pig farming industry through a combination of hand-held and
hidden camera footage, highlighting the day-to-day cruelty accepted by the industry as standard practice.

​Noticing the limitations I accounted while watching "Lucent 2014", such as my inability to watch the whole
documentary, distractions created by the advertisements, my habit of multitasking, and short attention spam,
made me question the amount and quality of information I really took in while watching the documentary and it s
reliability.

In addition to that, I was intrigued and slightly disappointed when, after watching the video, I managed to turn a
vegetarian for few days only. That also made me interested in exploring my online learning experience through
painting and adequate processes, hoping to understand my thought process and reactions to them better.

Again, I worked from the images taken from the documentary, but also images which I came across while doing
research on slaughterhouses, as well as the photos of advertisements in the video.

As Susan s Greenfield says in her book "Mind change. How digital technologies are leaving mark on our brains", the
high multitasking culture seems to unable us to ignore the information which is not relevant or important.
Following that thought, I allowed myself to refer to the gathered material with all the freedom I had, creating layers
and sanding them off at a rather fast speed. This was to allow me to work on more unconscious level and prevent
me from analysing the outcomes.
​
What strikes me the most is the fact that even that experiment of working fast made me to unconsciously look for
some sort of continuity in the painting, which resulted in it being 'visual unity'.

The first part of title of the painting'18:03' is the shot which impacted on me most: the dead piglet killed by his
mother's weight because of lack of room in the cage.The second part of the title, '1:46:41' is the whole length of
documentary.

Artwork 3 Image:

6
7
Artwork 4 Title: 'After Karpman's' Series No IV
Artwork 4 Dimensions: 420 x 210 x 0.1 cm
Artwork 4 Medium: Mixed media: screen print and soft pastel on paper
Artwork 4 Commentary: This series is the result of my interest in Karpman's Drama Triangle theory saying that both
oppressor, victim and the rescuer interchange their roles within the drama triangle.
​
This made me explore the ambiguity of the subject being portrayed. In this series, I have worked with screen
printing, which allowed me to make the multiplied variations on the same image found online. I chose the image of
the children playing and having good time because of its unsettling nature.
​
The choice of technique which allowed the repetition was inspired by me reading on the Repetition Compulsion
theory created by Freud saying, that those who experienced trauma in their childhood, are most likely unconsciously
look in their adult life, for the situations which will make them re-act the trauma, which is the way of remembering
it.
​
Both, Karpman's Drama Triangle and the Repetition Compulsion theory, came to my attention while doing the
research on genocides and the behaviours the acute situations might result in.

My interest in the subject of genocide and willingness to understand the behaviour of the oppressors and victims,
looking for patterns in genocides around the world, comes most likely from recent history of Poland.
​
The ambiguity I am looking for in ' After Karpman's' Series are my reflection on uncertainty and complexity of
human behaviour.
Artwork 4 Image:

8
9
Artwork 5 Title: 'Gender' Series II
Artwork 5 Dimensions: 150 x 100 x 1cm
Artwork 5 Medium: Oil on unprimed canvas
Artwork 5 Commentary: The transparencies which appear in the work, are a metaphor for the complexity of human
sexuality, reflecting it's many variations, yet showing how difficult they are to identify and differentiate.
​
​Through creating the deep contrast, I wanted to give myself the opportunity to bring to the surface the whole
range of hues, which would also be the resemblance of the wide range of sexual orientations, however all of them
within the same family range.
Artwork 5 Image:

10
Catalogue5 ID0140
Artist ID: 0140

Artist Name: Paul Butcher


Website:
IG: Vidaenunlienzo

Artist Statement: Paul Butcher


I have been a struggling amateur Artist for over three decades, during that period I studied at Amersham Art college.
I really would love the opportunity to see my artwork displayed in an exhibition one day. My portfolio ranges from
illustrations to portraits and the odd landscapes painting.

Notes:

1
Artwork 1 Title: Murderers
Artwork 1 Dimensions: Height 47cm width 58cm.
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: A depiction of the murderers of the past.
A painting with a dark atmosphere.
Artwork 1 Image:

2
Artwork 2 Title: The Cottage
Artwork 2 Dimensions: Height 63cm width 70cm.
Artwork 2 Medium: Oil on wood with pastels.
Artwork 2 Commentary: An idealic view of my dream home. A perspective view of the cottage with its surrounding
gardens.
Artwork 2 Image:

3
Artwork 3 Title: Weeping Mary
Artwork 3 Dimensions: Height 51.5cm width 41.5cm.
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: Coming from a Catholic upbringing I include religious images in alot of my work.
The weeping Mary is a powerful picture with hidden meanings.
Artwork 3 Image:

4
Artwork 4 Title: Bowie
Artwork 4 Dimensions: Height 50cm width 40cm.
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: The death of Bowie made an impact on me, he was one of my rock idols who's music was so
original. He was definitely one of the forerunners for change.
Artwork 4 Image:

5
Artwork 5 Title: George
Artwork 5 Dimensions: Height 50cm width 40cm
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: George Michael had a voice of an Angel. A man who's generosity was second to none. Gone
far too soon.
Artwork 5 Image:

6
Catalogue5 ID0141
Artist ID: 0141

Artist Name: Yair David


Website: http://davidart.co.il/
IG:

Artist Statement: I am an Israeli engineer, legalist, patent attorney, and artist. For decades I have been painting
landscapes.
After many years of searching, I found that the technique that best suites me to express my love and respect for
nature, is the superimposing technique that was developed by the British landscape artists in the nineteenth
century, a technique that enable to reveal consistency and sensitivity my nature subject. In order to study the
technique, I conducted six guided painting expeditions to Cornwall and to the St. David's area.
I begin my paintings after a profound exploration and study of the nature of the landscape and only after
understanding it well. The main stages of the painting include an accurate pencil drawing on paper, followed by the
laying of monochromatic tint layers that give the painting uniformity and determining the gray levels and finally
adding colours.
The most important thing to me is to capture in the watercolour painting as much as I can the atmospheric effects'
which I see before my eyes, while taking advantage of the transparency of the watercolors and the correct use of the
properties of the various pigment groups.
I make sure to use only watercolours, avoiding the use of any body colours, and try to achieve absolute freedom of
expression in a very rigid framework of artistic laws.

Yair David Ph.D.

Notes:

1
Artwork 1 Title: King David Tower
Artwork 1 Dimensions: 67x97
Artwork 1 Medium: Watercolour
Artwork 1 Commentary: I chose to paint the city walls of Jerusalem and the fortress of King David Tower out of
curiosity. What do the centuries-old walls conceal in the city behind them? I found a special interest in the harmony
that controls the view of the landscape on one side and the contrasts on the other: shadow and light on the walls,
and their warmth and solidity against the cold and transparent sky.
Artwork 1 Image:

2
Artwork 2 Title: Caesarea Aqueduct
Artwork 2 Dimensions: 41x63
Artwork 2 Medium: Watercolour
Artwork 2 Commentary: In this painting of the aqueduct that led water to the city of Caesarea in the first century, I
exemplify the typical stages of my works. Starting from positioning the main elements on the paper, one arc of the
aqueduct and the water channel above it. Continue with details in pencil drawing and even in greater details. Then
determining the gray levels using layers of monochromatic tint, and finally adding colours.
Artwork 2 Image:

3
Artwork 3 Title: Two Little Lake Birds
Artwork 3 Dimensions: 41x63
Artwork 3 Medium: Watercolour
Artwork 3 Commentary: The two little birds that stood calm in the morning on the edge of a very shallow lake were
staring down my eyes. Against of the earth, the water, and the trees that are all fixed in place for a while, the two
birds lay there only for a moment, but they became the main subject of interest.
Artwork 3 Image:

4
Artwork 4 Title: Porth Clais
Artwork 4 Dimensions: 18X28
Artwork 4 Medium: Watercolour
Artwork 4 Commentary: Porth Clais near St. Davids is a place I like very much and I have painted there several times.
This is where the small fjord can be observed from a small jetty located at the entrance. From this observation
everything seems to be moving and changing all the time. The sun moves from right to left, the lighting and shadows
changes. The clouds move in the wind in an opposite direction, from left to right, sometimes even it is raining. The
height of the water changes all the time. When the tide ends and the low-tide begins, more and more rocks are
discovered and the water marks on which they were immersed are revealed. Boats floating in the water with upright
masts, resting now at different angles on the exposed sand. The air is saturated with moisture and everything looks
shimmering in the eyes. A challenge as an object for painting.
Artwork 4 Image:

5
6
Artwork 5 Title: St. David's Head from Porthsallie Bay
Artwork 5 Dimensions: 26x45
Artwork 5 Medium: Watercolour
Artwork 5 Commentary: When I first discovered Porth Sallie I was surprised to see the small stone now located the
foreground of my painting on the right side. This simple stone appears in J.M.W. Turners painting, titled "St. David's
Head from Porthsallie Bay".
I understood in what kind of freedom Turner allowed himself to paint. Right of the stone he located a boat and
fishermen whose size he paints as the size of the stone and thus gave the stone and the sea waves meaning and
power that are very dramatic.
I decided not to imitate Turner but chose to paint the very calming atmosphere I felt there.

Artwork 5 Image:

7
8
Catalogue5 ID0142
Artist ID: 0142

Artist Name: Tarek Sebastian Al-Shammaa


Website:
IG: Tareksebastianartist

Artist Statement: Tarek Sebastian Al-shammaa is a self taught Artist born in London to Iraqi and French parents. The
work is his personal reflection on history, migration, culture, east, west, death and sex. He has had several solo
shows in Britain and is part of collections in Singapore, Los Angeles and london

Notes:

1
Artwork 1 Title: BODY ENGLISH
Artwork 1 Dimensions: 160cm by 130cm
Artwork 1 Medium: Oil
Artwork 1 Commentary: Made this painting after watching a bbc doc on cooks plundering. J Reynolds made this work
of a Omai who wanted the English to help him avenge his family back home. He painted him in robes and a turban
something he wouldn’t normally wear. Bit like saying all brown people from over there are the same
Artwork 1 Image:

2
Artwork 2 Title: SELF PORTRAIT INFRONT OF A SPOT PAINTING
Artwork 2 Dimensions: 160cm by 110cm
Artwork 2 Medium: Oil acrylic graphite Goache
Artwork 2 Commentary: Made this portrait which was in my small London studio in what was supposed to be a living
room. The work has a spot painting which is pilfered from Ritchter to hirst who prob knicked it from something else.
So I put it then in my painting.
Artwork 2 Image:

3
Artwork 3 Title: ANNETTE INFRONT OF A SPOT PAINTING
Artwork 3 Dimensions: 160cm by 110cm
Artwork 3 Medium: Oil
Artwork 3 Commentary: Did a painting with my friend Annette who was staying with me
Artwork 3 Image:

4
Artwork 4 Title: KARIM INFRONT OF A SPOT PAINTING
Artwork 4 Dimensions: 160cm by 110cm
Artwork 4 Medium: Oil
Artwork 4 Commentary: Did a painting of my brother who lives down the road from me
Artwork 4 Image:

5
Artwork 5 Title: YOU CAN LEAVE BUT ITS GOING TO COST YOU
Artwork 5 Dimensions: 170cm by 160cm
Artwork 5 Medium: Oil
Artwork 5 Commentary: Everything has a price it just depends on how much you can lose and what you see to gain
from it
Artwork 5 Image:

6
Catalogue5 ID0143
Artist ID: 0143

Artist Name: Susan Taylor


Website:
IG: Susanlyndataylor

Artist Statement: Love Art and the wonderful exciting choice of mediums available. I love colour and texture and
love the beauty of nature and believe art affects our feelings emotions and moods and has the power to lift us. I
love artwork that you can look at again and again and see new beauty and things every time.

Notes:

1
Artwork 1 Title: Hummingbird Paradise
Artwork 1 Dimensions: 760x510x20
Artwork 1 Medium: Acrylic
Artwork 1 Commentary: I love the way this picture evolved. It was exciting and I had nothing preconceived but
through manipulation it came into being. I feel that art carries the Artist into each new work and is unique.
Artwork 1 Image:

2
Artwork 2 Title: Fossil Fish Artwork
Artwork 2 Dimensions: 400x500x20
Artwork 2 Medium: Acrylic
Artwork 2 Commentary: I just love texture and just seeing what happens along the way. It is always an exciting
journey. Love fossils and the prehistoric world for inspiration.
Artwork 2 Image:

3
Artwork 3 Title: Time to Dream
Artwork 3 Dimensions: 500x760x40
Artwork 3 Medium: Acrylic
Artwork 3 Commentary: I wanted to use these beautiful dreamy pastel shades and was so glad that they merged In
such a beautiful way.
Artwork 3 Image:

4
Artwork 4 Title: Dragonfly Art
Artwork 4 Dimensions: 230x300x20
Artwork 4 Medium: Acrylic and glass paint
Artwork 4 Commentary: Working to build texture and colour.
Artwork 4 Image:

5
Artwork 5 Title: Winter Looms
Artwork 5 Dimensions: 900x600x20
Artwork 5 Medium: Acrylic
Artwork 5 Commentary: I wanted to use black and white with a little gold to get a monochrome look, but as I applied
the paint black and white inevitably turned into grey. I manipulated the painting and then not quite happy painted
Into the picture until I was happy with the result.
Artwork 5 Image:

6
Catalogue5 ID0145
Artist ID: 0145

Artist Name: Cristian Stefanescu


Website:
IG: https://www.instagram.com/christian.stefanescu/

Artist Statement: London based artist Cristian Stefanescu was born in 1968. He obtained a MSc degree in 1992 at the
Technical University of Construction Bucharest, specialisation in Water and Wastewater Treatment followed by the
second MSc in 1994 obtained at University of Liège, specialisation in Groundwater Engineering.

After more than a decade of teaching at the Technical University of Construction Bucharest, Cristian moved from
academia to business development and in 2014, together with his wife international artist Anca Stefanescu, they
created their own luxury fashion brand COLOURS OF MY LIFE.

The passion for photography developed in the early years of college and became a constant element of his life. After
long and constant collaborations with fashion brands in Romania, in 2018 Stefanescu moved to London to open his
studio. His practice includes mainly, but not limited to, fashion, portraiture and street photography.

Stefanescu believes in the energy of every being, of each object, of each plant. He believes that photography renders
the ineffable combination of the object’s energy and the photographer's one while taking a picture.

Always in search for the perfect energy, for capturing the perfect vibration, Cristian wants to create experiences that
go beyond reality when one can see a photography though, not with his eyes.

He focuses his camera on a distorted reflection of a hypothetical reality, since what one perceives to be real is a
mere reflection of his own reality, and he is looking for the feeling that makes him click the shutter button.

Notes:

1
Artwork 1 Title: Oxford Mirrors #03
Artwork 1 Dimensions: 66x100x1
Artwork 1 Medium: Photography
Artwork 1 Commentary: The photos in this series were taken in front of John Lewis shop on Oxford Street at night,
using the mirrors placed in the ceiling of the store's awning. I have used the lights and colours that came from the
window shops, street Christmas decorations, fire trucks and the street lighting reflection in cars passing by.

I invite you to discover the reflected traces of people's passing by, a distorted reflection of a hypothetical reality,
since what one perceives to be real is a mere reflection of his own photographic memory called reality.

Artwork 1 Image:

2
3
Artwork 2 Title: Oxford Mirrors #08
Artwork 2 Dimensions: 66x100x1
Artwork 2 Medium: Photography
Artwork 2 Commentary: The photos in this series were taken in front of John Lewis shop on Oxford Street at night,
using the mirrors placed in the ceiling of the store's awning. I have used the lights and colours that came from the
window shops, street Christmas decorations, fire trucks and the street lighting reflection in cars passing by.

I invite you to discover the reflected traces of people's passing by, a distorted reflection of a hypothetical reality,
since what one perceives to be real is a mere reflection of his own photographic memory called reality.

Artwork 2 Image:

4
5
Artwork 3 Title: KewTree #10
Artwork 3 Dimensions: 66x100x1
Artwork 3 Medium: Photography
Artwork 3 Commentary: All the photos in this series called “Kew Trees― were taken in Kew Gardens and
present an extensive collection of trees from around the world. The Royal Botanic Gardens of Kew near London is
one the oldest and most important botanic gardens in the world.

The photos were taken at night, in January 2019 and all the lights and colours came from the reflectors located at
the base of each tree.

Artwork 3 Image:

6
7
Artwork 4 Title: KewTree #08
Artwork 4 Dimensions: 66x100x1
Artwork 4 Medium: Photography
Artwork 4 Commentary: All the photos in this series called “Kew Trees― were taken in Kew Gardens and
present an extensive collection of trees from around the world. The Royal Botanic Gardens of Kew near London is
one the oldest and most important botanic gardens in the world.

The photos were taken at night, in January 2019 and all the lights and colours came from the reflectors located at
the base of each tree.

Artwork 4 Image:

8
9
Artwork 5 Title: City Caps #01
Artwork 5 Dimensions: 66x100x1
Artwork 5 Medium: Photography
Artwork 5 Commentary: The photos in this series called “City Caps― present various manhole covers from all
over London. There are thousands of manhole covers in every city, but very few people ever look at them or think
about them, at their infinite variety of design, as art.

Made by existing or closed utility business firms, by known or long forgotten companies, they covers as a blazon a
less known underground world.

Artwork 5 Image:

10
11
Catalogue5 ID0147
Artist ID: 0147

Artist Name: Chloe Brown


Website: www.chloebrownart.com
IG:

Artist Statement: I am a self-taught artist, specialising in horse portraits and commissions. My work shows the
intangible emotion and energy of an animal, depicted across a range of strong and vibrant colour use. Displaying the
power of movement with texture and the use of interesting brush strokes.
It all started in 2012, While recovering from a horse riding accident that put an early end to my professional career, I
began drawing and painting as a way to express my love and desire for my life's passion.

Six years later, I have developed her style and I am working artist specialising in horse paintings, completely self-
taught.

Having worked for an Olympic Gold Medalist and a stud yard in Germany as a rider, I draw on experiences to bring
these animals to life on the canvass

Given the demand for my work, in January 2016 took one huge leap of faith and decided to dedicate my life and
career to art full-time.

In 2017, I came to the attention of The Prince's Trust who have energetically backed me, putting her on their
enterprise programme with the backing of a business mentor.

Later in 2017, I was also approached by Aintree Equestrian Centre, home of the Grand National, who commissioned
her to create and display 17 pieces which have been hung in the newly refurbished restaurant.

Notes:

1
Artwork 1 Title: blue
Artwork 1 Dimensions: 50cm x 60cm
Artwork 1 Medium: oil
Artwork 1 Commentary: Blue 50cm x 60cm oil painting.

I'm constantly exploring the line between realism and fantasy in art, the use of sweeping brush strokes show the
shifts of energy and spirit exerted by such a strong spiritual animal.

Artwork 1 Image:

2
Artwork 2 Title: Jupiter
Artwork 2 Dimensions: 15.5 x 15.5
Artwork 2 Medium: oil
Artwork 2 Commentary: Oil painting 15.5 x 15.5 inch with frame 17" x 17"

With this piece I knew I wanted to create a sense of presence, where the brush strokes merge together, to create the
horse in front of your eyes, almost as if he's a bundle of energy. the sweeping and bold strokes which scatter
between the foreground and background lend to creating the presence.

The butterflies which are 3D are there to represent life freedom and spirit. each one handmade from fine art paper
hand cut and hand finished, vanished and UV protected
Artwork 2 Image:

3
4
Artwork 3 Title: Saturn
Artwork 3 Dimensions: 60 x 50cm
Artwork 3 Medium: oil
Artwork 3 Commentary: 50cm x 60cm oil painting number four of the new collection.

oil paint with handmade butterflies.

With this piece I knew I wanted to create a sense of presence, where the brush strokes merge together, to create the
horse in front of your eyes, almost as if he's a bundle of energy. the sweeping and bold strokes which scatter
between the foreground and background lend to creating the presence.

The butterflies which are 3D are there to represent life freedom and spirit. each one handmade from fine art paper
hand cut and hand finished, vanished and UV protected
Artwork 3 Image:

5
6
Artwork 4 Title: flow
Artwork 4 Dimensions: a4
Artwork 4 Medium: watercolour ink
Artwork 4 Commentary: A4 abstract piece in mixed media, watercolour, oil, ink.

based on the Ariel view of earth, this piece includes texture and sense of earth.
Artwork 4 Image:

7
Artwork 5 Title: shutter
Artwork 5 Dimensions: 15.5 x 15.5
Artwork 5 Medium: oil
Artwork 5 Commentary: Exploring the shifts of energy

15.5" x 15.5" premium linen canvas

Species: Venessa Cardui - Painted lady butterfly


Artwork 5 Image:

8
Catalogue5 ID0148
Artist ID: 0148

Artist Name: Meltem Quinlan


Website: www.meltemquinlan.com
IG:

Artist Statement: Meltem’s work is drawn from sources as diverse as the Human figure, the constantly changing
landscape around her and her life experiences. On viewing Meltem’s work the viewer is drawn into the painting
through layering of oils and using a variety of media to complete her finished work. Through this process the painting
it’s self takes on a life of it’s own allowing the viewer to step into the painting and start a visual journey with
the artist. With Meltems ability to use different media for different subjects, her work remains as fresh as when her
work was first seen and continues to evolve constantly from where she started her journey into art.

Notes:

1
Artwork 1 Title: Endangered Forest
Artwork 1 Dimensions: 80 x 110 x 4
Artwork 1 Medium: Mixed Media
Artwork 1 Commentary: A commentary on the plight of pollution on our tree life
Artwork 1 Image:

2
Artwork 2 Title: Rain Forest
Artwork 2 Dimensions: 50 x 50 x 4
Artwork 2 Medium: Mixed Media
Artwork 2 Commentary: The beauty of nature and the wonder of the water in it
Artwork 2 Image:

3
Artwork 3 Title: The Impossible Meeting
Artwork 3 Dimensions: 60 x 60 x 6 framed
Artwork 3 Medium: Mixed Media
Artwork 3 Commentary: where the horizon is broken and the sun explodes
Artwork 3 Image:

4
Artwork 4 Title: Magical Circle
Artwork 4 Dimensions: 70 x 57 x 6 framed
Artwork 4 Medium: Mixed Media
Artwork 4 Commentary: a water droplet is one of Life's great wonders
Artwork 4 Image:

5
Artwork 5 Title: Sunset
Artwork 5 Dimensions: 51 x 41 x 4
Artwork 5 Medium: Mixed Media
Artwork 5 Commentary: A Collage by using old textile item that I created this nature/tree painting. Hoping that we
may create awareness about textile wastage which is the second biggest problem with landfill
Artwork 5 Image:

6
Catalogue5 ID0150
Artist ID: 0150

Artist Name: Wilberg Vetimore


Website: www.rosehallgallery.com
IG:

Artist Statement: Vetimore is an Enigmatic Expressionist who paints from a deep spiritual feeling, and feels that the
art lover must be given a chance to interpret his work and to be convinced of his own perspective.

Notes:

1
Artwork 1 Title: Queen of Zion
Artwork 1 Dimensions: 91.44x60.96x1.9
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: The original queen plays a contemplative melody on a ancient instrument.
Artwork 1 Image:

2
Artwork 2 Title: When Love is in full bloom
Artwork 2 Dimensions: 91.44x60.96x1.9
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: What love looks like when it is true and lovely, in all it's splendor; full bloom.
Artwork 2 Image:

3
Artwork 3 Title: Unfolding
Artwork 3 Dimensions: 91.44x60.96x1.9
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: The unfolding of the tools of survival before the technological age; and it will be the tools of
survival when Technology fails mankind. The beginning and the ending are one.
Artwork 3 Image:

4
Artwork 4 Title: Evolution
Artwork 4 Dimensions: 91.44x60.96x1.9
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary: Everything must change from the basic to the more complex and from the more complex to
the basic; from dust to solid and from solid to vapor.
Artwork 4 Image:

5
Artwork 5 Title: Meditation
Artwork 5 Dimensions: 91.44x60.96x1.9
Artwork 5 Medium: Oil on Canvas
Artwork 5 Commentary: When we meditate on the natural things that surround us, such as nature, we separate the
true from the false, and the truth unfolds before our own eyes.
Artwork 5 Image:

6
Catalogue5 ID0151
Artist ID: 0151

Artist Name: Louise Hercules


Website:
IG: www.instagram.com/ellehercules

Artist Statement: One of the central narratives that I explore throughout my artwork is the concept of identity and
how specific challenges such as; chronic illness, body dysmorphia and birth can leave profound emotional,
psychological and sometimes, literal scars that can shape our self-worth/self-awareness as we age.

I’m particularly interested in how we choose to access these tender parts of our being by either learning to co-
exist with them from a place of peaceful acceptance or whether we opt to continually engage in a polarising dialogue
that acts as a precursor to everything we do.
Inspired by rugged terrains, primitive relics of the ancient world and the ethereal sensuality of the cosmos, I create
mixed-media conceptual paintings, which are constructed, disfigured and sculpted repeatedly to produce heavily
textured works on canvas.

By integrating a range of organic and industrial materials together to create a sense of fluidity and tangibility within
my works, I also tend to incorporate a rich colour palette to further amplify my conceptual themes.

I create works with the intention of inviting my audience to engage in an authentic dialogue that questions how we
communicate, connect and find our sense of individuality in a world that is focussed on conformity and
homogenisation.

Notes:

1
Artwork 1 Title: Heal
Artwork 1 Dimensions: 21x29x1
Artwork 1 Medium: Painting - Mixed-media on canvas
Artwork 1 Commentary: Inspired by a debilitating period in my youth when I was diagnosed with anxiety and
Obsessive Compulsive Disorder (OCD), ‘Heal’ highlights the oppression that I felt when I was caught in a
vicious cycle of my mental illness. I felt ashamed and weighed down by my condition, questioning whether I was
ever going to heal in every sense.
Artwork 1 Image:

2
Artwork 2 Title: Optic 1
Artwork 2 Dimensions: 30.48x30.48x1
Artwork 2 Medium: Painting - Mixed-media on canvas
Artwork 2 Commentary: This piece examines the space between our internal narrative and our public image, which
can sometimes result in a dialogue that can leave us feeling either exhausted by a sense conflict or at ease with
remaining hidden within a constantly shifting space.

This piece is playing with this concept from a more deliberately ambiguous standpoint, where the self is balancing
between both arenas and enjoying the sense of discomfort or uncertainty that others may experience when in their
company.
Artwork 2 Image:

3
4
Artwork 3 Title: Optic 2
Artwork 3 Dimensions: 30.48x30.48x1
Artwork 3 Medium: Painting - Mixed-media on canvas
Artwork 3 Commentary: This piece examines the space between our internal narrative and our public image, which
can sometimes result in a dialogue that can leave us feeling either exhausted by a sense conflict or at ease with
remaining hidden within that constantly shifting space.

This piece is examining a similar concept to OPTIC 1 but, it’s looking at the self from a more exposed standpoint
– challenging the viewer to see themselves in a raw and natural state of being.
Artwork 3 Image:

5
6
Artwork 4 Title: Sinew
Artwork 4 Dimensions: 30.48x30.48x1
Artwork 4 Medium: Painting - Mixed-media on canvas
Artwork 4 Commentary: I suffered chronic eczema as a child and as a result, I have patches of deeply scarred
keratinised skin on different points on my body. Sinew is a magnetised view of the altered skin on my right wrist.
Artwork 4 Image:

7
Artwork 5 Title: Anchor
Artwork 5 Dimensions: 30.48x30.48x1
Artwork 5 Medium: Painting - Mixed-media on canvas
Artwork 5 Commentary: This piece represents the initial grief that I experienced when my mother was diagnosed
with Alzheimer’s and vascular dementia, and then the second bout of grief that I went through when she died
three years later.
Artwork 5 Image:

8
Catalogue5 ID0154
Artist ID: 0154

Artist Name: Jordan Mckee


Website:
IG: jordanmckeeportraits

Artist Statement: My name is Jordan McKee. I am an artist who specializes in the work of human portraiture being
able to develop such a talent over almost two decades. With a versatile amount of different colours, with all kinds of
shades and tones.
The depth and layers I try to achieve in each piece hopefully shows through the sheer commitment and time i put in
them but what makes me different is that i do most of my work in pencils or coloured pencils.
I love how the art I choose to create inspires people to look at the human face in all its glory and imperfections as
they are what makes us who we are. and that each and everyone of us are a walking piece of art.

Notes:

1
Artwork 1 Title: Colourful Frustration
Artwork 1 Dimensions: A2 420 x 594 mm 16.5 x 23.4 in
Artwork 1 Medium: Coloured pencils
Artwork 1 Commentary: This piece depicts frustration whilst showing there's so much colour and life within our
selves that we should be reminded that the intricacies and inconveniences in life are only temporary and while it
may make us feel like were in the dark we are still the light that gets us through many obstacles and challenges.

Each section of this piece very well indeed caused me a lot of frustration even when working with so much colour no
pun intended.
Artwork 1 Image:

2
Artwork 2 Title: My Purple Curtain
Artwork 2 Dimensions: A2 420 x 594 mm 16.5 x 23.4 in
Artwork 2 Medium: Coloured pencils, black ink, white ink.
Artwork 2 Commentary: I wanted to display regardless how glorious we may look or confident we may be we still all
in part somewhere within ourselves like to hide certain features with other features that we have as our comfort
zone. The hair wrapped around this woman's face masks what she wants hidden. and unfortunately many people
have traits they wish to be covered. but the hidden and mysteriousness about this is still in itself a beauty to behold.

A lot of tones of magenta, purple and very dark others shades of purple was the most challenging of this whole piece
to really make the hair have depth and stand out.

Artwork 2 Image:

3
4
Artwork 3 Title: Hidden Flower
Artwork 3 Dimensions: A2 420 x 594 mm 16.5 x 23.4 in
Artwork 3 Medium: Pencil work (HB, B, 4B 9B, 2H) Coloured pencils
Artwork 3 Commentary: I think this speaks for itself in terms of the complete melancholic expression of this this
young girls face. despite that i wanted to portray the very ominous look with a means of a future to be had. The
flowers behind her represent freshness and life. even though surrounded by all that darkness there is a lot of hidden
flowers that still have a chance to have a bright and fresh future no matter what the situation is and are ready to
bloom brightly

Never have I got through so many lead pencils with just the backdrop alone. then getting all the light to bounce and
flourish the features of this girl depicted in this piece. adding the coloured petals and flowers hopefully portrays to
people that we all have a chance to make the most of life.
Artwork 3 Image:

5
6
Artwork 4 Title: Splashed In Red
Artwork 4 Dimensions: A2 420 x 594 mm 16.5 x 23.4 in
Artwork 4 Medium: Coloured pencils. black ink. white ink.
Artwork 4 Commentary: I think this speaks for itself in terms of the complete melancholic expression of this this
young girls face. despite that i wanted to portray the very ominous look with a means of a future to be had. The
flowers behind her represent freshness and life. even though surrounded by all that darkness there is a lot of hidden
flowers that still have a chance to have a bright and fresh future no matter what the situation is and are ready to
bloom brightly

Never have I got through so many lead pencils with just the backdrop alone. then getting all the light to bounce and
flourish the features of this girl depicted in this piece. adding the coloured petals and flowers hopefully portrays to
people that we all have a chance to make the most of life.
Artwork 4 Image:

7
8
Artwork 5 Title: Indulging pigmentation
Artwork 5 Dimensions: A2 420 x 594 mm 16.5 x 23.4 in
Artwork 5 Medium: Coloured pencils. White Ink
Artwork 5 Commentary: We as people are so uniquely different. with so many backgrounds, creeds, ethnicity.
We are so versatile in our preferences and tastes. Even our fears and dreams are all vastly contrasting that no one of
us are the same.
We are all and will always be only us as individuals and to showcase this i wanted to show the amount of colour with
all its different tints, shades, tones with also light and dark tones within each area of a specific colour there is so
much uniqueness and life in each tinge. and how no matter who you are you have so much colour to cast onto and
into your life. all with stories to create and memories to grab a hold of. we all need to go and indulge in life's
pigmentation's

Out of all the five pieces I've committed to this has no doubt been the most challenging. the blending and merging
all the paint the woman has dipped her hands into whilst maintaining the grooves and recesses of the palms was
very tough but in the end i think it has shown.
Artwork 5 Image:

9
10
Catalogue5 ID0155
Artist ID: 0155

Artist Name: Justin Leone


Website: j-leone.com
IG:

Artist Statement: My statement is as follows, I work only in Photomontage & collage in the traditional way.

That is to say i hand cut, glue and assemble my artworks from journals, without the use of computers or Photoshop
in any of my works.

The genre has been described as symbolism.


My work to me, is both meaningful and satirical often incorporating celebrated works of art.
Thank you for your consideration.

Notes:

1
Artwork 1 Title: Out of Eden.
Artwork 1 Dimensions: A2 or A3 Print
Artwork 1 Medium: Collage.
Artwork 1 Commentary: My Take on today's relationship with Gossip,news,Celebrity.

Here i incorporate Durers Adam (1507)


Artwork 1 Image:

2
Artwork 2 Title: Climate Changed.
Artwork 2 Dimensions: A2 or A3 Print
Artwork 2 Medium: Collage.
Artwork 2 Commentary: Here i use the image of Miravan by Joseph Wright (1772)

For me the disappointment and disgust in himself, works well in expressing my feelings when it comes to climate
change.

In contrast to the child who appears blissfully unaware her situation.


Artwork 2 Image:

3
Artwork 3 Title: Moby Chick
Artwork 3 Dimensions: A2 or A3 Print
Artwork 3 Medium: Collage.
Artwork 3 Commentary: This makes me smile as an image, and hopefully it also provokes a thought on the different
ways we view Hunting and our relationship with animals.
Artwork 3 Image:

4
Artwork 4 Title: Patience
Artwork 4 Dimensions: A2 or A3 Print
Artwork 4 Medium: Collage
Artwork 4 Commentary: Patience the virtue.
Artwork 4 Image:

5
Artwork 5 Title: Spherical B'stards
Artwork 5 Dimensions: A2 or A3 Print
Artwork 5 Medium: Collage.
Artwork 5 Commentary: A relationship between science and religion.

Incorporating Antonello's Madonna.


Cherubs, from The Triumph of Neptune.
Granger's Urania & Astronomers without Galileo.

Justus Sustermans Galileo has been included on the right.

Not forgetting the Brilliant & extraordinary astronomer Mr Fritz Zwicky. who famously referred to those astronomers
who didn't see things his way as Spherical Bastards.
Artwork 5 Image:

6
7
Catalogue5 ID0156
Artist ID: 0156

Artist Name: J. (Jie) Li


Website: http://www.artslant.com/global/artists/show/483382-j-li
IG:

Artist Statement: J. Li expresses love, hate, and desire in the depths of human nature by using figurative and abstract
cross-expressions to discuss the meaning of life and the positive and negative aspects of human nature, using the
natural changes and disasters that occur in nature as symbolic meanings and bring out the emotions and
atmosphere in the paintings.
Jie wants to merged Eastern and Western aesthetic traditions and techniques in her watercolor paintings. She was
influenced by Chinese traditional paintings, poems, Zen and Taoism. In tradition, Chinese scholars like to express
their feelings through beautiful depictions of nature, thus placing a significant emphasis on the innate ties between
man and the environment in which he lives. Likewise, Jie too hope to draw on those connections albeit in regards to
the dilapidation of our natural surroundings. Unlike the odes to beautiful nature of the past, she hopes to call
attention to the current destruction of nature, perhaps in turn as a reflection of the inner or subconscious decay of
man.

Notes:

1
Artwork 1 Title: ECHOES OF THE SILENCE XVIII
Artwork 1 Dimensions: 152.4x 101.6x 0
Artwork 1 Medium: Watercolor on Arches Paper
Artwork 1 Commentary: J. Li works on a middle scale, heavy Arches paper. Her process involves laying down the
fundamental part of the painting, which is the structure of the work. She then proceeds to glaze and splash paint on
the paper until the image disappears. When the work dries, the image resurfaces back. The remains from the
dematerialization become the new materialization of the work. Through this method, J. Li has reconsidered the
qualities of watercolor that are often thought to be intrinsic to the medium, such as sensitivity, delicacy, and
transparency. Her paintings are not so transparent, not so spontaneous in some parts, and not so ‘watercolor’
anymore. They are the substantial, developed face of watercolor painting.
Artwork 1 Image:

2
3
Artwork 2 Title: ECHOES OF THE SILENCE XVII
Artwork 2 Dimensions: 152.4x 101.6x 0
Artwork 2 Medium: Watercolor on Arches Paper
Artwork 2 Commentary: J. Li works on a middle scale, heavy Arches paper. Her process involves laying down the
fundamental part of the painting, which is the structure of the work. She then proceeds to glaze and splash paint on
the paper until the image disappears. When the work dries, the image resurfaces back. The remains from the
dematerialization become the new materialization of the work. Through this method, J. Li has reconsidered the
qualities of watercolor that are often thought to be intrinsic to the medium, such as sensitivity, delicacy, and
transparency. Her paintings are not so transparent, not so spontaneous in some parts, and not so ‘watercolor’
anymore. They are the substantial, developed face of watercolor painting.
Artwork 2 Image:

4
5
Artwork 3 Title: ECHOES OF THE SILENCE XVI
Artwork 3 Dimensions: 96.52x101.6x0
Artwork 3 Medium: Watercolor on Arches Paper
Artwork 3 Commentary: J. Li works on a middle scale, heavy Arches paper. Her process involves laying down the
fundamental part of the painting, which is the structure of the work. She then proceeds to glaze and splash paint on
the paper until the image disappears. When the work dries, the image resurfaces back. The remains from the
dematerialization become the new materialization of the work. Through this method, J. Li has reconsidered the
qualities of watercolor that are often thought to be intrinsic to the medium, such as sensitivity, delicacy, and
transparency. Her paintings are not so transparent, not so spontaneous in some parts, and not so ‘watercolor’
anymore. They are the substantial, developed face of watercolor painting.
Artwork 3 Image:

6
7
Artwork 4 Title: Echo IV
Artwork 4 Dimensions: 101.6x114.3x0
Artwork 4 Medium: Watercolor on Arches Paper
Artwork 4 Commentary: J. Li works on a middle scale, heavy Arches paper. Her process involves laying down the
fundamental part of the painting, which is the structure of the work. She then proceeds to glaze and splash paint on
the paper until the image disappears. When the work dries, the image resurfaces back. The remains from the
dematerialization become the new materialization of the work. Through this method, J. Li has reconsidered the
qualities of watercolor that are often thought to be intrinsic to the medium, such as sensitivity, delicacy, and
transparency. Her paintings are not so transparent, not so spontaneous in some parts, and not so ‘watercolor’
anymore. They are the substantial, developed face of watercolor painting.
Artwork 4 Image:

8
9
Artwork 5 Title: Fire and Desire XVIII
Artwork 5 Dimensions: 101.6x114.3x0
Artwork 5 Medium: Watercolor on Arches Paper
Artwork 5 Commentary: J. Li works on a middle scale, heavy Arches paper. Her process involves laying down the
fundamental part of the painting, which is the structure of the work. She then proceeds to glaze and splash paint on
the paper until the image disappears. When the work dries, the image resurfaces back. The remains from the
dematerialization become the new materialization of the work. Through this method, J. Li has reconsidered the
qualities of watercolor that are often thought to be intrinsic to the medium, such as sensitivity, delicacy, and
transparency. Her paintings are not so transparent, not so spontaneous in some parts, and not so ‘watercolor’
anymore. They are the substantial, developed face of watercolor painting.
Artwork 5 Image:

10
11
Catalogue5 ID0157
Artist ID: 0157

Artist Name: Vanessa Jongebloet


Website: www.vanessajongebloet.com
IG:

Artist Statement: My work consists of two main series: thick riverstone- or mineral-shaped canvasses made of
poured epoxyde resin, representing organic structures, which I see as the ‘Structures of Life’ .
And traditional oil on canvas in thin layers specifically about cloud structures, light and darkness…
    Â
To me, ‘Life’ is the primal force that moves everything in the universe, from one physical state to the next.
With the possibilities we have today to study life from the tiniest particle to the largest scale it’s amazing to see
how the same structures appear everywhere:Â a walnut looks like a human brain, while some stone speciesÂ
resemble aerial photos of the Nordic fjords.. and when we see pictures of neurons we wonder about their delicate
plant-like ‘roots’.
From microscopic details to the largest scale in space, life seems to manifest itself everywhere in similar
structures.Â
And since no matter ever disappears, all the components of which the universe exists are over and over
rearranged, structuring and forming patterns, cycle after cycle..

In this light, is there even a distinction between 'natural' and 'artificial' ?


If a spider builds a web, we call it natural, so if big animals like ourselves create things isn't that just part of one big
system, recycling all matter that exists infinitely?

In the end, Life’s a mystery and all we can do is look at it and wonder…

Notes:

1
Artwork 1 Title: Structures of Life.. XXXVII
Artwork 1 Dimensions: 63 x 41 x 1
Artwork 1 Medium: Epoxy resin, oil paint
Artwork 1 Commentary: The inside of minerals can be full of surprising structures & colors..
An agate was the inspiration for this piece.

From the picture it's difficult to see that this is a tree dimensional piece, about 1 cm. thick.
Like a slice of mineral, the surface is smoothly polished, the edges are rough.
On my website are detail pictures of the sides.

Artwork 1 Image:

2
3
Artwork 2 Title: Structures of Life.. XIII
Artwork 2 Dimensions: 68 x 27 x 1
Artwork 2 Medium: epoxy resin, oil paint, mackerel skin & gold leaf
Artwork 2 Commentary: Have you ever, like me, admired the silver glow of a fish skin? When you smoke mackerel,
their skin turns more to gold; reason for me to use it together with some gold leaf on this piece.

From the picture it's difficult to see that this is a tree dimensional piece, about 1 cm. thick.
Like a slice of mineral, the surface is smoothly polished, the edges are more rough.
On my website are detail pictures of the sides.

Artwork 2 Image:

4
5
Artwork 3 Title: Structures of Life.. XVII
Artwork 3 Dimensions: 59 x 47 x 1
Artwork 3 Medium: epoxy resin, oil paint & plant roots
Artwork 3 Commentary: Roots, meandering rivers, branches or neurons;
in all, their shape seem to serve one purpose: transportation from a source to a larger area...

From the picture it's difficult to see that this is a tree dimensional piece, about 1 cm. thick.
Like a slice of mineral, the surface is smoothly polished, the edges are more rough.
On my website are detail pictures of the sides.

Artwork 3 Image:

6
7
Artwork 4 Title: Structures of Life.. XXXVI
Artwork 4 Dimensions: 58 x 45 x 1
Artwork 4 Medium: epoxy resin, oil paint & walnut burl
Artwork 4 Commentary: When I see burl wood it always make me think of some landscape, seen from a bird’s
eye view..
An emerald green lake surrounded by fine layers of walnut wood.

From the picture it's difficult to see that this is a tree dimensional piece, about 1 cm. thick.
Like a slice of mineral, the surface is smoothly polished, the edges are more rough.
On my website are detail pictures of the sides.

Artwork 4 Image:

8
9
Artwork 5 Title: Structures of Life.. LXII
Artwork 5 Dimensions: 60 x 42 x 1
Artwork 5 Medium: epoxy resin, oil paint & a butterfly (already dead when I found it)
Artwork 5 Commentary: I sometimes wonder what the world would be like long after all humans are gone.. All
desert?
Huge jungles covering the ruins of our civilizations?
And maybe this canvas will still be somewhere,
with a butterfly trapped in resin, fossilized in time..

From the picture it's difficult to see that this is a tree dimensional piece, about 1 cm. thick.
Like a slice of mineral, the surface is smoothly polished, the edges are more rough.
On my website are detail pictures of the sides.

Artwork 5 Image:

10
11
Catalogue5 ID0158
Artist ID: 0158

Artist Name: Vanessa Jongebloet


Website: www.vanessajongebloet.com
IG:

Artist Statement: My work consists of two main series: thick riverstone- or mineral-shaped canvasses made of
poured epoxyde resin, representing organic structures, which I see as the ‘Structures of Life’ .
And traditional oil on canvas in thin layers specifically about cloud structures, light and darkness…
    Â
To me, ‘Life’ is the primal force that moves everything in the universe, from one physical state to the next.
With the possibilities we have today to study life from the tiniest particle to the largest scale it’s amazing to see
how the same structures appear everywhere:Â a walnut looks like a human brain, while some stone speciesÂ
resemble aerial photos of the Nordic fjords.. and when we see pictures of neurons we wonder about their delicate
plant-like ‘roots’.
From microscopic details to the largest scale in space, life seems to manifest itself everywhere in similar
structures.Â
And since no matter ever disappears, all the components of which the universe exists are over and over
rearranged, structuring and forming patterns, cycle after cycle..

In this light, is there even a distinction between 'natural' and 'artificial' ?


If a spider builds a web, we call it natural, so if big animals like ourselves create things isn't that just part of one big
system, recycling all matter that exists infinitely?

In the end, Life’s a mystery and all we can do is look at it and wonder…

Notes:

1
Artwork 1 Title: Structures of Life.. LXXX
Artwork 1 Dimensions: 150 x 90 x 2
Artwork 1 Medium: 2018, Oil paint on canvas
Artwork 1 Commentary: for these series about cloud structures,
I use traditional oil paint-on-canvas, though in thin layers like glacis witch allows me to work with light & darkness.

Cloud structures can be formed by waterdamp, dust or fluids in air or water, but waterdamp clouds have from the
beginning of time ornamented our skies,
changing the light on our landscapes, their constantly changing appearance unmodified by human presence..

This painting was second best in GalleryRing's 'Sky' show


Artwork 1 Image:

2
3
Artwork 2 Title: Structures of Life.. LX
Artwork 2 Dimensions: 90 x 90 x 2
Artwork 2 Medium: 2018, oil on canvas
Artwork 2 Commentary: for these series about cloud structures,
I use traditional oil paint-on-canvas, though in thin layers like glacis witch allows me to work with light & darkness.

Cloud structures can be formed by waterdamp, dust or fluids in air or water, but waterdamp clouds have from the
beginning of time ornamented our skies,
changing the light on our landscapes, their constantly changing appearance unmodified by human presence..

This painting was selected by Saatchi's curators to feature in their week selection last May.
Artwork 2 Image:

4
5
Artwork 3 Title: Structures of Life.. LXXXVII
Artwork 3 Dimensions: 150 x 90 x 2
Artwork 3 Medium: 2019, oil paint on canvas
Artwork 3 Commentary: for these series about cloud structures,
I use traditional oil paint-on-canvas, though in thin layers like glacis witch allows me to work with light & darkness.

Cloud structures can be formed by waterdamp, dust or fluids in air or water, but waterdamp clouds have from the
beginning of time ornamented our skies,
changing the light on our landscapes, their constantly changing appearance unmodified by human presence..
Artwork 3 Image:

6
Artwork 4 Title: Structures of Life.. LXV
Artwork 4 Dimensions: 90 x 90 x 2
Artwork 4 Medium: 2018, oil paint on canvas
Artwork 4 Commentary: for these series about cloud structures,
I use traditional oil paint-on-canvas, though in thin layers like glacis witch allows me to work with light & darkness.

Cloud structures can be formed by waterdamp, dust or fluids in air or water, but waterdamp clouds have from the
beginning of time ornamented our skies,
changing the light on our landscapes, their constantly changing appearance unmodified by human presence..

This painting received special merits at the Light, Space & Time ‘Landscapes’ Art Competition
Artwork 4 Image:

7
8
Artwork 5 Title: Structures of Life.. XCI
Artwork 5 Dimensions: 150 x 90 x 2
Artwork 5 Medium: 2019, oil paint on canvas
Artwork 5 Commentary: for these series about cloud structures,
I use traditional oil paint-on-canvas, though in thin layers like glacis witch allows me to work with light & darkness.

Cloud structures can be formed by waterdamp, dust or fluids in air or water, but waterdamp clouds have from the
beginning of time ornamented our skies,
changing the light on our landscapes, their constantly changing appearance unmodified by human presence..
Artwork 5 Image:

9
Catalogue5 ID0159
Artist ID: 0159

Artist Name: Krista Simson


Website: https://estograph.ee/krista-simson/
IG:

Artist Statement: I am an Estonian visual artist, a member of The Association of Estonian Printmakers. My works are
printed, painted and drawn on light fabric. Large bright colored painted surfaces or drawings are dominating my
work. Part of the painting or drawing is printed on the underlying fabric, part of it is painted or drawn on it. I am a
classically trained artist, but, as I see it, an innovative approach prevails in my work, that is why I think my personal
technique could be called mixed media technique.
My subject is a life around us, the mixture of the traditional visual signs and the new visual signs arising
(I´m currently working on a PhD in semiotics at Tartu University), and colour is the main tool I use.

Notes:

1
Artwork 1 Title: Home town II
Artwork 1 Dimensions: 117X113X2
Artwork 1 Medium: mixed media
Artwork 1 Commentary: painting/drawing on printed semitransparent canvas
on wooden frame
Artwork 1 Image:

2
Artwork 2 Title: Subway II
Artwork 2 Dimensions: 130X130X2
Artwork 2 Medium: mixed media
Artwork 2 Commentary: painting/drawing on printed semitransparent canvas
on wooden frame
Artwork 2 Image:

3
Artwork 3 Title: Subway III
Artwork 3 Dimensions: 152X106,5X2
Artwork 3 Medium: mixed media
Artwork 3 Commentary: painting/drawing on printed semitransparent canvas
on wooden frame
Artwork 3 Image:

4
Artwork 4 Title: Suburb
Artwork 4 Dimensions: 180X106X2
Artwork 4 Medium: mixed media
Artwork 4 Commentary: painting/drawing on printed semitransparent canvas
on wooden frame
Artwork 4 Image:

5
Artwork 5 Title: Artist
Artwork 5 Dimensions: 98,5X98,5X2
Artwork 5 Medium: mixed media
Artwork 5 Commentary: painting/drawing on printed semitransparent canvas
on wooden frame
Artwork 5 Image:

6
Catalogue5 ID0160
Artist ID: 0160

Artist Name: Khursheed. R Nariman


Website: https://khursheednariman.wixsite.com/portfolio
IG:

Artist Statement: My work exhibits wildlife concerns. The widespread threat to the natural world in the face of
unconstrained waste and impacts of development pose momentous wildlife threats.

The fractal nature of the varying species on it fascinate me. These take their shape in sculptural installations with
animals as my subject matter using a variety of materials such as plaster, cement, bronze and wood. Texture plays
an important part in my work.

My research is preoccupied by the harm and mistreatment of the creatures that co-habitat amongst us and
ultimately their extinction. A number of elements cause this disruption, for example, habitat modification,
overhunting, overfishing and deforestation.

Through my art, I hope to remind people that our actions can harm other living species around us. By working in this
field I am interested in conserving the symbiotic relationship between man and animals.

Notes:

1
Artwork 1 Title: Mistreatment of Racehorses
Artwork 1 Dimensions: 30X114 (HXW) cm
Artwork 1 Medium: Wood
Artwork 1 Commentary: The stables of my hometown of New Delhi, India left a saddened impact of the life and
treatment of racehorses.

The horses were typically kept in crowded spaces. A number of horses at the stables suffered from health problems.
Commonly found physical problems included bleeding and infected wounds and lameness. Improper tools were used
for grooming and basic husbandry procedures such as dental care and hoof trimming were ignored.

My installation of 'Mistreatment of Racehorses' depicts the cruelty with which racehorses are kept in India for the
elite. These horses are carved out of teak wood.
Artwork 1 Image:

2
3
Artwork 2 Title: Markhor
Artwork 2 Dimensions: 64X60 cm
Artwork 2 Medium: Bronze
Artwork 2 Commentary: The Markhor goat is the National Animal of my neighbouring state of Pakistan. This piece
much unlike my first piece is an optimistic one. The comeback of this majestic animal from the brink of extinction is
indeed a great success story of animal conservation. The sheer beauty of this animal and its majestic nature is what
drew me to sculpt it in Bronze.

Artwork 2 Image:

4
Artwork 3 Title: Columbian white tailed deer
Artwork 3 Dimensions: 228X45 cm
Artwork 3 Medium: Plaster, wood, rope, twigs and leaves
Artwork 3 Commentary: In 1978, the Columbian white-tailed deer was listed as endangered. The white-tailed deer
became endangered primarily due to habitat modification. Development of commercial, residential areas and
farming as humans took over their habitat, as well as flooding destroying part of their land. Poaching and
overhunting also led to their decline.

In 2003, after decades of trying to save the Columbian white tail deer, it was removed from the endangered species
act.

The depiction of the deer head is quite realistic and trophy like. I used a ladder in my installation as a sign for
progress that human beings can make through wildlife awareness.
Artwork 3 Image:

5
6
Artwork 4 Title: Narcissist
Artwork 4 Dimensions: 36X32 cm
Artwork 4 Medium: Bronze
Artwork 4 Commentary: My artwork entitled 'Narcissist' is a sarcastic play on the selfishness of human nature.

The vain rooster knows himself like the back of his hand. The long limbs are characteristic of human beings. This
piece is a dive in into how self centred human beings can be and how they forget all the beauty that surrounds them.

Artwork 4 Image:

7
Artwork 5 Title: Impending death
Artwork 5 Dimensions: 18X15 cm
Artwork 5 Medium: Cement and plaster
Artwork 5 Commentary: The sparrow in European folklore is seen as a sign of impending death. A sparrow is shown
on top of large human hands and animal horns are in the palms with fake blood as to depict the inevitable doom of
the animal kingdom. The sparrow in the UK continues to decline in starling numbers.Through this artwork I hope that
people are made aware of the harm that human beings can bring to the wildlife that surrounds them.
Artwork 5 Image:

8
Catalogue5 ID0162
Artist ID: 0162

Artist Name: Owen Lee


Website: www.ohmyart.gallery
IG:

Artist Statement: My work aims to be visually impactful and eye-catching whilst challenging the viewer as to the
subject; providing a moment of realisation and reinterpretation when the subject is revealed to the viewer (work to
be displayed with the title covered until the viewer wants to see what it subject is). Additional information may be
given about the subject to give further reason for thought about the subject and encourage a change of thought.
Works are deliberately unsigned on the front to enable the owner to hang as desired

Notes:

1
Artwork 1 Title: Kentish Town 1
Artwork 1 Dimensions: 120x210x4 (can be hung as desired)
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Rearrange the pieces and you will find a central 'main road' line that runs through all 4
canvases horizontally. The piece then depicts a topdown view of Kentish Town. Only one of the marks on the
canvas is manufactured and not a true road, there to indicate the subject/property of the piece. This is deliberately
kept a secret so only the owner of the piece knows the true picture and focal point of the piece.
Work is deliberately unsigned on the front to enable the owner to hang as desired
Artwork 1 Image:

2
Artwork 2 Title: Central Park 1
Artwork 2 Dimensions: 100 x 100 x 4 (intentionally can be hung as desired)
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: Rearranged the canvases show a top down view over Central Park. The coloured squares
indicate the highest and lowest price bands to purcahse property per square foot, darkest being the most expensive
to lightest being cheapest. Roads with names have been coloured whereas numbered roads have been left black.
Work is deliberately unsigned on the front to enable the owner to hang as desired
Artwork 2 Image:

3
Artwork 3 Title: Twin Towers Memorial
Artwork 3 Dimensions: 80 x 65 x 4 (intentionally can be hung as desired)
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: Rearranged the two canvases show a topdown view of the area around the Twin Towers
Memorial. Red is where the sea would be, to indicate what occurred at the site. Blue used around the site to
showcase the current peace that exists there. The two squares that indicate the site of the attoricies have remained
unpainted (no white) as it was felt that these should not be touched, with no symbolism appropriate for what
happened.
Work is deliberately unsigned on the front to enable the owner to hang as desired
Artwork 3 Image:

4
Artwork 4 Title: Central London 1
Artwork 4 Dimensions: 80 x 65 x 4 (intentionally can be hung as desired)
Artwork 4 Medium: Acrylic on canvas
Artwork 4 Commentary: Rearranged the canvases show a topdown view of central London. Various colours have
been used alongside thick lines in a condensed space to give the feeling of the business and compactness of the
area.
Work is deliberately unsigned on the front to enable the owner to hang as desired
Artwork 4 Image:

5
Artwork 5 Title: Icons 1
Artwork 5 Dimensions: 120 x 150 x 4
Artwork 5 Medium: Acrylic on Canvas
Artwork 5 Commentary: This series challenges the concept of how recognisable 'iconic' buildings are. By distorting
colours and reducing buildings down small portions of their silhouettes, viewers are challenged to identify what they
are viewing. Most viewers can identify most buildings, then gaining a realisation of how identifiable or not things
can be from a small amount of information
Artwork 5 Image:

6
Catalogue5 ID0163
Artist ID: 0163

Artist Name: Yu Bei


Website: https://www.beiyu.space
IG:

Artist Statement: Yu is a Chinese-born, international artist now living in London. He uses the problematic format of
different languages and images to translate and interpret the voice of his generation, including personal grumbles,
life on the Internet, the intertextuality of different cultures, recycled historical images, and self-questioning in art.
Yu's works deal with the issues of translation and interpretation of images and texts from different cultures and
nationalities. His artwork is always preceded by a lot of research into visual culture, fiction and philosophy, and
questioning himself has become a lifestyle choice that allows him to push himself forward. For instance, he always
puts the audience into his models and makes questioning his concept part of the experience of his artwork. He is
also a researcher and Chinese writer who questions the role of the younger generation's culture in different societies
and systems.
His artworks have recently been collected by the United Art Museum, the DSL Collection, and the Royal College of
Art Special Collections. They have also been exhibited in various museums in China, for example the K11 Art
Foundation,the China Art Museum, the Hubei Museum of Art, the United Art Museum and the Chun Art Museum.

Notes:

1
Artwork 1 Title: Activity without second thoughts-1
Artwork 1 Dimensions: 180x130cm
Artwork 1 Medium: Digital painting printed on canvas
Artwork 1 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 1 Image:

2
3
Artwork 2 Title: Mr.interpretation and Mrs.Translation-1
Artwork 2 Dimensions: 250x100m
Artwork 2 Medium: Digital painting printed on canvas
Artwork 2 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 2 Image:

4
5
Artwork 3 Title: Mr.Interpretation and Mrs.Translation-2
Artwork 3 Dimensions: 250x120cm
Artwork 3 Medium: digital painting printed on canvas
Artwork 3 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 3 Image:

6
7
Artwork 4 Title: Activity without second thoughts-2
Artwork 4 Dimensions: 270x90cm
Artwork 4 Medium: digital painting printed on canvas
Artwork 4 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 4 Image:

8
9
Artwork 5 Title: Mr.Interpretation and Mrs.Translation-3
Artwork 5 Dimensions: 200x100cm
Artwork 5 Medium: digital painting printed on canvas
Artwork 5 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 5 Image:

10
11
Catalogue5 ID0165
Artist ID: 0165

Artist Name: Parul Baliyan


Website:
IG: ParulBaliyanArts

Artist Statement: Hi, I am completely driven by art, creativity, color and designs. Art is the world where I thrive the
most. I was a science student and so is my profession in computers but I always felt drawn towards what truly ignites
me. As far as I can remember, I have had the wonder for colors and creativity. Even as It took me a while to be able
to provide enough care to make it bloom.
I am a self-taught artist and in this journey, I have explored various mediums like watercolors, acrylics, mixed media,
and charcoal. The sparkling effect of watercolors flowing into each other has had the everlasting effect on me. I see
inspiration all around me in everyday mundane things, sunlight, dusk, dawn, garden, family, traveling, colors, history,
people architecture and so on. I compose, click, imagine and paint.
Being a person with Indian ethnicity and an avid traveler, my work is influenced by the diversity of Indian art and
cultural heritage that flows onto my canvas. The colorful land of Rajasthan is my favorite subject which I would like
to work more on. As my work is influenced by the ordinary daily life around us, I believe that it appeals to everyone
whether they are artistic or not, the picture paints the story of the subjects. I feel happiness in giving the viewers
something to have the pleasure of looking at or feel connected with the concept, colors, compositions, subject,
culture, a memory or reflection of their thoughts and imaginations in my work.Â

Notes:

1
Artwork 1 Title: Autumn
Artwork 1 Dimensions: 121 x 121 x 4 cms
Artwork 1 Medium: Acrylics
Artwork 1 Commentary: This life-size artwork will take you to the autumn trails of Osterley Park. An inspiring autumn
season full of warm colours was irresistible to not to paint. The palette of nature full of rusty burnt colours and a
gleam of golden yellow is awe-inspiring beauty for any artist to capture. To keep the magical effect of walking under
autumnal colours on crunchy leaves, I decided to paint on large canvas. The artwork is painted on canvas with acrylic
colours.Â

Artwork 1 Image:

2
Artwork 2 Title: Hope
Artwork 2 Dimensions: 41 x 54 x4 cms
Artwork 2 Medium: acrylics
Artwork 2 Commentary: Eyes full of Hope, gazing towards the sky. The artwork is inspired by the woman in India
who was sitting on the floor in the trade fair, wrapped in her veil and looking towards the sky. The reflection of hope
and dreams to make them true caught my attention which I tried to transfer on canvas. The artwork is in acrylic on a
stretched canvas.
Artwork 2 Image:

3
Artwork 3 Title: Rajasthani Man
Artwork 3 Dimensions: 30 x 40 x 2 cms
Artwork 3 Medium: water colour
Artwork 3 Commentary: Rajasthani Man, a subject full of vibrant colours of Rajasthan, the earthy tone of dust and
heat reflected on the face. Hardships of life shrivelled on the face, left an impression to observe. Rajasthan is an
interesting culture, whether its people, places, dust or vibrant colours. Inspired by the pictures of people in
Rajasthan, this artwork is a true reflection of vivid culture.
The seeping purples on clothes depicting shades and folds are in contrast with darker shadows on face and hand.
Red turban shows the folds signifies the highly vibrant Rajasthani culture.

Artwork 3 Image:

4
5
Artwork 4 Title: Venice
Artwork 4 Dimensions: 30 x 40 x 2 cms
Artwork 4 Medium: acrylics
Artwork 4 Commentary: A city of art, love, history, and inspirations. An A4 size artwork depicting the reflection of old
houses in the canal water. Venice's canal water is not a complete picture without Gandola, so here is one. The dark
and light shades of green water are complimenting the dusty yellow ochre walls which are telling the history of city

THIS ARTWORK HAS BEEN PAINTED BY USING A CARD( OLD CREDIT CARD) INSTEAD OF BRUSH in acrylics.

IMPRESSIONIST style artwork is one of those which motivated me more to explore various mediums and styles

Artwork 4 Image:

6
7
Artwork 5 Title: Sea waves
Artwork 5 Dimensions: 30 x 40 x 2 cms
Artwork 5 Medium: arcrylics
Artwork 5 Commentary: A depiction of sea waves crawling to the shore and crashing on the rocks, their foam crests
becoming a lace over the blue. The rhythmic motion of curls and foam has been shown which is enhancing the art by
providing a good contrast of blues and whites. The green patch on the rocks towards left side breaks the
monotonous flow of blues.
Completed in acrylics over paper

Artwork 5 Image:

8
Catalogue5 ID0166
Artist ID: 0166

Artist Name: Andreas Lã¼Thi


Website:
IG: aluethi3

Artist Statement: My paintings are born out of struggle between the unconscious power of the body and the
conscious power of mind that creates structure. First I draw and paint until the state of despair is reached, then I
hang on ropes and paint with the feet. I believe that in the state of despair, the greatest truthfulness arises...
I want to further develop the technique of Kazuo Shiraga and connect it with thoughts and poems. I have a great
inner energy to express how I experience reality.
Beauty and Pain must be visible. The pain in me gives me the energy to paint pictures that should touch the soul.
My art tries to address something eternal and universal.

Notes:

1
Artwork 1 Title: End of Truth
Artwork 1 Dimensions: 202x185cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: The end of truth that lay out the time
Spent lazing here on a new painting dream
A mile an‘ more in a foreign clime
To see farther inside of me.

(Syd Barrett)
Artwork 1 Image:

2
Artwork 2 Title: Behind the Dark
Artwork 2 Dimensions: 150x130cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: The picture was built up in several layers until it had developed its own personality.

Artwork 2 Image:

3
Artwork 3 Title: Waterfalls
Artwork 3 Dimensions: 150x130cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: The picture is not framed and can be hung up flexibly. The picture has a white canvas
border of 8cm, which is provided with eyelets. It can be fastened directly to the wall with nails or screws, or
stretched on a frame with the size 150x130cm.

Artwork 3 Image:

4
Artwork 4 Title: Dancing Barefoot
Artwork 4 Dimensions: 152x132cm
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: I‘m dancing barefoot
Headin‘ for a spin
Some strange music draws me in
It makes me come up like some heroine

(Patti Smith)

I heard the song while painting. It influenced my picture. It was almost exclusively made with the feet.

Artwork 4 Image:

5
6
Artwork 5 Title: Evolution I
Artwork 5 Dimensions: 70x66cm
Artwork 5 Medium: Mixed Media on canvas
Artwork 5 Commentary: This time, I did not completely paint over the picture, and the previous drawing remains
visible.
Artwork 5 Image:

7
Catalogue5 ID0167
Artist ID: 0167

Artist Name: Suki Berwick


Website: sookja55.com
IG:

Artist Statement: Suki Berwick

ARTIST STATEMENT

I am interested in the spatial aspects of painting; spatial ambiguity, spatial relationships and spatial depth.
My current work reflects and questions on the aspect of memory and daily life experiences. It can be the varieties
of daily routine that influence and form the basis of my work. Others can be influenced by the remembered places
and thoughts in specific situations.
I use gestures and linear marks and am interested in experimenting to see how these randomly drawn marks can
correlate in the surrounding spaces created.
More often than not, I lay down one colour then another at random constantly monitoring how each of these
elements relate to each other. In some works, the initial lay down of colours and forms tend to inform the direction
of the contents. After going through with the editing processes, subjective meanings or ideas can emerge making
references to the outside world or objects. Random gestural marks and linear elements are often an integral part of
my process.
Although I am interested in all aspects of painting histories, I like my work to be free from the framing of
categorisation.

Notes:

1
Artwork 1 Title: The golfing god, Angels and the mortal followers
Artwork 1 Dimensions: 76cm x 51cm x 3cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: This work is based on my experience of playing golf.

Artwork 1 Image:

2
Artwork 2 Title: The Sun carriers
Artwork 2 Dimensions: 76cm x 51cm x 3cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: This work too is based on my experience of playing golf and I tried to depict the feeling of
brightness experienced during a round on a sunny day.
Artwork 2 Image:

3
Artwork 3 Title: The clouds and carousels
Artwork 3 Dimensions: 76cm x 51cm x 3m
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: Reflection of a remembered fleeting moments sitting in the car by a play ground.
Artwork 3 Image:

4
Artwork 4 Title: A la Carte
Artwork 4 Dimensions: 50cm x 40cm x 1.5cm
Artwork 4 Medium: Acrylic and oil on canvas
Artwork 4 Commentary: In this work I wanted experiment with gestural mark makings, applying them first with little
ideas then working on the contents afterwards.
Artwork 4 Image:

5
Artwork 5 Title: Gossip matches
Artwork 5 Dimensions: 50cm x 40cm x 1.5cm
Artwork 5 Medium: Acrylic and oil on canvas
Artwork 5 Commentary: Another study into the idea of making random marks first then developing the contents
incrementally.
Artwork 5 Image:

6
Catalogue5 ID0170
Artist ID: 0170

Artist Name: Alf Wells


Website:
IG: alfs_art_work

Artist Statement: I am a contemporary artist working in the medium of paint and collage.
I use my work to express my views of how I see the world and the questions I asked. My work is never meant to be
righteous or condescending as I am just one man no with my own thoughts of the world we live in, no better or
worst than the next man.
Yet it's through my work I ask the viewer to look at the world from another point of view, and although I do not
expect the viewer to have the answers to the questions I ask, I hope that they go away asking questions themselves.

Notes:

1
Artwork 1 Title: To kill an Ant.
Artwork 1 Dimensions: 100cm x 100cm
Artwork 1 Medium: Acrylic on canvass
Artwork 1 Commentary: 'To Kill an Ant' questions the morrals of a greater power destroying a weaker power. The
inspiration came from reading an article about the reaper drones and how much they cost, then reading that one
killed a suspected terroiest on a bicycle. To me it just didn't seem to sit right of solution to the problem. I had this
vision of the might of the the U.S military being this great big mass of blackness through which I represented as a
nussel of a gun, the giant black circle representing this over powerful force. The gun nussel and ant represent the
overkill of these reaper drones on fighters armed with just guns. Like the dropping of the atomic bomb on
Hiroshima, is this action of great power, a righteous action.
Artwork 1 Image:

2
3
Artwork 2 Title: Who Wants More Money.
Artwork 2 Dimensions: 26cm x 36cm
Artwork 2 Medium: Acrylic
Artwork 2 Commentary: 'Who Wants More Money' deals with the issue of living in a modern world run by money. It
tackles the subject of the cost of living today, and how there just isn't enough money to go around. In the news you
hear that the NHS is struggerling with cost, how the military are cutting back, how teachers are underpaid and how
people are having to use food banks. It just seems people are drowning in the rise of inflation and are struggling to
stay a float of things.
I used an actual £10 note on this piece as everyone wouldn't mind an extra tenner in their pocket. I wanted to
have a load of hands scrabberling and reaching out to grab the money before anyone else does. And to me that is
literally the price of modern day living, everyone fighting over more money.
Artwork 2 Image:

4
5
Artwork 3 Title: Cross Fire.
Artwork 3 Dimensions: 60cm x 83cm
Artwork 3 Medium: Oil Pastel on card.
Artwork 3 Commentary: The art piece represents all the civilians and innocents killed in all the wars, battles, conflicts
around the world.
I wanted to have a figure just being shot to bits. To me this represents every shot being fired and hitting a person
and not the tended target.
Artwork 3 Image:

6
Artwork 4 Title: To Take a Life. To Save a Life.
Artwork 4 Dimensions: 26cm x 18cm
Artwork 4 Medium: Acylic
Artwork 4 Commentary: 'To take a Life. To save a Life' asks the viewer where do you put the money into. We have an
ever decreasing military but we also have an under funded NHS. But through this it asks the moral question of what
is worth more is it better to become a mighty military force and to kill all those who oppose us, or do we put our
money into medicine and into saving lives even if it makes us weaker to other nations. The scales are balanced on
the funds of the country and it's up to the viewer of the piece to tip the scales to which side they think is just.
Artwork 4 Image:

7
Artwork 5 Title: Hands Around the World....you can't come in.
Artwork 5 Dimensions: 100cm x 100cm
Artwork 5 Medium: Acrylic on Canvass
Artwork 5 Commentary: 'Hands Around the World's deals with the immagration crisis from 2010 on wards, when
there was a high number of immigrants fleeing war torn countries seeking safe fefuse and a better life. However
there was an up rise in xenophobia from other countries, with them shutting their borders and increasing the
number of boarder guards.
My art piece takes this innocent child like notion of us being one big friendly world, with man loving man no matter
what his race or colour and taints it with the real reality of the world. I use the paperman chain, as this innocent
image and saying of joining hands around the world but turn it revealing the dark side of human nature. The
innocent paper chain men become border guards forming a human chain to let no one in.
Artwork 5 Image:

8
9
Catalogue5 ID0171
Artist ID: 0171

Artist Name: Rebecca Boyd Allen


Website: www.rebeccaboydallenartist.com
IG:

Artist Statement: I have been painting for over 30 years and although most of my early work is from observation, I
have gradually shifted towards abstraction and developed a more improvised painting process. Since 2011, my
primary medium has been watercolour, where I find transparency and the layering of colours have helped me
express a range of subjects, from imagining the unpredictable flight path of a butterfly to recalling the fragility of a
falling till receipt. My current series aims to bring more awareness to the problem of ocean plastic pollution.
Fragmented profiles of bottles and man-made highlights overlap natural forms but unlike the way a painter might
normally contemplate a still life, this subject is full of flux and it’s not important to me to be in front of actual
ocean plastics. Rather, by continually layering shapes and colours, new arrangements present themselves and the
accumulation of marks give rise to an ambiguity which is representative of the role of responsibility for the problem.
Uninterested in presenting the subject in a literal way, I want to pull the viewer into these imagined spaces, allowing
them to first contemplate the relationships of abstracted shapes. When I have exhibited them, I have asked people
what the paintings make them think of and collected the responses. Most see something totally different... a car
accident, a musical experience, the kitchen sink after a party, but few see the subject, which I feel mimics the way
society has been slow to see the problem.

Notes:

1
Artwork 1 Title: Highlights
Artwork 1 Dimensions: 39.5 x 94 x 3.5
Artwork 1 Medium: watercolour on paper
Artwork 1 Commentary: I was interested to re-consider the historic role of the highlight in painting, as a way of
drawing attention to a specific point or movement through a space. In this work, I wanted to contrast the overlap of
natural highlights on the surface of the sea and the multitude of highlights on the many man-made plastics which are
breaking down and releasing toxins, as a result of the sun hitting their surface. I conceived of an all-over rhythm of
highlights for this painting, and via overlapping layers, it was my aim to continually explore the composition and
placement of the highlights as fleeting moments and clashes between natural and man-made forms.
Artwork 1 Image:

2
Artwork 2 Title: Net
Artwork 2 Dimensions: 34 x 34 x 2.5
Artwork 2 Medium: watercolour on paper
Artwork 2 Commentary: In many of my paintings, I have used grids as a staring point, and this work is a good
example of that. Grids have traditionally been used as a device for artists to scale up or plot compositions and
acknowledge the picture plane. I wanted to incorporate them into my series to reference the art historical meaning,
which is however rendered useless when faced with the immeasurable size of the ocean affected by plastics. The
grids also refer to the many “ghost― nets which are estimated to account for 46% of ocean plastic. The
geometry of the grid, as a unique layer in the painting, can be dissolved and overpainted but ultimately permeates
the surface.
Artwork 2 Image:

3
4
Artwork 3 Title: Current
Artwork 3 Dimensions: 60 x 60 x 2.5
Artwork 3 Medium: watercolour on paper
Artwork 3 Commentary: I am interested in the way our eyes are increasingly required to navigate the visual world for
information and literal meaning. In this piece, consisting of nine small framed paintings, I wanted to break down the
fragmentation in my images further by forcing them into an ordered grid with the wall acting as a net capturing
mysterious glimpses of harmonious colour with no particular orientation or order. I invite the viewer to rearrange
them and, in so doing, to find a new movement or current through the whole, echoing the changes in direction
which are needed if we are going to find solutions to the problem of ocean plastics. I would like to do a larger and
more interactive version of this work, for which I see this as a study.
Artwork 3 Image:

5
6
Artwork 4 Title: Achromatisation
Artwork 4 Dimensions: 39.5 x 94 x 3.5
Artwork 4 Medium: watercolour on paper
Artwork 4 Commentary: Though I never paint from photos, many images of ocean plastic reveal a floating surface of
bleached colours and the starting point for this painting was a desire to explore that feeling of the sun flooding this
new terrain and reflecting off it. Semi-profiles of bottles, etc., present as colourful fragments in what appears to be
a decorative abstraction. As compared to the photographic images, I want the abandonment of literal content to
pull the viewer in, to contemplate the image, (and subsequently the problem), as opposed to being presented with
the disturbing photographic evidence and wanting to turn away and forget about it. (Please note: the pale colours in
this painting are difficult to reproduce).
Artwork 4 Image:

7
8
Artwork 5 Title: Sea Spines
Artwork 5 Dimensions: 39.5 x 94 x 3.5
Artwork 5 Medium: watercolour on paper
Artwork 5 Commentary: The title of this painting refers to the many man-made and rigid plastic forms adrift in the
oceans. Much of the packaging and designs applied to plastic bottles recalls a repetition of waves and curves which
has perhaps helped them to camouflage into our lives and the ocean environment. Painted repeatedly, the shapes
display a rigidity, however, which is elusive to something more permanent and indestructible, a structure upon
which society has become reliant.
Artwork 5 Image:

9
Catalogue5 ID0175
Artist ID: 0175

Artist Name: Narciso Bresciani


Website: www.narcisobresciani.com
IG:

Artist Statement: Narciso Bresciani was born in 1962 in Pavia

Sculptor, he graduated at the Artistic High School of Novara and at the Academy of Fine Arts of Brera Milan.

His creations range from large installations to microsculptures

that become jewelry, works to wear. His research and experimentation is

always in dialogue and comparison with other artistic languages such as music,

poetry, but also sensitive to social issues.

Since 1990 he exhibits in collective and personal exhibitions in Italy and abroad, among which he received awards
and prizes

Notes:

1
Artwork 1 Title: Untitled n°13 Earthrrythms series
Artwork 1 Dimensions: cm. 30x43x32
Artwork 1 Medium: semirefractory + oxidis+ glaze
Artwork 1 Commentary: My work, from the Territmi series, is a temporary, nomadic and permanent place
unstable as life itself, in which it is possible to find refuge and shelter. Here the
shape alternates by hollow and in search of a balance.
Live our time implies compare ourselves on social and environmental issues of ours daily.
The series reflects my need to look at a negative reality through a positive perspective that also becomes ludic
thanks to the tonal rhythm.
Artwork 1 Image:

2
Artwork 2 Title: Untitled n°8 Earthrrythms series
Artwork 2 Dimensions: cm.30x29x24
Artwork 2 Medium: semirefractory + oxidis+glaze
Artwork 2 Commentary: My work, from the Territmi series, is a temporary, nomadic and permanent place
unstable as life itself, in which it is possible to find refuge and shelter. Here the
shape alternates by hollow and in search of a balance.
Live our time implies compare ourselves on social and environmental issues of ours daily.
The series reflects my need to look at a negative reality through a positive perspective that also becomes ludic
thanks to the tonal rhythm.
Artwork 2 Image:

3
Artwork 3 Title: Untitled n°12 Earthrrythms series
Artwork 3 Dimensions: cm.36x34x26
Artwork 3 Medium: semirefracotry +oxidis+glaze
Artwork 3 Commentary: My work, from the Territmi series, is a temporary, nomadic and permanent place
unstable as life itself, in which it is possible to find refuge and shelter. Here the
shape alternates by hollow and in search of a balance.
Live our time implies compare ourselves on social and environmental issues of ours daily.
The series reflects my need to look at a negative reality through a positive perspective that also becomes ludic
thanks to the tonal rhythm.
Artwork 3 Image:

4
Artwork 4 Title: Untitled Horizon series
Artwork 4 Dimensions: cm.41x29x4
Artwork 4 Medium: semirefractory + oxidis+glaze
Artwork 4 Commentary: Earth implies the existence of a horizon, a boundary, a break which, however, also
constitutes the essence of being and defining a form, its vocation to verticality, continuity and meaningful fracture,
to impurity and a high degree of intimate geometry.
Artwork 4 Image:

5
Artwork 5 Title: Untitled n°09 Horizon series
Artwork 5 Dimensions: cm.17 x 165 x 4
Artwork 5 Medium: gres + oxidis + glaze
Artwork 5 Commentary: Earth implies the existence of a horizon, a boundary, a break which, however, also
constitutes the essence of being and defining a form, its vocation to verticality, continuity and meaningful fracture,
to impurity and a high degree of intimate geometry.
Artwork 5 Image:

6
Catalogue5 ID0176
Artist ID: 0176

Artist Name: Manoshee Gupta


Website: website: @artgoodquality1valueworthy2UMManG
IG:

Artist Statement: My journey as an artist and teacher of tribal art forms started in London and Poland; currently a
practicing artist - experimenting media, photography and collaborating them with storytelling and poetry. I enjoy
understanding versatility of other popular artists like Paul Klee and analyzing their creative process.

While my family likes traveling, I utilize the fantastic opportunity photography lends me in capturing moments of
significance! I like the vibrancy of colors to show in my work that revolve around nature, history and contemporary
issues that is generated by experimentation and conceiving thoughts. My imagination takes wings through writing
and that is what influences my work. I prefer to delve in abstraction with hidden meanings that would lend an
inquisitiveness to the audience. In a faster than ever, fast paced world, I would necessitate the viewer to question
form and color, hence my work hovers on the edge of representation. My pieces resolve into poetry or storytelling
and dissolve back into color representation. My aim is to present pieces with a certain loudness, abreast with
aesthetic value. It should create delight alike for those who understand my work; also those who make their own
meaning of it! For art must be a journey of happiness. I choose media such as pigment inks, photo colors,
professional water colors, acrylics, pens as I find my expressions on paper.

I would like to gain exposure to formats of exhibiting and experience art first hand, hence submitting to Ashurst.

Notes:

1
Artwork 1 Title: Seaweed sands at Sundown.
Artwork 1 Dimensions: 50.8 cm x 40.5 cm x 0.1 cm unmounted
Artwork 1 Medium: Pure Acrylics - Winsor & Newton Galeria and Professional Acrylics, Winsor & Newton Matt
Medium, Real beautifully fine Hel sand with shiny bits of silica used for texture, Liquitex Heavy Body Acrylic, Water,
Winsor & Newton Galeria Acrylic Paper - canvas t
Artwork 1 Commentary: Seaweeds in the sea

Lying on a bed of blue,


We grew tangled hands
among white corals and golden sands

As thin threads, beautiful and fragile,


We shed glistening green, upon tides and time

When the waves crash and bellow loud,


On a murky seabed cloud,

We gather yonder and beneath,


Under the depths and every feet,

And when a silence grows later,


After grey claps of thunder,

We sink and slow together, saying hello.

Nemo and colorful Angels,


Frisking, playing, chasing,

Plankton brothers and crayfish


Among us staying and living,

we are Seaweeds in the Sea-


Deep blue-green trees,

A mirage, a miracle
A sailor's and mermaids's oracle!

A sheet in between, where the earth and sea meet.

The theme depicts glorious spring time of pink floral display on the Isle of Wight hills, England, renowned for its
colorful sands and ‘Needles’ earth formation. I would like you to notice the little horizontal shadow of
turquoise green, middle right - suggesting seaweeds that throng many oceans in green and surprising pinks, the
uproar of collapsing white waves into the sky when subtle changes of weather storms occur in winter to spring and
the rocky pink special sandy walls. An abstraction of the needles as diamonds or points, the colored sands of
‘Quinacridone Red’ pinks, the twisting slightly stormy skies, the side ward contorted hills and sands of
‘Buff’, 'Phthalo turquoise’ seaweeds, the sands prelude before the Sun’s takes its rest from day to
darkness and what might be lurking in the depths of blue green. This was an experimentation of different Acrylics in
Matt medium, palette knives, brushes and sprinkling sand on a pre plan, drawn layout schema which was converted
directly onto paper just by the mood my mind found from the memories and experience on the Isle of Wight, back in
2012. The poetry came first, then the art.

The jpeg picture is Nikon lens D 3200 and the visual is 7 degrees better with the naked eye.
Artwork 1 Image:

2
3
Artwork 2 Title: Tribute
Artwork 2 Dimensions: 23.2 cm x 23.2 cm x 3 cm frame mounted, 20.5 cm x 20.5 cm x 0.05 cm unmounted
Artwork 2 Medium: Mixed Media notes- water color pens, Posca pens, water colors, variety of thin outline brushes,
fine liners, wet on wet techniques, dry on wet techniques.
Artwork 2 Commentary: Poppy Fields

The grass gathered speed,


The airplanes whizzed low,
Where from, you wouldn't know!

And ships attired as war horses arrived,


Noisy escapades and dark hour survived,
Fury, anger, hate from where!

A Martyr's woman whispered to a wall,


Bequeathed red ribbons for her and all,
Where has he been, where did he go!

And a visit to a poppy field will tell,


How short lived beauty is in hell,
So many from the world have fell!

And a garden of fragile petals, that in a few days wither,


Staying longer the entire summer,
The Poppy is not just 'A silky and vibrant' appeal,
Twas a story of war and heal!

The Poppy is a very delicate flower. One cannot possibly touch or feel its glory without disturbing or destroying its
thin papery petals. It looks most beautiful in an expanse of fields. I think it denotes- fragility, if war exists. In this
painting I tried to show the recreation of a structured world war remembrance wall of dedicated countrymen, the
blueness of loyalty to the land and weeping poppies as garlands. The top center- two shadowed men holding talks of
peace in their hearts, colors of commonwealth nation flags, war zone nurses, soldiers and their love. The center part
of the artwork forms a visually interesting heart like shape that is slightly broken on right outskirt, suggesting broken
hearts. An unplanned experimentation, a tribute motivated by my own poetry, when Poppies adorn England on
Armistice day in November and after watching the movies Pearl Harbor and Darkest Hour. A symbolic connotation of
miniaturization painting, that the existence of war is a bad element for our world!
Artwork 2 Image:

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5
Artwork 3 Title: Beauties and the beast.
Artwork 3 Dimensions: 38.5 cm x 30.8 cm x 3 cm frame mounted, 29 cm x 20 cm x 0.1 cm unmounted
Artwork 3 Medium: Mixed Media: All Background done wet on wet drawing inks, small touch ups on dried ink with
watercolors, Foreground roses in watercolors with small set Winsor and Newton half pan water colors, student
watercolors, thin fine brushes from Cass Art & Daler R
Artwork 3 Commentary: A new depiction of bequeathed beauty of flowers that arrives under raindrops. The central
petals depict romantic eroticism and the peak of a bloom about to go down into the blue greens below them; a
metaphorical representation of human femininity. The petals pour the beauty off them, down into dripping drops.
The heavily bent smaller rose portraying defeat in love. The little rose buds denote beauties that await arising - a
phenomenon of nature's regeneration. The beast can be a varied meaning - the subtle human nature of greed for
love, beautiful things,the colorful masks our hearts behold of wants in a materialistically evolved world and pain in
all this love. Started from photography expedition of garden flowers, then an experimental design that was re-
constructing in my mind as I built the background from the color play of inks.

(A Nikon lens image taken indoors in daylight not artificial light, the real is 10 degrees better to the naked eye)
Artwork 3 Image:

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7
Artwork 4 Title: Frenzy Chasing Suzy
Artwork 4 Dimensions: h w d : 50.8 cm x 40.5 cm x 0.1 cm unmounted
Artwork 4 Medium: Mixed Media: For all background - Winsor & Newton acrylics, heavy body Liquitex, wire marbling
technique, Galeria iridescent medium and Matt medium, For ducks in foreground- Winsor and Newton half pan
watercolors, Winsor & Newton Galeria Acrylic Paper - c
Artwork 4 Commentary: A good strong chase of Male Mallard ducks in winter, when pairing begins with females, to
create a bond for Spring nesting. The color theme depicts a winter setting and a colorful 'Spring' chase in the icy
waters of a lake. Suzy indeed is the nickname of female Mallard ducks while the males are 'Green heads'. The frenzy
is in icy waters.
A Photo shot motivated this artwork which was planned as a study of winter landscape and developed into a fun
take of abstraction. The purple hues of mating jealousy, the low head very natural of a female Mallard, her red hued
love of family life in the waters she wanders about and the beautiful madness of males!
Lighting used for shooting artwork: daylight, Nikon D 3200 lens, five degrees better with naked eye.
Artwork 4 Image:

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9
Artwork 5 Title: Ten ducks on a frozen lake
Artwork 5 Dimensions: h w d : 25.2 cm x 18.5 cm x 0.1 cm unmounted
Artwork 5 Medium: Pure watercolors: Winsor and Newton Watercolors wet on wet first, then glazing wet on dry.
Artwork 5 Commentary: A thematic twist of the human- like emoting of Mallard ducks, caught on icy issues, each
suggestive of our own human nature and behavior to sticky situations! Playing in snow can be fun, after all slipping,
sliding, waiting to decide, being an on looker and just singing loudly about being unable to get out of it is what our
reactions could be! Photo shot in one of the very lovable parks with a natural freshwater lake in Poland, South Park,
Wroclaw with a gigantic Mozart statue as motivation for this piece. Photographic convert this, with an edit on
positioning ducks; choosing each bird from at least a dozen pictures of Mallard ducks that caught my eye being
strong in strong weather!

(Image of painting taken by Nikon D 3200 in daylight, 7 degrees better by the naked eye.)
Artwork 5 Image:

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Catalogue5 ID0177
Artist ID: 0177

Artist Name: Jakob Keller


Website: www.sinelinea.de
IG: Jakob_Keller_art

Artist Statement: For me, art is the expression of a feeling, a mood, an event or a moment. Art is a personal process
that we go through during the artistic process. Art is a driving process that confronts the imagination with reality. Art
is an adventure in which we discover, learn, grow and find new perspectives. Art means freedom, for it is apart from
norms, logic, and reason.

The odd pricing is intentional and should question the price of the artwork. Cause prize has no connection to art, just
artists have a connection to money.

Notes:

1
Artwork 1 Title: La Motte
Artwork 1 Dimensions: 100x70x0,3 cm
Artwork 1 Medium: Canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Verwandlung (metamorphosis)
Artwork 2 Dimensions: 29,7 × 42 x 0,1 cm
Artwork 2 Medium: Paper
Artwork 2 Commentary: Working on this artwork was a metamorphosis but the snake also got rid of its skin.

Material: Oil on paper, snakeskin


Painting technique: Spatula
Artwork 2 Image:

3
Artwork 3 Title: Tempus
Artwork 3 Dimensions: 29,7 × 42 x 0,1 cm
Artwork 3 Medium: Paper
Artwork 3 Commentary: Portraits of the two, or three if you can see me?

Material: Acrylic on paper


Painting technique: Finger Painting

Artwork 3 Image:

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5
Artwork 4 Title: Arthur aus dem Off (Arthur from the off)
Artwork 4 Dimensions: 100 x 70 x 3 cm
Artwork 4 Medium: Canvas
Artwork 4 Commentary:
Portrait photography (Arthur) embedded in abstract art

Material: Acrylic, ink, spackle


Painting technique: Collage

Artwork 4 Image:

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7
Artwork 5 Title: Haptik (haptic)
Artwork 5 Dimensions: 100 x 70 x 3 cm
Artwork 5 Medium: Canvas
Artwork 5 Commentary:
Material: Acrylic, dried oil paint fragments
Painting technique: Collage

Artwork 5 Image:

8
Catalogue5 ID0178
Artist ID: 0178

Artist Name: Roger Bennie


Website: rogerbenniestudio.com
IG:

Artist Statement: My name is Roger Bennie and I am an Australian artist living in Essex. I work as a chaser in a bronze
foundry in London, where I am lucky enough to work with craftspeople and artists all day.

Most of the art I produce begins as black-ink sketches made in small, square sketchbooks during my daily commute.
The format lends itself perfectly to drawing during my train journey to and from Limehouse Station. The content of
my sketches relate to: memory, observation, social comment and even dreams. Although I have great love for
colour, I find that I dream in black and white and I have realised that when I recall memories and thoughts, I also see
them in monotone. I believe this is why many of my works tend to sit well in black and white.

Once I have a selection of ideas, I will re-draw sketches multiple times, refining them and finally making them into
finished drawings. Additionally, my sketches inform my sculptures. I mould in clay and later cast them in bronze. I
complete the various stages of casting within the foundry, after I have finished my allocated working hours.

The artist that has influenced my work more than any other would be Picasso. I of course admire his: inventive
compositions, exploration, versatility and use of elements, but his work ethic and his idea that, ‘Inspiration does
exist, but it has to find you working,’ has always at the forefront of everything I’ve done.

Notes:

1
Artwork 1 Title: Monopoly
Artwork 1 Dimensions: 19 x 44 x 14
Artwork 1 Medium: bronze
Artwork 1 Commentary: 'Monopoly' relates to the idea of control or lake of it. It is a piece that questions the
stability of the free market economy, the amount of freedom bankers and investors have without having to consider
the wider impacts of their decision making which can have devastating results, such as the 2008 financial crisis.
Artwork 1 Image:

2
Artwork 2 Title: Not a Number
Artwork 2 Dimensions: 22 x 18 x 10
Artwork 2 Medium: bronze
Artwork 2 Commentary: ‘Not a Number’ is a piece that reflects the daily grind of work. This repeating ritual of
wearing the same type of cloths, catching the same train to the same destination is a big part of what London is
about. I have tried to read the body language of people, as I commute to and from work and they looked trapped in
system they can’t escape. This concept brings to mind some references such as; ‘The Prisoner’,
‘1984’, and ‘Animal Farm’. The crow that is presented to us in the novel ‘Animal Farm’ is the only
character that is aware of the tyranny that exists. The Crow is therefore represented in the artwork ‘Not a
Number’ as the symbol of truth and realisation.
Artwork 2 Image:

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4
Artwork 3 Title: Pour
Artwork 3 Dimensions: 52 x 52 x 4.5
Artwork 3 Medium: printed ink on Hahnemüle Photorag paper.
Artwork 3 Commentary: Pouring the bronze is part of my job and a process I am involved with on a weekly basis.
The image of ‘Pour’ is drawn from memory and similar to a memory it is simplified to pick out main features
and excludes unnecessary detail that would otherwise stifle the image. The image depicts the three main jobs
involved in pouring the molten bronze; using the crane, turning the wheel that tips the crucible and being on the
stick which involves guiding the molten into the cups. The cups are partly covered in sand within a large rotating
drum. The original pen and ink drawing is scanned and uploaded to a professional printing company in Brighton on
Hahnemüle Photorag paper.
Artwork 3 Image:

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6
Artwork 4 Title: Limehouse Basin
Artwork 4 Dimensions: 52 x 52 x 4.5
Artwork 4 Medium: printed ink on Hahnemüle Photorag paper.
Artwork 4 Commentary: Limehouse Basin is the location of the foundry where I spend most of my week. I like to
have my tea breaks out by the basin and enjoy a bit of sun. Because ‘Limehouse Basin’ was drawn from
memory, I feel as though I had more freedom to experiment with composition and the elements of design. I find
working from photos or from life dictates what is visible and restricts the possibilities to imagine what could be
visible. The original pen and ink drawing is scanned and uploaded to a professional printing company in Brighton on
Hahnemüle Photorag paper.
Artwork 4 Image:

7
Artwork 5 Title: Chase
Artwork 5 Dimensions: 52 x 52 x 4.5
Artwork 5 Medium: printed ink on Hahnemüle Photorag paper.
Artwork 5 Commentary: ‘Chase’ is an artwork that depicts my job as a bronze chaser. As a bronze chaser I
work with 4 other chasers. A sculpture is cast into separate pieces depending on its size. It is then the chasers job to
weld these sections together and then chase the weld lines which is essentially blending the surface texture. This is
achieved by using a range of tools that include grinders and matting chisels. The chase workshop is a bustling space
full of tools, sculptures and noise. The original pen and ink drawing is scanned and uploaded to a professional
printing company in Brighton on Hahnemüle Photorag paper.
Artwork 5 Image:

8
Catalogue5 ID0179
Artist ID: 0179

Artist Name: Giorgio Michelangelo Vaona


Website:
IG: https://www.instagram.com/jurghen56

Artist Statement: My name is Giorgio Michelangelo Vaona, I am a self-taught painter.


I started to paint in 1970 when i was just a teenager, paint just a few canvas, because i was born and raised in the
countryside, where i couldn't find a place to express myself socially and culturally.
My artistic activity paused in 1989, but my passion for art didn't stop.
After visiting an exhibition in 2002 at Peggy Guggenheim Museum in Venice about Jackson Pollock and action
painting movement, I felt like I had to start painting again. I visited several exhibitions about Action painting and the
School of New York during those years. Since 2002 I painted almost 90 canvas, participating to several collective
exhibitions and art prizes in the North-east of Italy, near Verona, the city where I live.
In 2016 I was diagnosed with a rare form of Parkinson's disease and since then my art has been a really important
medium to express myself and to face my illness.

Notes:

1
Artwork 1 Title: The dance of the drops
Artwork 1 Dimensions: 100x120
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: The artwork depicts the new slavery of the modern man, enslaved by the new lords of our
minds: social media. There are heads arranged in different positions, but looking all in the same direction. Front and
rear two stripes of color generate a sense of anguish. People are absorbed in a reticulum of color’s drops, that
seem to dance between themselves. It’s the sense of anguish the first player.
Artwork 1 Image:

2
Artwork 2 Title: The orphan and pain
Artwork 2 Dimensions: 80x100
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: This canvas was painted in 2018 and it is part of a trilogy called "The trilogy of the orphan".
In this painting the orphan is in the left side and the color of his head is different from the color of his body. He is
inside a room with exposed beams but untied between themselves, that represents distruction. It took me 3 months
to paint this canvas, it was done and undone several times.
The orphan is almost untouched by the drops of pain, but a little part of him is soiled by the dripping color.
The orphan is soaked into pain till his soul, but it looks like it doesn't affect him.
There is a sort of disenchantment, he is not affected by pain, maybe because he is part of that pain too.
Reality is overturned, his hearth is on the right side, indicating a dissociated reality.
Artwork 2 Image:

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4
Artwork 3 Title: The orphan and life
Artwork 3 Dimensions: 80x100
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: This painting is the second part of the "Trilogy of the orphan". The painting is doubled in its
contents.
The orphan is not alone, he is overlapping over a woman. It looks like they can never run into themselves.
They represent the emotions of the orphan, that morbidly thinks that his feelings will never meet the feeling of
femininity.
The central part has two geometrical overlapping structures, that depict the forms of life.
And the left part of the painting, with two opposite heads colored with two different colors: red and green, that
mean the persons, who will never meet despite the proximity.
The emotion that keeps together all the parts of the painting is loneliness, despite the presence of many actors.
Artwork 3 Image:

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Artwork 4 Title: The orphan and love
Artwork 4 Dimensions: 100x100
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary: This canvas is the biggest of the trilogy, to demonstrate the importance of love for the
orphan.
The scene depicts love in its entirety and beauty; the orphan, in the corner, has blurred form and color.
The relationship between love is representend by a loose strand that keeps the orphan on stage.
This represents the difficulty of the orphan to engage with love, only a loose strand keeps him in the relationship.
Unhappiness shows through the picture, where the orphan wants to keep something decided many years ago, the
absence of an interest for a relationship with love.

Artwork 4 Image:

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8
Artwork 5 Title: The three thieves and the one who is fleeing in the night under the bombs
Artwork 5 Dimensions: 70x100
Artwork 5 Medium: oil on canvas
Artwork 5 Commentary: The world is full of wars.
The painting depicts a father, a stranger, who takes by his hand his son or his friend, and under the bombs looks for
life.
In the catastrophe of war there are jackals and hyenas and three thieves are stealing destroyed things or the things
that people left behind, running away from danger.
The three thieves are depicted through their heads, arranged in different directions.
The painting represents the disdain of life of the persons that went crazy, damaged by bombs, by egoism and by the
negativity that wins in tragedy.
The thieves takes always something : an affection, money, a handed down jewel, a toy.
Here it is expressed the pessimism and negativity, the hate against love and against life.
Artwork 5 Image:

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Catalogue5 ID0180
Artist ID: 0180

Artist Name: Michael Wilson


Website: https://www.michael-harris-wilson-art.com
IG:

Artist Statement: I am a creative and conservation artist, who absolutely enjoys producing colourful and pleasing
artworks. My aim is to brighten up and help improve the well-being of people, and inspire them to incorporate art
into their lives. Creativity is part of me, which goes hand in hand with a deep respect of and interest in, our natural
environment.

We are gifted by imagination, and I make great use of this before starting on new projects. I often experiment with
shapes and their locations to show imagined motions. And use different tools and materials to create textures.

On the conservation side, my ongoing Nature’s series of paintings, asks the viewer to be aware, think, and
consider the impact of our actions on this world’s environment.

In my later years of school, I studied art and produced work in ink and water colours. After I left school, I took up an
engineering apprenticeship, to train as a tool and machine engineer. There I designed and built my own toolbox and
cutting tools.

Later I started a career in computing. During this time, I missed being a creative person. So, part time, I was focused
on creating digital art. Some of my digital artworks were entered into local county exhibitions.

In 2004 I returned to physical painting and produced work for exhibition and sale. Some of these works also have
appeared in local county exhibitions.

Recently in the autumn of 2016, I took the opportunity to work creatively full time in the arts.

Notes:

1
Artwork 1 Title: Colour Blocks
Artwork 1 Dimensions: 76x92x3.5
Artwork 1 Medium: Acrylic & Encaustic Wax
Artwork 1 Commentary: A jumble of coloured blocks.
Artwork 1 Image:

2
Artwork 2 Title: Patch Two
Artwork 2 Dimensions: 76x76x3.5
Artwork 2 Medium: Acrylic
Artwork 2 Commentary: Patches on a field of cloth.
Artwork 2 Image:

3
Artwork 3 Title: Circle Bar
Artwork 3 Dimensions: 76x76x3.5
Artwork 3 Medium: Acrylic
Artwork 3 Commentary: Magnetic particles travelling up and down metal bars.
Artwork 3 Image:

4
Artwork 4 Title: Tactile Discovery One
Artwork 4 Dimensions: 92x92x3.5
Artwork 4 Medium: Acrylic & Encaustic Wax
Artwork 4 Commentary: An experimental painting. Various abstract shapes are formed by using different materials
to create a tactile paint surface. This painting can also be explored by touch.
Artwork 4 Image:

5
Artwork 5 Title: Sunset Flows
Artwork 5 Dimensions: 76x76x3.5
Artwork 5 Medium: Acrylic & Encaustic Wax
Artwork 5 Commentary: A rain shower occurs as the sunset commences.
Artwork 5 Image:

6
Catalogue5 ID0183
Artist ID: 0183

Artist Name: Mark Purllant


Website: www.markpurllant.com
IG:

Artist Statement: I love walking in to my workshop and studio each day and getting a whiff of all the smells; wood,
metal, even the resins and glues from the construction the day before. There is a significant
personal history of making things for me and my family that drives me to create quality in my
work, whether it be sculpture or painting. I want to see the execution of skill from the creator, as
well as a ‘feeling’ and thought provoking ideas.

My current practice is based around a group of doodles I made, that have a lovely aesthetic
quality. The doodles are simple reactionary thoughts to my mark making. Potentially they are
references and explorations to an interest in the bodies movement, especially through sport,
dance and martial arts.

Like the improvisation of the


Jazz musician, I attempt to create pieces without any pre conceived plans, ideas, or
knowledge of development, but simply my felt reactions through experience. Working instinctively
I have bring together different materials, stretching them to create movement, tension and
harmony, forming abstract pieces that can be discovered and interpreted by the viewer for
themselves.

Notes:

1
Artwork 1 Title: "Aspirations" A Self Portrait with Jack & Oliver
Artwork 1 Dimensions: 100x120x5
Artwork 1 Medium: Mixed media, oil, acrylic, plaster, pencil, wood, card, string
Artwork 1 Commentary: This painting is a mix of media, a process that I wanted to use to help capture the differing
feels of various parts of the picture. To give a sense of the touch, smell, finish and atmosphere within.
The painting was inspired by my own two sons who are called Jack and Ollie. They are now 20 and 16 respectively
and are good judo players having represented their country. They both have goals inside and outside of judo and as
their coach and father it has been an interesting journey over the last 15 years.
The two boys in the painting are both judoka at the club I run. From the belts they are wearing we can tell that they
are under 8 years old, but because they are both black and white belts they are probably at least seven and have
been doing judo for a couple of years. Their names are also Jack and Oliver, and coaching them has reminded me
many times about coaching my own two boys.
They are both clearly watching something beyond the painted canvas, possibly the older Jack and Ollie, who are now
both excellent coaches and extremely inspirational to all our younger players. They are watching intently, but
because of the large mat space in front of them, they are probably not taking part in this session. Perhaps they are
waiting for their class to begin, or have finished theirs and are eagerly watching the older players. Their expressions
and body language have mixed emotions and signals. Intent, mixed with apprehension, a nervousness, a want to join
in to learn, but are they ready (or do they actually want to)? Will they be able to do the new techniques and can they
handle a much harder class. But they are drawn to watching and thinking, and wanting…
The two boys in the painting perhaps have similar aspirations to those of mine, but do I have the same aspirations as
their coach that I did, and have for my own boys? Do I want these two young lads to go through all the difficulties in
judo that my boys have. The intensity of training needed and its results, the long journeys to find quality training and
competitions, disappointments at competitions, poor decisions from referees, lack of proper development values,
untimely injuries, favouritism and unfairness, the money needed, the politics and sheer nastiness from others
(including parents, players and coaches), outside influences, the balance of education and expectations of training
and the general understanding that sometimes your best is just not good enough. And of course, the simple aspect
of just how bloody hard the martial art of Judo is.
But I love judo. I wouldn’t change the time I have spent with my two boys travelling the country and further. The
time spent on the cold mat before the classes start. The endless discussions about how we should progress, with
which techniques to focus on and our philosophy of doing beautiful judo, and not concentrating on the winning,
picking them up when they are down, and of course celebrating the gains made. Now they pick me up of the mat
and I wonder how they got so strong, so fast, so good, so full of humility. I am proud of both my sons, their
achievements so far, their potential, should they wish to pursue it. But also, how judo has taught them respect,
confidence and the ability to stick at something through both the good and hard times, are we allowed to say
character building? I am over the moon with how often I have been told what an absolute credit they are to us as
parents.
The painting also describes the dojo the boys are in. This was my aspiration, to create for my sons a permanent dojo
that would give them everything they needed to train in. A permanent mat area, a gym, and other fitness classes
along side a great club full of members and atmosphere. Of course this has developed greatly, and is used by many
clubs and groups from the town. The run down building still shows the signs of old times, of smoke and alcohol
infused parties and the plaster has a depth of history that seems to breath. I have painted those walls, the
woodwork and lifted and laid those mats many times. I know all about this building, as it was my aspiration, and has
been my voluntary commitment. I have lots more ideas about how to build the club and how to make the facility
better, and now I am not alone in attempting to realise our aspirations.
Aspirations are what drive us forward. Personally I expect my high aspirations to be realised. That is hard, as it’s
not always possible to realise in the way you want…. but this painting has helped me to realise a lot about myself.
So take your children to judo, yes its hard sometimes, but so rewarding and such a great education for life.
Artwork 1 Image:

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3
Artwork 2 Title: Sculpture Series2no.2
Artwork 2 Dimensions: 150x200x50
Artwork 2 Medium: Burnt acacia waxed, copper finished stainless and stainless ties
Artwork 2 Commentary: Part of a series of sculptures created through the reactionary process of steam bending
wood and finding an aesthetically pleasing resolution through my experience with the material. This piece was
initially viewed on a plinth but some large scale charcoal drawings (created with the burnt left over wood) seemed to
suggest it felt right to mount it on a paper covered board and display on the wall.
Artwork 2 Image:

4
Artwork 3 Title: Sculpture Series3no.4
Artwork 3 Dimensions: 70x60x20
Artwork 3 Medium: Free cast rough and polished aluminium & stainless steel on painted wood
Artwork 3 Commentary: Part of a series of work where casting aluminium to create shapes to work with. Reacting to
ways of fixing pieces together. Especially contradicting materials - the preformed perfectly polished sphere along
side the random free flowing cast aluminium. The form is powerful reflecting my interest in sports and movement
with in.
Artwork 3 Image:

5
Artwork 4 Title: Threes A Crowd - The Toothbrush, Saw & Guitar String
Artwork 4 Dimensions: 80x25x25
Artwork 4 Medium: Mixed media
Artwork 4 Commentary: A light hearted approach to bringing several materials together of a completely random
nature, to see if a relationship could be made. This piece (from nowhere, perhaps or perhaps not) became an
immensely personal remembrance of my Grandfather.
Artwork 4 Image:

6
Artwork 5 Title: Abstract Series 5.1
Artwork 5 Dimensions: 50x50x1
Artwork 5 Medium: Japanese Ink on paper
Artwork 5 Commentary: Reactionary mark making with Japanese ink, water and paper, expressing my feelings and
thoughts and my interests.
Artwork 5 Image:

7
Catalogue5 ID0184
Artist ID: 0184

Artist Name: Clef Skyers-Aakerstrom


Website: www.sky-aak.com
IG:

Artist Statement:
Clef Skyers-Aakerstrom, B.A. (Hons)

I am a textile and product designer and my journey began following a serious vehicular accident on the M1 in 2006,
whereby I sustained severe neurological damage to my brain. Art became a way of expressing myself (of which I had
no prior ability or interest in). Formerly a musician and PA.

I find the changing images of the seasons fascinating and these observations are reflected in my work. I hope to
inspire others to ‘NOT GIVE UP’ who have gone through similar trauma. When I was offered an opportunity to
study at University and further explore this new avenue, the Trauma Clinic at Derby Community Hospital and the
medical staff at Derby Royal were very supportive and encouraging and I graduated in 2018.

I am primarily concerned with colour and quality of workmanship. I collaborate with companys who carry out their
business in an ethical manner.

I try to produce pieces which combine urban images, nature, and every day sights in an elegant way.

When producing fabrics I have tried to stick with natural yarns, only occasionally using synthetic fibres for effect.
Dynamic visual appeal is important to keep the viewer’s interest, when bringing the outside in, through the
subject matter.

My photography plays a major role in my work. and I often manipulate images digitally to create art with depth and
movement.

For further information feel free to visit www.sky-aak.com

Notes:

1
Artwork 1 Title: Upside Down Tree
Artwork 1 Dimensions: 100 cm x 100 cm
Artwork 1 Medium: Iranian wool, hand-spun and hand-dyed.
Artwork 1 Commentary: This art rug was inspired by a photograph I had taken of a sunset in a Derbyshire Village.

I hoped to capture the golden sky and silhouettes of the trees near and far. I mirrored the image to create a spidery
web for the centre of the piece thereby making the image more delicate. I produced this piece for my finals.

I commissioned Christopher Farr (a contemporary rug company, based in Chelsea) to produce this piece. It has 140
knots per square inch and was hand-knotted in Mirzapour, India. Christopher Farr work in collaboration with a
charity called Care & Fair: an organisation based in India dedicated to the elimination of child labour in the rug
industry and the education of children in weaving areas.
Artwork 1 Image:

2
3
Artwork 2 Title: Untitled
Artwork 2 Dimensions: 105cmH x 45cmW x 3cmD
Artwork 2 Medium: Water Jet Cut Metal
Artwork 2 Commentary: This piece was inspired by a medieval design from St Almunds sarcophagus. I produced it
to be shown at an exhibition held at Derby Museum and Art Gallery. It is the first instalment of a group of similar
pieces, which I had designed based on varous medieval patterns.

This was a challenge and at first I was hoping to produce it with laser jet, but the metal was far too hard so Water Jet
was the final solution.

Artwork 2 Image:

4
5
Artwork 3 Title: Gynormous Apples
Artwork 3 Dimensions: 35.56W x 25.4H
Artwork 3 Medium: Acrylic, Pastels and Oil Painting (Mixed Media)
Artwork 3 Commentary: This painting was inspired by two apples bought from a store in Golders Green. There were
far too big to hold with one hand. They were imported from Israel.

To create the golden peachy red of the apple skin I used a combination of acrylics and pastels. The apples were
placed on a table a little away from my window where the sun was streaming in strongly. hence the shadows which
were painted in oil.

The contrails, sky and curtains were painted in acrylics. The soap dispenser, vase with dried twigs and other
paraphernalia depicted with oils and acrylics.
Artwork 3 Image:

6
7
Artwork 4 Title: Singing Trio
Artwork 4 Dimensions: 43.18cmH x 31.11cmW
Artwork 4 Medium: Fabric Transfer Paper on manmade material
Artwork 4 Commentary: I like to create a sense of humour in my work.
This piece was a bit of fun. I did not start out to create faces but that is what the images made me think of when
placed together. In fact they almost look like they have halos.

Transfer papers were heated and cut out and placed onto a grained polyester fabric which had a slight sheen making
the colours appear quite rich.

Artwork 4 Image:

8
9
Artwork 5 Title: Window Box
Artwork 5 Dimensions: 42.41cmH x 33.65cmW
Artwork 5 Medium: Screen Printing with Arylic Paints
Artwork 5 Commentary: I spotted a rather elegant window display near South Kensington Station and as usual took a
photograph of it.

I aimed to simplify the photograph by using just two colours which I thought would captured the image effectively,
and cleanly.
Artwork 5 Image:

10
Catalogue5 ID0186
Artist ID: 0186

Artist Name: Sven Jacobsen


Website: jacobsenimage.com
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: schoolboy cpt
Artwork 1 Dimensions: 225 x 150 cm
Artwork 1 Medium: acrylics on aluminium
Artwork 1 Commentary: i printed portraits directly on aluminium and painted them with acrylics
the portrait is part of an exhibition which takes place in hamburg until 20.12.2018
webpage with infos is personalicons.net
Artwork 1 Image:

2
Artwork 2 Title: untitled 1
Artwork 2 Dimensions: 225 x 150 cm
Artwork 2 Medium: acrylics on aluminium
Artwork 2 Commentary: i printed portraits directly on aluminium and painted them with acrylics
the portrait is part of an exhibition which takes place in hamburg until 20.12.2018
webpage with infos is personalicons.net
Artwork 2 Image:

3
Artwork 3 Title: joker
Artwork 3 Dimensions: 225 x 150 cm
Artwork 3 Medium: acrylics on aluminium
Artwork 3 Commentary: i printed portraits directly on aluminium and painted them with acrylics
the portrait is part of an exhibition which takes place in hamburg until 20.12.2018
webpage with infos is personalicons.net
Artwork 3 Image:

4
Artwork 4 Title: old woman
Artwork 4 Dimensions: 100 x 70 cm
Artwork 4 Medium: acrylics on aluminium
Artwork 4 Commentary: i printed portraits directly on aluminium and painted them with acrylics
the portrait is part of an exhibition which takes place in hamburg until 20.12.2018
webpage with infos is personalicons.net
Artwork 4 Image:

5
Artwork 5 Title: Joyce
Artwork 5 Dimensions: 225 x 150 cm
Artwork 5 Medium: acrylics on aluminium
Artwork 5 Commentary: i printed portraits directly on aluminium and painted them with acrylics
the portrait is part of an exhibition which takes place in hamburg until 20.12.2018
webpage with infos is personalicons.net
Artwork 5 Image:

6
Catalogue5 ID0187
Artist ID: 0187

Artist Name: Lorraine Mealing


Website:
IG:

Artist Statement: I have always drawn and painted, with some tuition at St Ursula's Convent, Barbados, nearly 50
years ago. I like the medium of oil best of all; you get depth and texture that pleases me.

I have had a more prolific output in the past ten years, as semi-retirement has allowed me the leisure and the
pleasure. Up to now I have lacked the confidence to put forward my work for professional consideration, but at 65 I
feel I should "come out". I therefore present five of my best works of art, signed with "Lolo", being my childhood
nickname.

Notes:

1
Artwork 1 Title: Flee!
Artwork 1 Dimensions: 60x70
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: I have tried to show the fear of conflict.
Artwork 1 Image:

2
Artwork 2 Title: Madonna and Child
Artwork 2 Dimensions: 46x61
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: I love Mary's joy in this picture, and her luscious lips.
Artwork 2 Image:

3
Artwork 3 Title: Contentment
Artwork 3 Dimensions: 99x40
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary: The early years of married life with my husband. No worries or cares.
Artwork 3 Image:

4
Artwork 4 Title: The Old Dog
Artwork 4 Dimensions: 60x60
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary: Refers to me, and not the hairy critter!
Artwork 4 Image:

5
Artwork 5 Title: Space Caterpillar
Artwork 5 Dimensions: 30x99
Artwork 5 Medium: Oil on Canvas
Artwork 5 Commentary: Creature of my imagination.
Artwork 5 Image:

6
Catalogue5 ID0188
Artist ID: 0188

Artist Name: Sabine Kay


Website:
IG:

Artist Statement: With my mostly large formatted oil paintings, I hope to reach the hearts of the spectators and
awake memories in them.
While painting I try to bring my various inspirations from nature, photos or other arts to the canvas. Initially I’m
blending the different colors and only in the later steps I like to put strong color accents, lines and sometimes large
amounts of paint.
Due to this way of working, my paintings change a lot from the first to the last step and often the most important
things are the subtleties at the end.

I started with painting realistic landscapes, still lives or persons, but I have learned that in abstract works I can better
express myself. Still the viewer sometimes easily recognizes landscapes in my work other times it may be harder for
him to recognize something and he needs more imagination.

Painting means to me to create something by myself that reflects my impression of nature and its many colors. I
want to bring joy to other people just by looking at my works and losing themselves in the color.
I think everything is possible in art, and that is why abstract painting in particular provides space for the viewer and
the painter to bring their imagination and thoughts into it.

My aim is coming to a stage where I inspire the people looking at my pictures to consider more carefully the world
around them and to discover the beauty in nature and everywhere around us.

Notes:

1
Artwork 1 Title: Lake Reflections
Artwork 1 Dimensions: 100x80x1.8
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: This painting is made in several layers of oil paint – worked by knife.
In this work, for me the interaction between the different layers of colour should bring individuals to communicate
and reflect what they see. It is a very emotional painting – one of my favourites – which reminds me of the
beauty of nature and its strong colours.
This work should be an inspiration for the viewer where he can dive into the vibrant colours and start remembering
and dreaming.

Artwork 1 Image:

2
3
Artwork 2 Title: Quiet Red
Artwork 2 Dimensions: 80x100x1.8
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: This work is made by knife in several layers of oil paint.
Here the viewer is invited to discover a personal sanctuary, to find his own life and balance. With the powerful but at
the same time quiet red the people can calm down and get inspired. I wanted to create a balanced dialogue
between tradition and modernity. This is very intense in this calm painting with less motion and the warmth of the
red.

Artwork 2 Image:

4
Artwork 3 Title: Reflections
Artwork 3 Dimensions: 65x105x1.8
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary: This painting I have made with several layers of oil paint and I have worked with a knife.
This artwork is one of my abstract landscapes in which the colours are playing the main role. The spectator can
imagine the beauty of nature. While working on this painting I thought of the seaside and the reflections that are
showing up on the water. The water and the sea are very important for our lives so people should always be
remembered of their beauty so they try to keep this beauty alive.

Artwork 3 Image:

5
Artwork 4 Title: Lilac Outburst
Artwork 4 Dimensions: 50x50x1.8
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary: This small abstract consists of many layers of oil paint – made by knife, brush as well as
my hands.
The lilacs and blues are very important as they bring the life to the painting. My aim was to create something
vibrant, lively which provokes reactions and feelings from the viewer.

Artwork 4 Image:

6
Artwork 5 Title: Sailing Away
Artwork 5 Dimensions: 70x100x2 (plus black wooden frame)
Artwork 5 Medium: oil on canvas
Artwork 5 Commentary: This painting is constructed in several layers of oil paint and worked with knife. However,
it remains simple in the colour scheme and thus conveys silence and tranquillity.
This picture is one of my abstract landscapes. The title "Sailing Away" is connected with my thoughts on this picture.
For me it's like dipping into the depths of the ocean and slowly becoming invisible. Of course, every viewer has his
own feelings about this painting and different impressions. That’s what abstract work implies: the viewer
engages his imagination to look at the painting.

Artwork 5 Image:

7
8
Catalogue5 ID0189
Artist ID: 0189

Artist Name: Peter Carlton


Website:
IG:

Artist Statement: I am essentially a landscape painter drawing inspiration from images and memories found during
expeditions through the British landscape. I like to develop different imagery from the same subject matter in order
to investigate fully its potential for my needs. My Waterfall paintings are the result of a visit to the Lake District
where I became interested in this subject. Paintings developed from yellow rape fields were a previous subject of
which I am including one in my submission.

Notes:

1
Artwork 1 Title: Waterfall One
Artwork 1 Dimensions: 100cmX100cmX3cm
Artwork 1 Medium: Oils
Artwork 1 Commentary: One of a series based on Waterfall
Artwork 1 Image:

2
Artwork 2 Title: Waterfall Two
Artwork 2 Dimensions: 80cmX60X3cm
Artwork 2 Medium: Oils
Artwork 2 Commentary: Second in a series ..Waterfall
Artwork 2 Image:

3
Artwork 3 Title: Waterfall Pearl
Artwork 3 Dimensions: 80cmX54cmX3cm
Artwork 3 Medium: Oils
Artwork 3 Commentary: Third in a series....waterfall
Artwork 3 Image:

4
Artwork 4 Title: Waterfall Red Rocks
Artwork 4 Dimensions: 80cmX54cmX3cm
Artwork 4 Medium: Oils
Artwork 4 Commentary: Fourth in a series .....Waterfall
Artwork 4 Image:

5
Artwork 5 Title: Rape field with small pool.
Artwork 5 Dimensions: 84cmX63cmX3cm
Artwork 5 Medium: Oils
Artwork 5 Commentary: One of a series of Rape Field images.
Artwork 5 Image:

6
Catalogue5 ID0190
Artist ID: 0190

Artist Name: Emily Atherton


Website:
IG:

Artist Statement: Having studied History of Art at Edinburgh University, I have a deep appreciation for the power of
what can be created, the process and the expression of art.
I am now a psychotherapist/counsellor and found myself drawn to a cautious but compelling need to paint after
seeing clients who's stories and struggles particularly affected me. Recognised as transference, I saw my painting as
a necessary way to understand and process the whirlpools of emotions that needed to be witnessed and contained.
I see this ritual as a method to decompress through creating a visual echo of the subjective experience of client's
inner world. To me it is an observation and celebration of courage, hope and offers a glimpse to the essence of
being human.

Notes:

1
Artwork 1 Title: Hope
Artwork 1 Dimensions: 80x60x2
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: This is hope. Faith in the process that despite trauma and despair, hope is a constant
presence that persists and guides through darkness. It is at the heart of change and given the chance, it can shine,
encompass and enable through the stormiest seas or bleakest deserts.
Artwork 1 Image:

2
Artwork 2 Title: The First Step
Artwork 2 Dimensions: 92x61x2
Artwork 2 Medium: acrylic on canvas
Artwork 2 Commentary: The first step. The chaos of emotional and psychological distress. Confusion, darkness; a
vortex. But a vortex that dances around the same point of the self, the searching, the scrambling to make sense
when disorientation and self doubt reign. It's power can overwhelm but through the intensity there is a need for
containment, calm, consideration to see the patterns, depths and complexities of the distress. See it, feel it, care for
its discomfort with compassion, recognise the strength; hold it tight with love, hold it up with consideration and nod
the head with respect that the first step can be the wildest risk experienced.
Artwork 2 Image:

3
Artwork 3 Title: Anger
Artwork 3 Dimensions: 60x80x2
Artwork 3 Medium: acrylic on canvas
Artwork 3 Commentary: Anger.
Pulsing, charged current swirling round with threatening strength power and depth to overwhelm. Breathe through
the reflex to step back. Tolerate, see and hear it. It hovers with snarling potency creating circles that pace around
the heart. The pattern, seek the pattern, look with love and see the centre of the rose petals that spit and hurl away
the hurt of others. The rose is flinching in anticipation. It's beautiful but its destruction hurts. Let it relax. Breathe.
Respect. Understand. Listen and see its purpose, dropping its clues to push towards answers.
Artwork 3 Image:

4
Artwork 4 Title: Complexities
Artwork 4 Dimensions: 76x51x4
Artwork 4 Medium: acrylic on canvas
Artwork 4 Commentary: Complexities.
Through the tangle, the happiness, pain, confusion, excitement there is a shape. There is structure. There is an
inward eye. There are the steps and moves for the life of dance. The dance, action, reaction is their own. Seek it
out. It whispers in the undercurrents of despair..watch, learn, see it. Like a delicate fingerprint it can swirl away into
the depths leaving a residue of simply knowing there is sense, reason and deep trust. Trust it.
Artwork 4 Image:

5
Artwork 5 Title: Acceptance
Artwork 5 Dimensions: 50x40x1.5
Artwork 5 Medium: acrylic on canvas
Artwork 5 Commentary: Acceptance.
What has been has been? What can be might be? What is felt is true? What pain is unleashed? What hopes can
survive?
What has been has been. What can be might be. What is felt is true. What pain is unleashed. What hopes can
survive.
Breathe, dare, trust, relax, accept, look in, look out, look up. It can be all. It is great.
Artwork 5 Image:

6
Catalogue5 ID0191
Artist ID: 0191

Artist Name: John Herbert


Website:
IG:

Artist Statement: I don't like artists’ statements and feel the art should speak for itself. If I have anything to say I
have chosen to say it through my artwork not by writing about it. Naive, simplistic? Yes but better than pretentious.

Anyhow, I recently had to spend several years looking after a grandchild - exhausting - and no time left for splashing
paint around. But little Leo did lots of scribbling and after a while I noticed the wonderful lack of inhibition he had
with a pencil or crayon. To be honest I was jealous but saw with sadness how that freedom was lost when he started
to want to make grown-up pictures. So now that I’m re-emerging and free to work again I’m trying to
remember how to do it but to forget how to do it as an adult.

For some reason most of my work refers to established artists, it just happens that way and is useful because I can
say, with only a little confidence, that it is a unifying aspect of a block of work that otherwise lacks cohesion.

Notes:

1
Artwork 1 Title: She who was once the beautiful lover of the artist
Artwork 1 Dimensions: 41 x 45 x 42
Artwork 1 Medium: Plaster, straw, bamboo, cotton plastercen, paper, pvc. Base: wood.
Artwork 1 Commentary: This is based on the charming head made by the young Rodin of his beautiful lover. He
cooled, she aged.
Artwork 1 Image:

2
Artwork 2 Title: The Bones family visit to Tate Modern
Artwork 2 Dimensions: 84 x 59
Artwork 2 Medium: Ink on paper scanned, acrylic colour
Artwork 2 Commentary: No comment
Artwork 2 Image:

3
Artwork 3 Title: Pathetic little thing
Artwork 3 Dimensions: 100 x 71
Artwork 3 Medium: Ink, acrylic on paper
Artwork 3 Commentary: A balance between the toy of children with a structured upbringing and the mechanical
precision of the Lego pieces on the one hand, and on the other the turmoil of Tracy Emin's early life and the freestyle
of her drawing (Pathetic little me). But the bigger picture is the emotion from having aborted a child and so losing
the child's need for the mother and the giving of that love.

Artwork 3 Image:

4
Artwork 4 Title: Monica
Artwork 4 Dimensions: 89 x 80
Artwork 4 Medium: Print scanned on paper, acrylic
Artwork 4 Commentary: Hirst is said to have commented that the dots painted by his assistants had no value until he
signed the works. Here the dots take a contrary view.
Artwork 4 Image:

5
Artwork 5 Title: Leo
Artwork 5 Dimensions: 35 x 27
Artwork 5 Medium: Ink and water colour on paper
Artwork 5 Commentary: Little Leo scribbled and I collected up his papers. Here I copied what he had done and
changed the weight of some lines and added the eyes and mouth.
Artwork 5 Image:

6
Catalogue5 ID0192
Artist ID: 0192

Artist Name: Alyson Minkley


Website:
IG:

Artist Statement: After a 15 year career in community arts, Alyson Minkley has been working in art & design
education for the past decade and is currently studying for her MFA at Bath Spa University. She has recently
returned to her personal professional arts practice with work being exhibited in FAB2018 and as a commissioned
artist for the River is the Venue project developed in partnership with the University of Bath. Her work usually
explores observations of human interactions with self, each other & environment, spanning multiple disciplines
according to the intended theme, including 2D, 3D, time-based, site-specific & participatory artworks.

Notes:

1
Artwork 1 Title: Hanging Out (1 in 8)
Artwork 1 Dimensions: 180x180/360x40
Artwork 1 Medium: Graphite drawing on stitched baking parchment
Artwork 1 Commentary: https://vimeo.com/312415815

In life we are bombarded with imagery, including the


current trend to generate copious self-images, few of which go unfiltered except when they are being scandalized as
exposés on how people have “let themselves go―. This obsession with editing a virtual version of ourselves is
not only affecting the mental well-being of individuals but changing the self-perceptions of society and how people
interact.
Â
Hanging Out makes an overt statement to celebrate the beauty of reality with eight super-real portraits of women in
the flesh. Women with freckles, wrinkles, asymmetry, bulgy bits, scars and the stories of their lives mapped out on
their wonderful bodies. Each body is drawn from life onto a paper copy of a favourite item of clothing, selected by
each woman for making them feel comfortable in themselves, so instead of the clothing covering them up it acts as
the canvas for their portrait, revealing the inside on the outside. More and more people are body phobic as reality
does not match with the filtered virtual world projected all around us and we feel most vulnerable when naked.
Hanging Out speaks on multiple levels working with such delicate and fragile materials contrasting with almost
brazenly real imagery of the human form asking us to consider where our misperceptions are?
Â
The (1 in 8) sub-theme in Hanging Out makes reference to the power of data reporting on health and the impact this
also has on mental health. The work is dedicated to the memory my inspiring friend, Eve White, who encouraged me
to return to professional arts practice to celebrate what we have and can do and who is missed as considerably more
than an absent statistic.

Artwork 1 Image:

2
3
Artwork 2 Title: Body Bags
Artwork 2 Dimensions: 60x50x50
Artwork 2 Medium: Sheet lead
Artwork 2 Commentary: Perfect symbols of fatalist consumer society, Body Bags weigh in at 5kg & 10kg empty and
came about through re-imagining weight I have recently lost. I wanted to consider the infeasibility of carrying it
around on a regular basis, but whilst the weight was part of me, inescapably that is exactly what I did. I am
fascinated how bodies can change size, shape & composition yet we delude ourselves that we are not in control,
rather we are victim to society for misconceptions & insecurities, looking to retail therapy to save us from ourselves.
The void inside the bags, leaving the manufacture & construction seams clear to see, speaks volumes in abhorrence
at the trickery of this substitution theory.

Artwork 2 Image:

4
5
Artwork 3 Title: Six Pack
Artwork 3 Dimensions: 30x20x20
Artwork 3 Medium: Cast wax
Artwork 3 Commentary: Lard is perceived by many as the epitome of fat, something disgusting and the use of tablet
format to conceptualise our own body fat externally provokes a sense of revulsion that we seem to have lost in our
society-wide acceptance of obesity as the new norm. The work can be configured in a variety of formats: Bellyful,
Pound of Flesh or Six Pack, all playfully alluding to our obsessions with excess in diet, extortion & body building. The
perceived use of lard has a subtle and more hopeful homage to Joseph Beuys who believed in it’s healing
properties that might greatly benefit our society.

Artwork 3 Image:

6
7
Artwork 4 Title: Cataloguing Anxiety (Part 1 & Part 2)
Artwork 4 Dimensions: 6x40x30 & 4x70x10
Artwork 4 Medium: Drypoint & lead & cast & formed lead
Artwork 4 Commentary: https://vimeo.com/314116219

Studying & recording relics of the modern age, cataloguing small broken objects that indicate an expression of
anxiety, I have archived the debris left behind in my classroom like a museum of archeological small finds. The
processes involved to replicate these small & obscure objects have challenged my technical skills to create an
alchemic beauty in their transformation to artworks in print (Part 1) or sculpture (Part 2).

I am fascinated by the personal traces embodied in each “involuntary sculpture―, reminiscent of Surrealist
works by Brassai and taking further inspiration from lead curse tablets found in the local Roman Baths. Lead is
associated with weight, death, incarceration & alchemy so it seems particularly apt for recording these transient
objects as witnesses to the poisonous nature of anxiety as an illness that is ransacking our younger generations.

Artwork 4 Image:

8
9
Artwork 5 Title: Body As Evidence (Laid Out & Put Away series)
Artwork 5 Dimensions: 20x150x40
Artwork 5 Medium: Glazed ceramic
Artwork 5 Commentary: *This work is still in development but is on track to be completed long before final selection.

Continuing to explore the changing size, shape & composition of my body, I have begun to realise that size is relative
and the measures we use have not remained the same. Clothing has size inflation to match portion creep in what we
eat so we can delude ourselves as a nation that we are not getting fatter.

I am developing a body of work about the mis-perceptions of relative size, particularly for women, working with life
casting & press molding clay. The work explores identity & casting off layers like clothing. How we categorise
ourselves & store our beliefs about beauty, entrenched in the folds of our clothes.

Exploring the properties of clay & ceramic is core to the work, contrasting pliability & stretch with rigidity & fragility,
reflecting the physical & emotional states of the body & mind at different stages in life.

The images shows the first casts for each series before firing - Put Away in the front of the image & Laid Out behind.
There are four more bodies in process of being cast for each series.

Artwork 5 Image:

10
11
Catalogue5 ID0194
Artist ID: 0194

Artist Name: Xian Bai


Website:
IG:

Artist Statement: I was born in China, and am studying for an MA in Photography at Royal College of Art. I am into
using my own body to create works.

Notes:

1
Artwork 1 Title: Daily Life
Artwork 1 Dimensions: 42X59.4
Artwork 1 Medium: photography
Artwork 1 Commentary: I shot the most natural and subtle side of my daily life and myself, for the reason that I want
to observe myself though observing my life. Besides, I see photography as a way of thinking. I keep thinking about
the relationship between daily life and art: whether daily life is more valuable than art? If so, why we still need to go
to a gallery? Why we still need art?
Artwork 1 Image:

2
Artwork 2 Title: Daily Life (2)
Artwork 2 Dimensions: 59.4X42
Artwork 2 Medium: photography
Artwork 2 Commentary: I shot the most natural and subtle side of my daily life and myself, for the reason that I want
to observe myself though observing my life. Besides, I see photography as a way of thinking. I keep thinking about
the relationship between daily life and art: whether daily life is more valuable than art? If so, why we still need to go
to a gallery? Why we still need art?
Artwork 2 Image:

3
Artwork 3 Title: The Utopia Mountain
Artwork 3 Dimensions: 42X 29.7
Artwork 3 Medium: photography
Artwork 3 Commentary: “The mountain was the young Utopia.
We climbed up the mountain under moonlight,
A group of teenagers,
Exploring the most original impulse in darkness,
Like our remote ancestors running in the jungles.
Parents, society and rules were parallel to us then,
And the dark night draws us deep into the nature, blending with the mountain view.

In the memories of short but lengthy life,


Only in the days accompanied by the Utopia Mountain
Could we feel that we were alive.
Seven years later,
I have returned to this mountain…―

Looking back at the story of seven years ago, I have found that, compared the innocence of mind and the
“annoying teenager― then, I no longer know what it means to be alive. Through recording this story with
photography, I intend to discuss human nature, and recall our inner purity and innocence. I also raise the question:
What has changed the pure self of human?
Artwork 3 Image:

4
5
Artwork 4 Title: Gymnopédies (Nude Dance)
Artwork 4 Dimensions: 118.9X84.1
Artwork 4 Medium: photography
Artwork 4 Commentary: Leading an urban life for 4 years, I lost myself at dusk one day.

I rode a bike to chase after the Sun between high buildings. It was going down but still releasing heat power.

In the end, I reached an open lawn, high above which was the complete round Sun. I had silent tears in my eyes.

Dances, the primitive and sacred dances of million years ago, came into my mind.

I wanted to sacrifice myself to the Sun and to some mystical power through dancing. I felt that I and a kind of truth
were melting into one.

In the Tower of Babel, ignorance and arrogance of human beings will come to an end, won't they? We are not
beyond redemption, are we?

The title comes from a classic music created by Eric Satie, which means "a nude dance"
Artwork 4 Image:

6
7
Artwork 5 Title: Father
Artwork 5 Dimensions: 84.1X59.4
Artwork 5 Medium: photography
Artwork 5 Commentary: Being innocent, I was taken to this world by my father. I waddled in the dark and gradually
grew up. I led a simple life and suffered nightmare pains, in which there might also be some sporadic periods of
happiness.

Had it not been for original sin, I would not be able to explain why all these happened. However, human could not
make all things reasonable. For example, it is hard to explain why I hate my father but I should have a boyfriend so
similar to him.

I see the limits of human nature from my father but realize that I also bear the sins in myself.

I intend to shake off the imprints left in my body by my father but strongly echo with him between the lines of his
poems.

I thought I have started my own life but actually all what I see still has the shades of my father.

I realize that he is destined to suffer and I have to accept it in my life. So I put on father's clothes, go through his
suffering, through the common suffering of human beings.
Artwork 5 Image:

8
9
Catalogue5 ID0195
Artist ID: 0195

Artist Name: Viorica Arhir


Website:
IG:

Artist Statement: I paint feelings, emotions captured in the position of the human body, in an immediate and
spontaneous gesture of painting. My brush strokes vary from loose chaos, to refined lines.

I don’t spend more than a few days creating each piece, as I want to keep the same state of spirit I want to pass
on to the canvas, throughout the whole process: initial lines, colors, finishing touches.

It is not my intention to create beauty. I am just showing you in oil what I see, what I choose to see.

Notes:

1
Artwork 1 Title: Had enough
Artwork 1 Dimensions: 80 x 60 x 2
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Captured emotions in the position of the human body. "Had enough" is about turning away
from the outside, after being run down by it all.
Artwork 1 Image:

2
Artwork 2 Title: Paradise is not here
Artwork 2 Dimensions: 100 x 80 x 3
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: Captured emotions in the position of the human body. "Paradise is not here" depicts the
cell-like space of a degrading body.
Artwork 2 Image:

3
Artwork 3 Title: Hear Nothing
Artwork 3 Dimensions: 80 x 60 x 2
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: Captured emotions in the position of the human body. "Hear Nothing" is about standing
bare and refusing input.
Artwork 3 Image:

4
Artwork 4 Title: Censored pose
Artwork 4 Dimensions: 80 x 60 x 2
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: The face is not important and has been covered by the red of censorship.
Artwork 4 Image:

5
Artwork 5 Title: Porcelain
Artwork 5 Dimensions: 80 x 60 x 2
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: Youth as a porcelain doll like figure
Artwork 5 Image:

6
Catalogue5 ID0196
Artist ID: 0196

Artist Name: Andrew Sherriff


Website:
IG:

Artist Statement: I work in Three mediums paint, clay and photography I am entering four in paint on canvas and
one in photography.

Notes:

1
Artwork 1 Title: Would You Just Watch?
Artwork 1 Dimensions: 60cmx244cm
Artwork 1 Medium: Acrylic on stretched canvas
Artwork 1 Commentary: This triptych was created when I learnt that 30,000 refugees have died crossing the
Mediterranean Sea.
I've tried to put the numbers into some context. If you saw them die in front of your eyes would... "You Just
Watch?"
Artwork 1 Image:

2
Artwork 2 Title: Who is Watching You?
Artwork 2 Dimensions: 21cmx30cm
Artwork 2 Medium: Digitally manipulated Photograph
Artwork 2 Commentary: This is to make people think about the way we are always being watched and manipulated
through technology. Phones TV's even the thermostat in our homes.
Artwork 2 Image:

3
Artwork 3 Title: Raw One
Artwork 3 Dimensions: 30x40
Artwork 3 Medium: Acrylic on canvas board
Artwork 3 Commentary: This is part of my Raw Collection.
I have tried to make these paintings in the purest way I could, no provisional planning the model creates the pose
and go strait on the canvas with paint in quite a visceral way.

Artwork 3 Image:

4
Artwork 4 Title: Raw Two
Artwork 4 Dimensions: 30x40
Artwork 4 Medium: Acrylic on canvas board
Artwork 4 Commentary: This is part of my Raw Collection.
I have tried to make these paintings in the purest way I could, no provisional planning the model creates the pose
and go strait on the canvas with paint in quite a visceral way.
Artwork 4 Image:

5
Artwork 5 Title: Raw Three
Artwork 5 Dimensions: 40x30
Artwork 5 Medium: Acrylic on canvas board
Artwork 5 Commentary: This is part of my Raw Collection.
I have tried to make these paintings in the purest way I could, no provisional planning the model creates the pose
and go strait on the canvas with paint in quite a visceral way.
Artwork 5 Image:

6
Catalogue5 ID0197
Artist ID: 0197

Artist Name: Mary Mccormack


Website:
IG:

Artist Statement: My love of art began in my early teens drawing ponies and found my love of the ink pen to which I
still use in my pictures today.My creativity is very diverse,from explicit Erotica to Surreal ,Abstract work.I am creating
a collection of Erotica at the moment but still find time to enjoy my Acrylic painting .Influences for me are 'Shunga'
and Dali .
I live and work a Professional job part-time here in the UK.

Notes:

1
Artwork 1 Title: Mater
Artwork 1 Dimensions: 30 cm x 30 cm x 1cm
Artwork 1 Medium: Acrylic
Artwork 1 Commentary: This image shows the natural urge to protect the infant no matter what .
Artwork 1 Image:

2
Artwork 2 Title: Dungeon Disciples
Artwork 2 Dimensions: 40 cm x 56 cm ( its on watercolor paper)
Artwork 2 Medium: Watercolor and ink
Artwork 2 Commentary: The characters demand debauchery and pain .They will enter the world of virtual
suffering.That is what they hoped for.
Artwork 2 Image:

3
Artwork 3 Title: Colonoscopy Erotica
Artwork 3 Dimensions: 40 cm x 58 ( It's on watercolor paper)
Artwork 3 Medium: Watercolor and ink
Artwork 3 Commentary: The pleasures of the secret thoughts are to be played in Erotic reality by the team.The
sensual lusts are unstoppable .
Artwork 3 Image:

4
Artwork 4 Title: DW Insanity
Artwork 4 Dimensions: 40 cm x 40 cm x 1 cm
Artwork 4 Medium: Acrylic and ink
Artwork 4 Commentary: When hurt and danger can be overthrown and bring peace to the troubled.
Artwork 4 Image:

5
Artwork 5 Title: The Party
Artwork 5 Dimensions: 39 cm x 57 cm ( on watercolor paper)
Artwork 5 Medium: Watercolor and ink
Artwork 5 Commentary: The Anteaters are fully satisfying the ladies to the full.
They need there pleasure as much as anybody ! The Ladies have their demands for the dark Erotica.
Artwork 5 Image:

6
Catalogue5 ID0198
Artist ID: 0198

Artist Name: Sana Hashemi Nasl


Website:
IG:

Artist Statement: I was born in 1982 in Tehran, Iran. I have been doing ceramic art professionally since 2005 and I
exhibited my works in several ceramics shows. However, I was not able to freely express myself in Iran due to the
strict limitations for women and extreme boundaries in Art.
In 2012, I traveled to UK to freely form my ideas; I shared a ceramics studio in "Yorkshire Artspace", Sheffield. After
that new experience in art I moved to Lisbon (Portugal) and started my Master’s in Sculpture at the University of
Lisbon. As my master’s project I made a public sculpture in Moledo, by name “Love Captives―.
Since I had scientific background in neurophysiology, my thesis was a multidisciplinary research providing
neuroscientific evidence to characterize the visual art as a successful form of social connection; Neuroscience study
in Aesthetics and Art therapy.
Now I have a small studio in Lisbon, working in upcycled art. My favorite material is egg box, from which I make clay.
The final results are rigid, water resistant and lightweight with a unique texture and light gray color.
My works convey the feelings I experienced when creating them. I can say art helps me to develop my self-
awareness; my inner formless contents acquire a visual tangible form outside me, therefore becoming available to
be contemplated and regulated. This allows me to become more aware of myself: my fears, doubts, angers, regrets,
hopes, happiness, etc. So my pieces function as a mirror that shows my subconscious motives.

Notes:

1
Artwork 1 Title: Release
Artwork 1 Dimensions: 21 X 18 X 21
Artwork 1 Medium: ceramic
Artwork 1 Commentary: We are limited by our mind; by definitions, beliefs, religions, prejudices, traditions, habits
and many other things that could have roots in the environment we were raised.
The thing is we haven’t chosen most of them and barely even understand them. We only know the "dos and
don'ts", as long as we have these boundaries we don’t let our true selves live.
It was time to break all the limits that I didn’t understand and I didn’t want. It was the time to let my true self
breathe.

June 2012 — at Yorkshire Artspace.

Artwork 1 Image:

2
3
Artwork 2 Title: Wake up
Artwork 2 Dimensions: 41 X 20 X 25
Artwork 2 Medium: Egg Box Paper Mache
Artwork 2 Commentary: Our world, our life is full of small and big events, happening around us. Sometimes we
notice, sometimes we ignore, of course it is our choice. They keep happening anyway no matter if we see them or
not.
The point is they happen to be observed and perceived, they happen to enlighten us. So as long as we ignore, we
simply lose our chance to gain. But it is still our choice…

April 2018 — in Lisbon, Portugal.

Artwork 2 Image:

4
5
Artwork 3 Title: Growth
Artwork 3 Dimensions: 60 X 45 X 40
Artwork 3 Medium: Egg Box Paper Mache
Artwork 3 Commentary: There is no end for growing. Indeed there are some rests like winters, or some disasters like
droughts, which can hold us back or slow us down. We might even fall and break but we stand up again and keep
growing.
Meanwhile many growings, fallings, restings are going on around us and we are witnessing them, they are beautiful.
It is not a competition, as long as we believe in growing, we grow.

June 2018 — in Lisbon, Portugal.

Artwork 3 Image:

6
7
Artwork 4 Title: Life
Artwork 4 Dimensions: 34 X 27 X 25
Artwork 4 Medium: Egg Box Paper Mache
Artwork 4 Commentary: Life is not easy and it is not supposed to be. Sometimes it surprises us; we might wake up
with some problems that we didn’t have yesterday and ones we couldn’t imagine. But no need to panic or
hurry, it is life, it shows us the solution itself, we only need to stay calm and be patient. It is the game life likes to play
with us.
One day I woke up with severe pain and a spasm in my back, At the same time I was dealing with an unexpected
issue with my financial record. it took a month until I could go back to the studio and then I started making this
sculpture:
a man in the middle of the game with life.

August 2018 — in Lisbon, Portugal.

Artwork 4 Image:

8
9
Artwork 5 Title: Get wet in the rain
Artwork 5 Dimensions: 44 X 26 X 25
Artwork 5 Medium: Egg Box Paper Mache
Artwork 5 Commentary: Awareness and perception come through discomfort. It is like being asked to become more
than we are, threatening our sense of self.
To grow we must embrace the discomfort, the things that make us question ourselves. Then we can break ourselves
down and rebuild a better self.
Why do we do everything we can to stay safe and comfortable, even if it means losing the chance to grow?

February 2019 — in Lisbon, Portugal.

Artwork 5 Image:

10
11
Catalogue5 ID0200
Artist ID: 0200

Artist Name: Jane Domingos


Website: www.janedomingos.com
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: Saguaro Blossom Day
Artwork 1 Dimensions: 122 x 183 x 4.5
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: Imagined landscapes - experiments in painting from imagination. Places I hadn't visited but
wanted to paint. I usually work from life or my own photos so this was very different for me.
After visiting an exhibition of work by Monet and learning about his use of a particular limited palette I painted this
using the same colours and no earth tones or black. Very different to my usual palette.
Artwork 1 Image:

2
Artwork 2 Title: Saguaro Blossom Night
Artwork 2 Dimensions: 122 x 183 x 4.5
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary: Having read about the Saguaro blossom opening after dusk and closing mid afternoon I
decided to paint the same picture again as night time version and using the same palette as the daytime version - no
earth tones or black.
Artwork 2 Image:

3
Artwork 3 Title: This Could Be...
Artwork 3 Dimensions: 122 x 183 x 4.5
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: Another imagined landscape which had been in my head for several years since hearing a
song I liked that included the lyrics "We'll go up to the mountain top....This could be the night that the moon goes
red"
The occurrence of a Blood Moon in July 2018 caused me to rework the moon so it looks how it would appear in a
Californian sky.
Artwork 3 Image:

4
Artwork 4 Title: Pia Mater Dura Mater
Artwork 4 Dimensions: 122 x 183 x 4.5
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: An older piece which was part of a series of paintings produced following the death of my
elderly mum. I had stumbled upon the biblical verse Ecclesiastes 12:6 and been struck by the imagery. On reading
various commentaries around it I found a popular theory was that it referred to the systematic shutting down of the
body when death occurs.
Artwork 4 Image:

5
Artwork 5 Title: Quarry
Artwork 5 Dimensions: 79 x 135 x 4.5
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: In recent months I have been working on landscapes. These are local to where I live and
worked from visits to the site and photos I have taken. In general they have a certain stillness about them.
Artwork 5 Image:

6
Catalogue5 ID0201
Artist ID: 0201

Artist Name: John Finn


Website:
IG:

Artist Statement: John was born deaf and recently lost his vision due to eye genetic disorder. He discovered art after
a long bout of prolonged depressions due to his vision loss. He create his artwork using the electronic tablet. He
would never be a Portrait Artist or a Landscape Artist. Why? Simply he can't see. He can't see details or colours. He
uses patterns and shape to make sense of the world he is living in. He also relies on patterns to express emotions
and childhood memories as a sighted person. His strong view as an artist that Blind People can dream colours. So he
has this powerful urge to create art to prove a point that Blind people can dream colours.

Notes:

1
Artwork 1 Title: Frog Spawns
Artwork 1 Dimensions: 29.7 x 42.0cm
Artwork 1 Medium: Giclée Print on rough textured watercolour paper
Artwork 1 Commentary: My childhood memory as a sighted child. I can remember the beauty of the clusters of
spawns. This is my visual interpretation of how I can remember 40 years ago.
Artwork 1 Image:

2
Artwork 2 Title: Community
Artwork 2 Dimensions: 29.7 x 42.0cm
Artwork 2 Medium: Giclée Print on rough textured watercolour paper
Artwork 2 Commentary: I grew up in a extreme rural part of Shropshire where I did not meet anyone of different
creed, culture and races. Until I went to a special needs school the age of 4. It was a shock to see children of different
background and even more shocking, they can be quite tribalism, they grouped up based by the colour of their skin.
This is my childhood utopia desire of everyone getting on.
Artwork 2 Image:

3
Artwork 3 Title: Tangled Web
Artwork 3 Dimensions: 29.7 x 42.0cm
Artwork 3 Medium: Giclée Print on rough textured watercolour paper
Artwork 3 Commentary: Growing up in the country, I remember seeing great beauty of spider webs especially with
dew drops hanging off them like jewels.

Which now I can no longer see and all I can see is a mess. This is my interpretation of how I see spider webs now.
Artwork 3 Image:

4
Artwork 4 Title: Migraine
Artwork 4 Dimensions: 29.7 x 42.0cm
Artwork 4 Medium: Giclée Print on rough textured watercolour paper
Artwork 4 Commentary: I grew up with my late father suffering from bout of migraines. Now I married to my wife
who also suffer from bouts of migraines. So I live with migraines around me. This is my visual imagination of what
migraine feels like.
Artwork 4 Image:

5
Artwork 5 Title: Wheels
Artwork 5 Dimensions: 29.7 x 42.0cm
Artwork 5 Medium: Giclée Print on rough textured watercolour paper
Artwork 5 Commentary: My love for Freedom. I discovered freedom by riding on a wheeled dog.

I see freedom intermingle with wheels. Roller skates, skateboard, gokart, bike, motorbike and car.

This artwork is my impression of going backward wheels wise when I lose my vision.

I now lost my freedom as a blind person.


Artwork 5 Image:

6
7
Catalogue5 ID0204
Artist ID: 0204

Artist Name: Maria Paula Bianco


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

Artist Statement:

Notes:

1
Artwork 1 Title: BORN
Artwork 1 Dimensions: 80 x 70 x 04
Artwork 1 Medium: canvas, acrilic and oil ink
Artwork 1 Commentary: IT SHOWS AN HUMAN COMING OUT OF THE BODY AND CONFRONTING HIMSELF WITH HIS
ON IDEAS. FIGHTING TO GIVE LIFE TO HIS IDEAS AND DECISIONS.

Artwork 1 Image:

2
Artwork 2 Title: BRING THE COLOUR
Artwork 2 Dimensions: 47 X 38 X 4
Artwork 2 Medium: canvas, acrilic and oil ink
Artwork 2 Commentary: AS SOON AS WE ARE BORN IT´S UP TO US TO CHOOSE THE COLOURS OF THE WORLD WE
LIVE.
Artwork 2 Image:

3
Artwork 3 Title: THE BIG PICTURE
Artwork 3 Dimensions: 114 X 80 X 4
Artwork 3 Medium: PAPER AND POSCA PEN
Artwork 3 Commentary: IT HOWS THAT WE ALWAYS NEED TO GO UP AND SEE THE BIG PICTURE AND FIND ALL OF
THE POWER AND THE BEAUTFULL COLOURS OF THE LIFE DOESN´T MATTER WHAT ´S GOING ON.
Artwork 3 Image:

4
Artwork 4 Title: FAMILY CONECTED
Artwork 4 Dimensions: 175 X87 X 8
Artwork 4 Medium: POSCA PEN IN AN OLD WINDOW MADE OF GLASS AND WOOD, PLASTIC PIPES AND WOOD.
Artwork 4 Commentary: IT SHOWS A FAMILY REALLY CONECTED, IN EARTH AND HEAVEN.
USING THEIR ON LOVE TO COLOUR THE WORLD.
Artwork 4 Image:

5
Artwork 5 Title: CONCRET JUNGLE
Artwork 5 Dimensions: 110 X 110 X 4
Artwork 5 Medium: CANVAS AND ACRILIC INK
Artwork 5 Commentary: IT SHOWS A HUMAN RESISTING TO SURVIVE IN THE CONCRET JUNGLE GIVING BIRTH AND
FEELING THE DEATH
Artwork 5 Image:

6
Catalogue5 ID0205
Artist ID: 0205

Artist Name: Pauline Devaney


Website:
IG:

Artist Statement: As a small child I spent hours absorbed in making patterns and shapes with mud, water, stones and
plants, and arranging fragments of coloured glass on the ground, captivated by the effects of the light falling on their
surfaces. These days I am engaged in much the same process when I am painting a picture, although what inspires
me can be different - part of a photograph, a mood created by a poem or a piece of music, or simply the way
particular colours relate to each other.

There is often a suggestion on theatre in my work, but whether the painting is abstract or representational is
unimportant because although the interpretation may be very different, the elements contained within are always
the same. I begin with the struggle to realise the best way of using the image in terms of pallet and composition, but
then, sooner or later, my state of mind shifts and the incomparable magic of the pigments and the essential
substance of the original idea take over so that the painting finally becomes itself.

Notes:

1
Artwork 1 Title: Euston Rd
Artwork 1 Dimensions: 80x80
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: What attracted me to this subject was the dual nature of the building. Inside this 21st
century office block hundreds of people are intent on earning a living, while on the outside its glass surfaces reflect a
far more uncertain reality. Two very different worlds contained in the same structure.
Artwork 1 Image:

2
Artwork 2 Title: Playing with Skies
Artwork 2 Dimensions: 80x80
Artwork 2 Medium: oil on canvas and board
Artwork 2 Commentary: Just playing is precisely what this painting is about. I was just playing with oil paint on my
pallet, without much idea of how I wanted to use it - except perhaps convey a sense of water and foliage.
Artwork 2 Image:

3
Artwork 3 Title: Reflections in the Geode, Paris
Artwork 3 Dimensions: 94x80
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary: This is not an abstract painting. It is an exact representation of the reflections in The Geode,
Paris - which is a spherical glass building in the centre of a park.
Artwork 3 Image:

4
Artwork 4 Title: Come Fly with Me
Artwork 4 Dimensions: 46 x 55
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary: My work is influenced by the skies I see from my studio windows. I steal their colours,
attempt to paint them in all their incomparable variety and occasionally, as in this painting, give them individual
personalities. These three skies have a definite relationship to each other. While the large one is issuing an invitation
to the smaller one to ‘Come Fly With Me’, they are both supported by the all encompassing azure around
them. So please enjoy watching these skies soaring into the heavens on a perfect summer day simply for the joy of
doing so.
Artwork 4 Image:

5
6
Artwork 5 Title: Transition ATTCHED as FOUR PD 18
Artwork 5 Dimensions: 60 X 105
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary: This work is about the relationship between warm and cold colour. At first I intended it to
be abstract, but as I worked on the canvas it kept telling me the subject had to be representational, and as much as I
tried to persuade it otherwise it continued insisting. Now I have been painting long enough to know that if a
painting keeps wanting to go a particular way then I must allow it to do so. So here is is. A representational
landscape in reds and blues.

Artwork 5 Image:

7
8
Catalogue5 ID0209
Artist ID: 0209

Artist Name: Jon Whitbread


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

Artist Statement: What defines us? Are we form or detail? Area or volume? Depth or surface? Our material body is
well represented by art and science but what about the non-material self? Not just its influence, but its mechanics
too. Imagine CAT scanning cave art, Egyptian and Greek reliefs, literature and contemporary art and finding the same
ghostly shapes beneath and within all of the surfaces. Do we reference memes and archetypes or do they reference
us? And to what ends, if any?

Nicolas Bourriaud says that 'Meaning is the precondition for art to exist'. I am interested in how we seem to require
Meaning. I would consider myself successful if I portrayed not Meaning, which may or may not even be real, but the
activity of our search for Meaning, how that may be driven, fed or informed by the Unconscious and by how we
place ourselves at the centre of things and thus outside, clambering to get back in.

I use stone, sand, charcoal, lime, iron oxide, iron filings and paper, carving, blasting, rubbing, peering, trying to lose a
sense of direction, of beginning and end, cause and effect, to mimic the search for Meaning. Why? I have no idea.

Notes:

1
Artwork 1 Title: Thinking About Aletheia
Artwork 1 Dimensions: 60/15/15
Artwork 1 Medium: Blue Lias limestone
Artwork 1 Commentary: The sculpture is shown here as it should be seen, with a rough block of the same, very
dense material. It is the sculpture in the bottom right corner. All other works my own.
Artwork 1 Image:

2
Artwork 2 Title: Queuing For Aletheia
Artwork 2 Dimensions: 42/95
Artwork 2 Medium: Portland Stone
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Discussing Aletheia
Artwork 3 Dimensions: 42/95/3.5
Artwork 3 Medium: Charcoal, 90gsm paper
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Aletheia
Artwork 4 Dimensions: 42/95
Artwork 4 Medium: charcoal, 90gsm paper
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Data Portal
Artwork 5 Dimensions: 40/10/3
Artwork 5 Medium: Portland stone, cement, iron filings
Artwork 5 Commentary: The iron filings in this sculpture are slowly oxidising
Artwork 5 Image:

6
Catalogue5 ID0211
Artist ID: 0211

Artist Name: Noa Pane


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

Artist Statement: My work often consists of sculptures and on-site installations, it is created in the given space but
can also be reconfigured during its exhibition, adapted and developed for the next context. I often work with
recycled materials, if possible I rent the structures that I need to realise it and this allows me to work on a bigger
scale saving materials and storage's costs. Whenever is not possible to rent them I prefer to use materials that can
be used in a normal workshop, like clamps, straps and scaffolding which return to their ordinary use after the
exhibition.I often combine those materials with inflatable elements like balloons.

“There is nothing between the inside and outside of a bubble but a thin membrane, flexible, semitransparent,
semipermeable and extremely fragile.The bubble defines a transitory space whose volume dissolves at the moment
the bubble bursts― (1)

Balloons are forms without volume, fragile but provocative, expanded and overbearing. I can bring them with me
everywhere and install them in any architectural structure, in holes, interstices that I find. It is a balloon. It is not
illegal to carry a balloon. It creates itself into a space that didn't exist before and doesn't last for long. It seems to be
a playful object but it can also explode and disappear. It's a tense object.
Analysing my work from an outside perspective I would like to observe which material I am interested in: Air, Water,
Balloons
Air is a mixture of gases that compose the Earth’s atmosphere, it contains 78.09% Nitrogen, 20.95% Oxygen,
0.93% Argon, 0.03% and Carbon Dioxide. Air is a material which none of us pays attention to until it becomes
unbreathable. Air can be compressed, water cannot so easily. Water is more subject to gravity. Gravity allows us to
keep the Earth’s atmosphere and all the elements within it. Water cover the 71% of Earth surface and its weight
consists of 88.8% of bonded oxygen. Neither air and water have a preconstituted form, they keep the form of the
container that hosts them.

(1)Roland Nachtigaller, introduction of Hans Hemmert cat. “Allerheiligen―, Mercedes Druck, Berlin 2007

Notes:

1
Artwork 1 Title: Precarious Balances
Artwork 1 Dimensions: 160x150x150
Artwork 1 Medium: air, inflatable, clamps
Artwork 1 Commentary: An inflated balloon is caught by three clamps which are kept stable by other three clamps
on the floor.
The pressure encapsulate inside the balloon keeps all the elements together.
When the balloon deflate the structure collapse.

The title "Precarious Balances" refers of a serie of artworks which are part of one singol installation.

Artwork 1 Image:

2
3
Artwork 2 Title: Precarious Balances
Artwork 2 Dimensions: 60x50x60
Artwork 2 Medium: air, inflatable, rubber strap
Artwork 2 Commentary:
Artwork 2 Image:

4
Artwork 3 Title: Waterland
Artwork 3 Dimensions: 30x150x80
Artwork 3 Medium: water, inflatable, found object
Artwork 3 Commentary: The weight of water create the form of the sculpture.

Artwork 3 Image:

5
Artwork 4 Title: Travel Sculpture
Artwork 4 Dimensions: 13x9x10
Artwork 4 Medium: water, strap, found brick
Artwork 4 Commentary:
Artwork 4 Image:

6
Artwork 5 Title: The Raft
Artwork 5 Dimensions: 100x150x120
Artwork 5 Medium: air, inflatable, castors, straps, found object
Artwork 5 Commentary:
Artwork 5 Image:

7
Catalogue5 ID0212
Artist ID: 0212

Artist Name: Giuseppe Sciuto


Website:
IG: sciutogiuseppe

Artist Statement: I have always been a dependent art, I can not stop making art, I feel the need to solidify my
dreamsI love experimenting with new techniques and materials and always doing different subjects. Unfortunately
my parents had other projects for my future, so I never attended a school or a course, through which I would have
developed superior qualities. I am a self-taught who wants to learn more and more from the world of art. I hope this
is my chance to expose my works

Notes:

1
Artwork 1 Title: Cupid is a sniper .
Artwork 1 Dimensions: 100x100
Artwork 1 Medium: mixed technique on canvas
Artwork 1 Commentary: Sometimes the love hurts you , its all a Cupid's fault !
Artwork 1 Image:

2
Artwork 2 Title: Mercedes
Artwork 2 Dimensions: 92x61
Artwork 2 Medium: mixed technique on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: The army of music
Artwork 3 Dimensions: 100x100
Artwork 3 Medium: mixed technique on canvas
Artwork 3 Commentary: I hate the war , so how good it would be if the soldiers stopped shooting and started making
music !
Artwork 3 Image:

4
Artwork 4 Title: The Greek God
Artwork 4 Dimensions: 90x90
Artwork 4 Medium: mixed technique plus modelling paste on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Sensual look
Artwork 5 Dimensions: 80x80
Artwork 5 Medium: mixed technique on canvas
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0213
Artist ID: 0213

Artist Name: Aaron Salm


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

Artist Statement: Driven by the current political climate and reflections on my childhood in Massachusetts, I aim to
draw attention to nostalgia in the context of American culture and to examine the shift in perspective that occurs in
an individual when innocence is lost. My work draws attention to routine moments to highlight the blissful, but
naive nature of the activities we engage in in our daily lives. I am interested in the subjective interpretation of
images existing only in my memories. The theme of memory is essential to my work and I play with inaccuracy and
misinterpretation to examine the construction of history. My paintings are inspired by the neo-expressionist
movement, in particular Philip Guston and David Salle.

Notes:

1
Artwork 1 Title: So the Center Stays Runny
Artwork 1 Dimensions: 140 x 90 x 2
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Jesus Piece
Artwork 2 Dimensions: 140 x 130 x 2
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Before the School Bus Comes
Artwork 3 Dimensions: 130 x 120 x 2
Artwork 3 Medium: Oil on Canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Fast Casual
Artwork 4 Dimensions: 140 x 130 x 2
Artwork 4 Medium: Oil on Canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Night Drive
Artwork 5 Dimensions: 130 x 100 x 2
Artwork 5 Medium: Oil on Canvas
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0214
Artist ID: 0214

Artist Name: Vanya Horwath


Website: www.vanyastudio.com
IG: Vanya Horwath

Artist Statement: My work explores the potential of painting materials through the invention and intervention of
process. Design may initiate a painting, but the path taken remains flexible. This allows for the material to influence
the making. Neither component takes precedence over the other. I manipulate, train and follow the materials to
create the effect that I want while embracing their fluid nature and letting them behave naturally. Experimentation
occurs on site through the making of the work, increasing the possibilities of chance accidents and slips in a process.
These happy accidents introduce new potentials for the course of the painting’s making and propose unexpected
complications to navigate.

The paintings begin with an idea – perhaps a cultural quotation expressed in colour or form – but the
unpredictable behaviour of my materials is a catalyst for how the painting evolves as it diverges from an initial
design. Drips, smears, glitches, cracks unapologetically permeate the surfaces of the paintings and expose the
negotiation between my control and an insistent materiality. There is a dialogue between maker and material: I
make a move, the material responds and the artist reacts. This call and response cycle is what realises the final image
of the painting. Alongside process, the paintings amalgamate colour relationships, signs, symbols culled from
material and visual cultures and varied genres while juxtaposing two and three-dimensional renderings to evoke a
sense of uncanny familiarity that is difficult to define.

Notes:

1
Artwork 1 Title: Musical Chairs
Artwork 1 Dimensions: 183x153cm
Artwork 1 Medium: acrylic, emulsion, and PVA glue on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Spud
Artwork 2 Dimensions: 183x153cm
Artwork 2 Medium: acrylic, emulsion, spray paint, sand and PVA glue on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Tree Care
Artwork 3 Dimensions: 183x153cm
Artwork 3 Medium: acrylic, emulsion, spray paint and PVA glue on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Scramble
Artwork 4 Dimensions: 183x153cm
Artwork 4 Medium: acrylic, spray paint, paint debris and PVA glue on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Mall Goth
Artwork 5 Dimensions: 183x153cm
Artwork 5 Medium: acrylic, emulsion and PVA glue on canvas
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0215
Artist ID: 0215

Artist Name: Suzanne Taylor


Website: suzannetaylor.art
IG: suzannetaulorart

Artist Statement: Suzanne Taylor is an interdisciplinary artist whose work investigates the psychopathology of social
disorganisation.

Her work invites us to question the relationship between subject matter and content, beauty and the uncanny and
between figuration and abstraction. www,suzannetaylor.art

Notes:

1
Artwork 1 Title: Disrupted
Artwork 1 Dimensions: 24x36 inches
Artwork 1 Medium: subliminal dye and acid on cotton
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Dogs
Artwork 2 Dimensions: 24x36 inches
Artwork 2 Medium: Acrylic
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Napkin Holder
Artwork 3 Dimensions: 18x24 inches
Artwork 3 Medium: oil on wood
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Triage Nurse
Artwork 4 Dimensions: 16x18 inches
Artwork 4 Medium: 4 colour screen print
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Waiting
Artwork 5 Dimensions: 24x36 inches
Artwork 5 Medium: collage
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0216
Artist ID: 0216

Artist Name: Carla Cosenza Mormile


Website: https://www.lensculture.com/carla-cosenza-mormile
IG: https://www.instagram.com/cmcosenza.photography/

Artist Statement: Female Photographer from Rio de Janeiro, living at Nova Lima, Minas Gerais, Brazil.
Love exploring news themes and ideas, specially in Streetphotography, Architecture and also in Modern Portraits.
For me photograph is more than simply registering the moments it's about create a new perspective and provoke
emotional response in the viewer.
Description of the Project: Contemporaneous registers, in a Streetphoto approach, of urban life in Brazilian’s
cities.
Motivation: Register and freeze our ordinary daily lives that very soon will became past days. Celebrating life in every
place and every way.

Notes:

1
Artwork 1 Title: Crossed Lives
Artwork 1 Dimensions: 30 X 45 X 1
Artwork 1 Medium: Photography printed on Fine Art Paper Photo Rag 308 g
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Red Velvet
Artwork 2 Dimensions: 30 X 45 X 1
Artwork 2 Medium: Photography printed on Fine Art Paper Photo Rag 308 g
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Girl with a Pearl's Earring - Tribute to Veermer
Artwork 3 Dimensions: 30 X 45 X 1
Artwork 3 Medium: Photography printed on Fine Art Paper Photo Rag 308 g
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: White Pijamas
Artwork 4 Dimensions: 30 X 45 X 1
Artwork 4 Medium: Photography printed on Fine Art Paper Photo Rag 308 g
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: One Penny Please
Artwork 5 Dimensions: 30 X 45 X 1
Artwork 5 Medium: Photography printed on Fine Art Paper Photo Rag 308 g
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0217
Artist ID: 0217

Artist Name: Philip Vaughan


Website: none yet
IG: n/a

Artist Statement: The continuing exploration of the female form in shape colour and expression

Notes:

1
Artwork 1 Title: Champagne Charlotte
Artwork 1 Dimensions: 50 x 70 x 5
Artwork 1 Medium: Acrylics & Pastels
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Libby with Cello
Artwork 2 Dimensions: 120 x 40 x 5
Artwork 2 Medium: Acrylics & Pastels & Charcoal
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: The Contessa
Artwork 3 Dimensions: 40 x 60 x 5
Artwork 3 Medium: Acrylics & Oil
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Sarah, Nude study VI
Artwork 4 Dimensions: 100 x 70 x 5
Artwork 4 Medium: Acrylics & Pastel & Charcoal
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Amelie reading the I Ching
Artwork 5 Dimensions: 100 x 100 x 5
Artwork 5 Medium: Acrylics & Charcoal
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0219
Artist ID: 0219

Artist Name: Noni Zhang


Website: www.nonism.com
IG: nonism1

Artist Statement: Noni Zhang's painting explore the combination of digital technique and abstract painting, also her
painting is much impacted by traditional art such as ancient all-paint and Chinese traditional ink painting, it is appear
in the scrambled lines and Constitute forms in pictures. studying in Central Saint Martins, and live in London and
Shanghai.

Notes:

1
Artwork 1 Title: LANSCAPE 1
Artwork 1 Dimensions: 94.54X144.5
Artwork 1 Medium: digital print, charcoal,ink
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: LANSCAPE 1
Artwork 2 Dimensions: 57.5x66.5
Artwork 2 Medium: digital print, charcoal,ink,wine.
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: LANSCAPE 1
Artwork 3 Dimensions: 45x70
Artwork 3 Medium: digital print, charcoal,ink
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: LANSCAPE 1
Artwork 4 Dimensions: 60x90
Artwork 4 Medium: digital print, charcoal,ink
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: LANSCAPE 1
Artwork 5 Dimensions: 90x121
Artwork 5 Medium: digital print, charcoal,ink
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0221
Artist ID: 0221

Artist Name: Victoria Cantons


Website: www.victoriacantons.com
IG: @victoriacantons

Artist Statement: My practice involves painting to make sense of the world. I also have a background of performance
having attended drama school and performed in theatre productions and been in rock bands as a singer and band
songwriter. The process of art is my means of expression and the way to investigate my identity. I make art partly to
document my life but I am also interested in the artist working as an archivist; someone who not so much records
the past as such but memories of the past and emotions attached to them.
Being transgender and having lived amongst men and women has given me a rare perspective. I am not a
transgender artist but rather an artist who happens to be transgender. Whilst being perceived to be a man and now
being understood and recognised as a woman has generated what could be called an obsession with human beings
and human responses. Perhaps it is more a case of a detailed interest with humanity.
Art, for me, is about being able to find the links between autobiography and creativity, and the role of subjectivity
and personal histories in constructing art. It is I think a way to find answers but also a form of confessional narrative
which especially comes into play through my titles. My subject matter explores such varied themes as sexuality,
identity, nostalgia, isolation and vulnerability. I am interested in the idea of finding signifiers for human beings and
their emotional presence.

Notes:

1
Artwork 1 Title: When our lives are knocked off-course, we imagine everything in them is lost, it is only the start of
something new and good
Artwork 1 Dimensions: 180 x 150 x 4
Artwork 1 Medium: oil on linen
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: The heart wants what the heart wants
Artwork 2 Dimensions: 170 x 140 x 4
Artwork 2 Medium: oil on linen
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: What is going on right now? That is the question. And what can you do Right Now to make Now
better? Make each Now better and the future will take care of itself, while the past will not matter
Artwork 3 Dimensions: 170 x 140 x 4
Artwork 3 Medium: oil on linen
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: How much sweeter life would be if it happened in reverse, if, after decades of disappointments, you
finally arrived at an age when you had conceded nothing, when everything was possible
Artwork 4 Dimensions: 170 x 140 x 4
Artwork 4 Medium: oil on linen
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: In all the good times, I find myself longing for change and in the bad times, I fear myself
Artwork 5 Dimensions: 30 x 25 x 3.2
Artwork 5 Medium: oil on linen
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0224
Artist ID: 0224

Artist Name: Christine Lavanchy


Website: http://www.christine-lavanchy.com/
IG: https://www.instagram.com/krikridesign/

Artist Statement: "To paint this world allows me to fully feel my belonging to it. The spectacle offered by nature is
sublime and constantly renewed. It's my red thread and my fuel. Without him, I would be mute. Painting,
photography, mixed media are just tools to let emerge the energy it has given me. I combine the techniques, the
materials, the colors between them, by looking for this primitive vibratory energy. When I feel it, then I know I'm in
the right "

Notes:

1
Artwork 1 Title: -18C
Artwork 1 Dimensions: 100 x 80 x 2
Artwork 1 Medium: mixed media on photography on paper on wood
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: FOSSILE I
Artwork 2 Dimensions: 140 x 86 x 2
Artwork 2 Medium: plants on cement on wood, acrylic and pigments
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: FOSSILE II
Artwork 3 Dimensions: 140 x 86 x 2
Artwork 3 Medium: plants on cement on wood, acrylic and pigments
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: GREY
Artwork 4 Dimensions: 80 x 100 x 2
Artwork 4 Medium: mixed media on photography on paper on wood
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: SAUVAGES!
Artwork 5 Dimensions: 90 x 150 x 2
Artwork 5 Medium: Dyptic: photography on DBond and acrylic on wood
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0225
Artist ID: 0225

Artist Name: Hyun Jung Ji


Website: hyunjungji.com
IG: https://www.instagram.com/hyunjungeee_ji/

Artist Statement: Through my artwork, I observe and attempt to understand the relationships between my current
and past timelines— contemplating the figures of my many selves. My paintings feature children who look like my
childhood self, creating a looking glass in which to view what I see as a fluid and ever-changing thing. From looking at
the past as an outsider I can recollect and reinterpret what was once oblivious to me.

The river of memory flows through each piece, and my process allows me to dive deep into my consciousness; facing
dark emotions and chaos that lurks below. Only by encountering these memories do I feel a closer understanding of
who I truly am.

Faceless children are representative of an emotional shield, with hidden thoughts. Ambiguous and neutral, these
figures embrace the colorful flows of time without resistance. My childhood self worked hard not to feel these
emotions— fear, loneliness, discrimination, absence. Hidden in memories are the sufferings of the past. As I revive
them through art, they become the building blocks and fuel that upholds my current self. The narratives I paint hold
all of the hardships I carried, no longer the subject of flight but rather a newfound reason for being.

Notes:

1
Artwork 1 Title: Barrier
Artwork 1 Dimensions: 61 x 153 x 6 cm
Artwork 1 Medium: gouache on wood
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Quiet Children
Artwork 2 Dimensions: 63 x 39 cm
Artwork 2 Medium: gouache on paper
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Mute
Artwork 3 Dimensions: 56 x 72 cm
Artwork 3 Medium: gouache on paper
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Cultural Barrier
Artwork 4 Dimensions: 39 x 63 cm
Artwork 4 Medium: gouache on paper
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Pink Factory
Artwork 5 Dimensions: 63 x 39 cm
Artwork 5 Medium: gouache on paper
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0226
Artist ID: 0226

Artist Name: Sam Rahamin


Website: www.samrachamin.com
IG: https://www.instagram.com/sam_rachamin/

Artist Statement: I am a painter, and always have been. I see the world in visual terms. For me, painting is seeing. I
see the world as beautiful, yet dangerously merciless and violent.
Painting and drawing are as crucial to me as breathing. It is the language through which I am able to transmit
messages better than by using other languages. I love the challenge of creating something as real as what I see. I like
searching and traveling in order to find beauty. I like the struggle and difficulty of producing a work of art. My work
needs to consist of sensory and tactile values. My visual world is built out of a geometrical structure as linear as the
skeleton of a living body, a tonal value structure as real as the muscles and the skin.
Painting is, for me, the answer to the riddle of seeing. I use painting as a tool towards understanding the world that I
live in, and as a kind of diary. It is a form of experimentation, testing the encounters and interactions between mind
and matter, in a kind of meditation which reveals something new about reality.
I am a figurative, realistic and perceptual painter, working from observation, painting landscapes, still life, and the
model.

Notes:

1
Artwork 1 Title: Emperor of the cats
Artwork 1 Dimensions: 80x90
Artwork 1 Medium: oil on linen mounted on bord
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: sacrifice of the virgins at gie ben hinom
Artwork 2 Dimensions: 60x120
Artwork 2 Medium: oil on linen
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: half full/emtpy glass of water
Artwork 3 Dimensions: 30x40
Artwork 3 Medium: oil on linen
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Jocasta's overdose
Artwork 4 Dimensions: 65x162
Artwork 4 Medium: oil on linen
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: auto portrait paris 2019
Artwork 5 Dimensions: 87x103
Artwork 5 Medium: oil on wood
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0227
Artist ID: 0227

Artist Name: Sophie Ek


Website: http://theklaek.com
IG: https://www.instagram.com/sophie.ek_/

Artist Statement: The past has been a big influence throughout my practice. Not only from historical events, but also
from my family’s background I gain inspiration to create work. I am born and raised in the Flemish part of
Belgium. My parents were Khmer Rouge refugees.
I want to communicate with the viewer through historical events, knowing that every person has his own
relationship with the past. Every person is writing his own story, but to understand this narrative/tale we need to try
to understand our foregoing/antecedent. Consequently, our past is the key to our lives.
My paintings and drawings are a reflection on global issues such as enforced migration, identity, power, the
absurdism of human actions. Philosophers like Jean Paul Sartre, who described freedom as complete and endless,
but also acknowledged that this does not mean that freedom does not have any limits: although it may never meet
these. The second philosopher I use as a source of inspiration is Albert Camus. He stated that the absurd helped to
fill the emptiness of humanity.
I create scenes that leave the viewer to its imagination. Even though, the images are based on real life events that
moved me. As an artist I want to bring awareness that we as humans have the power to do what is good for
humanity.

Notes:

1
Artwork 1 Title: Heroes in Space.
Artwork 1 Dimensions: 152cm by 121cm
Artwork 1 Medium: Oil paint, acrylic spray, pencil on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: The nurses are there.
Artwork 2 Dimensions: 121cm on 91cm
Artwork 2 Medium: Oil paint, acrylic spray, Fragile tape, pencil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: What are humans doing?
Artwork 3 Dimensions: 76,00 cm x 101,5cm
Artwork 3 Medium: Oil paint and pencil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: What's the cure?
Artwork 4 Dimensions: 50,50cm x 76,00cm
Artwork 4 Medium: Oil paint, pencil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Fragile it is.
Artwork 5 Dimensions: 78,5cm on 95.5cm
Artwork 5 Medium: Fragile paint, white latex gloves, oil paint in acrylic box frame
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0228
Artist ID: 0228

Artist Name: Dominic Zwemmer


Website: www.dominiczwemmerart.com
IG: @dominiczwemmerart

Artist Statement: After many years working as a designer and visualiser in the exacting world of book publishing, I
needed to escape the constraints of the computer and get back to drawing with my hands.

I now work with charcoal, and enjoy combining my original realistic style with a more abstract approach, in the form
of landscapes and seascapes. Charcoal fascinates me, as it has a huge range of potential marks, from a tiny wisp, to a
deep black sea.

Notes:

1
Artwork 1 Title: Black Water IV
Artwork 1 Dimensions: 59.4 x 84.1 x 0 cm unframed
Artwork 1 Medium: Charcoal
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Black Water V
Artwork 2 Dimensions: 76 x 100 x 3.5 cm
Artwork 2 Medium: Charcoal
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Broiling Wall
Artwork 3 Dimensions: 59.4 x 84.1 x 0 cm unframed
Artwork 3 Medium: Charcoal
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Sea Cliff
Artwork 4 Dimensions: 59.4 x 84.1 x 0 cm unframed
Artwork 4 Medium: Charcoal
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Victoria Falls
Artwork 5 Dimensions: 44 x 61.5 x 0 cm unframed
Artwork 5 Medium: Charcoal
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0229
Artist ID: 0229

Artist Name: Victoria Hertel


Website: https://www.victoria-hertel.de
IG: https://www.instagram.com/victoria_hertel/

Artist Statement: In my works I combine abstract layer-painting with nature-related subject matter within a personal
context. Particularly the visualisation of energy exchange by means of a dynamic color guidance is of importance in
this. As focal point and origin, I understand energy as the conceptual foundation of my work.

My works are therefore characterised by a vivid chromatic palette, semi-transparent biomorphic shapes and an
accentuation through an opaque color field. Via the technique of material superimposition, and the thereby
triggered chemical reactions, I seek to establish an exchange between the applied layers in order to highlight their
individual materiality. The experimental combination of the material’s components plays a fundamental part in
the formation process of my works, which is reflected above all in the differentiated look and feel of the color
surfaces.

The form and colour scheme of any respective work originates through the associative processing of personal
experiences and the exploration of nature thematic concepts. The working state termed "flow" in which mental
freedom encounters in-depth concentration is an important part of this. The gestural expressive transference onto
the canvas is closely interwoven with a process of reflection from which works originate which represent a
connection between mental archive and external reality.

With their conceptual and stylistic characteristics, my body of works pay homage to the changeability of nature and
are an examination of the contradictory nature of things.

Notes:

1
Artwork 1 Title: Lampions
Artwork 1 Dimensions: 120 x 120 x 3 cm
Artwork 1 Medium: Acrylic, ink, resin on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Pachamama
Artwork 2 Dimensions: 146 x 114 x 3 cm
Artwork 2 Medium: Acrylic, ink, resin on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Wetterleuchten
Artwork 3 Dimensions: 146 x 114 x 3 cm
Artwork 3 Medium: Acrylic, ink, resin on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Frühlingsgefühle
Artwork 4 Dimensions: 160 x 120 x 3 cm
Artwork 4 Medium: Acrylic, ink, resin on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Coworking Space
Artwork 5 Dimensions: 162 x 97 x 3 cm
Artwork 5 Medium: Acrylic, ink, resin on canvas
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0230
Artist ID: 0230

Artist Name: Christina Andrews


Website: www.christinaandrewsartist.com
IG: www.instagram.com/christinaandrews.artist

Artist Statement: The sublime can be concluded as the resulting emotion of one going beyond their theoretical limit.
Of ones apprehension reaching their comprehension so are lifted by emotions of awe and splendour in trying to
match the unknown within. This is relevant for throughout my practice I am searching for the unknown, for what
laws of nature may lay beyond human understanding and control and for such truths about the world that enlighten
us.

Through my abstract resin paintings I explore these ideas by allowing nature to create on my behalf. My influence is
only of colour choice and the application of heat, which creates a chemical reaction in the materials causing new
patterns and colours to emerge. The materials natural instinct is what forms the piece, moving organically over the
board, exemplifying the unknown and such laws outside my control as I allow nature to create the details within.

The choice of fantastical colours add a touch of whimsy, letting the viewers engagement be intuitive and emotional,
taking what they will in having an individual experience of aesthetics, as one would when engaging with the sublime.

Through my paintings, I don’t aim to insight the sublime but rather question it. I try to combine the power of
aesthetics and the power of nature’s law to create an experience and reaction for all. My work is a study of how
we may see and interact with the world parallel to its creation of which we may never fully control or understand.

Notes:

1
Artwork 1 Title: Genesis
Artwork 1 Dimensions: 120x220x5.5cm
Artwork 1 Medium: Resin on Board
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Heat Rises
Artwork 2 Dimensions: 59.5x59.5x5.5
Artwork 2 Medium: Resin on Board
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Three Clouds
Artwork 3 Dimensions: 90x25.5x2.5
Artwork 3 Medium: 0
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: The Cosmos Bleed
Artwork 4 Dimensions: 71x106x0.1cm
Artwork 4 Medium: Print
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Fusion
Artwork 5 Dimensions: 29.5x130x5.5
Artwork 5 Medium: Resin on Board
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0231
Artist ID: 0231

Artist Name: Ursula Keicher


Website: www.dottorini.online
IG:

Artist Statement: Art is so powerful because it causes an reaction in you ad once when you look at it. Long before
your frontal cortex can build a thought- everybody can enjoy it- you don’t need education and it doesn’t
depend any culture-let’s use it!

Notes:

1
Artwork 1 Title: Perfect view
Artwork 1 Dimensions: 100x100cm
Artwork 1 Medium: Acryl
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Cow
Artwork 2 Dimensions: 120x100cm
Artwork 2 Medium: Acryl
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: In the forest
Artwork 3 Dimensions: 120x100cm
Artwork 3 Medium: Acryl
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Smalltalk
Artwork 4 Dimensions: 100x100cm
Artwork 4 Medium: Canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Kastanien
Artwork 5 Dimensions: 100x100cm
Artwork 5 Medium: Acryl
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0233
Artist ID: 0233

Artist Name: Pavol Kajan


Website: https://pavolkajan.myportfolio.com/
IG:

Artist Statement: Artist Statement

How I perceive the world


around me and inside me…

Sometimes I see what I want to see,


Sometimes I see what I don’t want to see,
Most of the time I am blind
and fail to see what I need to see.

These images are as real


as the objects they are reflecting.
They are photographed with full frame DSLR
or medium format film stills camera.
There is no computer-generated imagery.

When I look at these images


I am opening the door to the space
where I can reconnect with myself
and receive inner peace ...

And this I wish to all the viewers.

About me and my technique:


I was exposed to visual art from an early age and the oil paintings hanging on the wall of my grand-parents’
house fascinated me.
My artwork is about archetypal reflections of many faces of humanity and of the psyche.

It is the application of the diffuse and specular reflection of light through which I express myself as an artist. I work
solely on my own, using real people as my models and my images are created optically (in camera) on the production
set.

Notes:

1
Artwork 1 Title: Enlightenment
Artwork 1 Dimensions: 40x30 cm
Artwork 1 Medium: Giclée Fine Art Print, limited edition 7+2AP
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: The Parable of the Hidden Treasure
Artwork 2 Dimensions: 40x30 cm
Artwork 2 Medium: Giclée Fine Art Print, limited edition 7+2AP
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: The Prophet
Artwork 3 Dimensions: 50x38 cm
Artwork 3 Medium: Giclée Fine Art Print, limited edition 7+2AP
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: The Three Graces
Artwork 4 Dimensions: 40x30 cm
Artwork 4 Medium: Giclée Fine Art Print, limited edition 7+2AP
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Adoration of the Magus
Artwork 5 Dimensions: 50x50 cm
Artwork 5 Medium: Giclée Fine Art Print, limited edition 7+2AP
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0235
Artist ID: 0235

Artist Name: Hugo Lopez Ayuso


Website: http://www.hugolopezayuso.com/
IG:

Artist Statement:
I paint imagined spaces of indeterminate scenery that act as an outlet for theatrical exploration where waiters
appear engaged in visceral or ludicrous activities. The dramatic use of working liveries articulates a subversion of the
normative space that the uniforms virtually deploy, enacting a sort of deviating replication. This ludic simulacrum
calls into play traditionally unresolved tensions between jouissance and subsistence, eros and employment, value
understood as intensity and the drive for duration or the fight for existence. The motif of the waiter also draws
attention to the idea of subalternity relative to the margins of artistic institutional space by recalling the distinction
between viewers, visitors and workers within the social framework of events, as well as alluding to current claims
about the state of indeterminacy of contemporary art’s spectatorship.

Notes:

1
Artwork 1 Title: Test-toy, Holistic, Holidays, Holy Shit
Artwork 1 Dimensions: 195 x 140 x 2.5 cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Service Studio
Artwork 2 Dimensions: 30.5 x 25.5 x 2 cm
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Vagina
Artwork 3 Dimensions: 195 x 140 x 2.5 cm
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Portable Waiter
Artwork 4 Dimensions: 150 x 130 x 4.5 cm
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: School-Skull at the Boner Kunstverein
Artwork 5 Dimensions: 195 x 140 x 2.5 cm
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0236
Artist ID: 0236

Artist Name: Jimmy Gockel


Website: https://www.face.book/gock.art.7
IG:

Artist Statement: I took up art as a hobby in 2015 after having gone on a cruise. While touring the art gallery came
across a painting by Alfred Gockel and thought to myself, Well if one Gockel can become a famous artist, maybe
another can. I have always been drawn to the 1960s psychedelic era of pop art with all it's bold and bright colors
which I often use in my artwork.

Notes:

1
Artwork 1 Title: Hello Dali
Artwork 1 Dimensions: 39cm x 39cm
Artwork 1 Medium: acrylic on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Basquiat
Artwork 2 Dimensions: 42cm x 42cm
Artwork 2 Medium: acrylic on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Andy
Artwork 3 Dimensions: 39cm x 39cm
Artwork 3 Medium: acrylic on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Voodoo Chile
Artwork 4 Dimensions: 42cm x 42cm
Artwork 4 Medium: acrylic on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Dali
Artwork 5 Dimensions: 39cm x 39cm
Artwork 5 Medium: acrylic on canvas
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0237
Artist ID: 0237

Artist Name: Daniel Goodwin


Website: https://danielgoodwinart.com
IG:

Artist Statement: My work is strongly influenced by a wide range of 20th and 21st century art, music and writing. It
draws from the resonance of experiences, conversations and personal reflection. It is set within time, a feeling of the
day passing in the moment. And it is set within place, exploring the boundaries and accommodations between
human culture and the natural world.

My submission for the Ashurst Emerging Artist Prize is a selection from a larger group of paintings which are derived
from a series of woodcuts. The woodcuts arose from a collaboration with the poet Colin Pink and are reflections on
his poems. Colin’s earlier collection Acrobats of Sound and subsequent poems caught my imagination with their
strong links to the worlds of music, art and philosophy. The works are not intended to be a direct illustration of the
poems. Rather they are a response to the themes and motifs that I found within them.

The most recent poems are all in the formal structure of villanelles: nineteen lines, with repeated phrases and motifs
which twist and curve as the poem reveals itself. The woodcuts also provide a formal framework which is carried
through into the restricted palette and structure of the paintings. The collection of poems and woodcuts is due to be
published during 2019.

The work was exhibited in November 2018 at the Menier Gallery, London. Installation views may be found at
https://danielgoodwinart.com/portfolio/two-new-directions/

Notes:

1
Artwork 1 Title: Ox Carcass
Artwork 1 Dimensions: 150 x 120 x 2
Artwork 1 Medium: Acrylic on paper
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Universal illusion
Artwork 2 Dimensions: 150 x 120 x 2
Artwork 2 Medium: Acrylic on paper
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Hymn to the Alder
Artwork 3 Dimensions: 76 x 57 x 2
Artwork 3 Medium: Acrylic on paper
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: To Hölderlin
Artwork 4 Dimensions: 76 x 57 x 2
Artwork 4 Medium: Acrylic on paper
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: In Between
Artwork 5 Dimensions: 76 x 57 x 2
Artwork 5 Medium: Acrylic on paper
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0238
Artist ID: 0238

Artist Name: Fernando Herrero


Website:
IG: #fernandoeherrero

Artist Statement: I am an Argentine/Spanish, linving in Brazil.My work is mostly a reflection of urban society and a
criticism to waste, it is produced from the discards of our consumer society.

Posters, publicity papers and packeges that are used and discarted in our social rituals are converted, acquiring a
new meaning, and transmuted into art as an iconic symbol of deep influence of inhuman and stagnant society in
which we live.

Using the concept of "upcycling" restarting its cycle and becoming an eternal mark in our own indifference.

Notes:

1
Artwork 1 Title: Italian fragments
Artwork 1 Dimensions: 180 x 120
Artwork 1 Medium: posters fragments, collage art and acrylic paint onto drywall
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: berlin fragments
Artwork 2 Dimensions: 180 x 120
Artwork 2 Medium: posters fragments, collage art and acrylic paint onto drywall
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: consumers fragments
Artwork 3 Dimensions: 35 x 25
Artwork 3 Medium: posters fragments, collage art and acrylic paint onto paper
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: german fragments with pink
Artwork 4 Dimensions: 25 x 18
Artwork 4 Medium: posters fragments, collage art and acrylic paint onto paper
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: german fragments with pink 2
Artwork 5 Dimensions: 25 x 18
Artwork 5 Medium: posters fragments, collage art and acrylic paint onto paper
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0239
Artist ID: 0239

Artist Name: Keith West


Website: www.apainterkeithwest.co.uk
IG:

Artist Statement: The nature of my work may be considered narcissistic and voyeuristic; the eye covets what it sees.
My work is both these things.
I understand contemporary practice but ignore its orthodoxies and work through ideas and methods informed by
Western traditions of painting, concepts and methods including American Abstraction and Modernism. I enjoy
creative limitations imposed by traditional themes and commissions and happily break contemporary taboos by
working with narrative and figurative subjects with external allusions and meanings... on the principle that all art is
conceptual.

Notes:

1
Artwork 1 Title: Curious Narcissus
Artwork 1 Dimensions: 123 x 93
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Narcissus
Artwork 2 Dimensions: 123 x 103
Artwork 2 Medium: Oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Sleeper
Artwork 3 Dimensions: 104 x 83
Artwork 3 Medium: Oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Dreaming
Artwork 4 Dimensions: 61 x 76
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Shower
Artwork 5 Dimensions: 104 x 77
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0240
Artist ID: 0240

Artist Name: Robert Starmach


Website: www.robertstarmach.com
IG:

Artist Statement: As in their literary and music equivalents, my Cycle of Cantos is characterized by a simplified form
based on repetition and rhythm.
The intensity of colours is combined with the emotionality of the artistic act created by expressive brush strokes. The
brush stroke is being used in a variety of ways, from soft to hard, from slow to fast, thus creating distinct colour
vibrations and adding dramatism to the form.
My painting style aims to achieve the most expression using the simplest elements. It is a specific form of repetition,
rhythmicality, methodology, obsessiveness. However, the intrinsically coherent logic of my art, seemingly based on
rhythm and repetition, simultaneously embraces protest, rebellion, resistance, change, created by expressive forms,
like a more vivid brush stroke. These forms become even more dramatic in the view of the basic principle of a canto,
that of repetition and foreseeability.
The cycle of Cantos consists of several dozen of pieces.

Notes:

1
Artwork 1 Title: Cantos I
Artwork 1 Dimensions: 100x120cm
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Cantos II
Artwork 2 Dimensions: 100x120cm
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Cantos III
Artwork 3 Dimensions: 100x120cm
Artwork 3 Medium: oil on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Cantos VIII
Artwork 4 Dimensions: 100x120cm
Artwork 4 Medium: oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Cantos XII
Artwork 5 Dimensions: 100x120cm
Artwork 5 Medium: oil on canvas
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0241
Artist ID: 0241

Artist Name: Fergus Cronin-Coltsmann


Website:
IG:

Artist Statement: After several years away from painting, I began again after being diagnosed with a recurrent
depressive disorder. My practice is partly therapeutic and partly documentation of my depression and experience of
antidepressants, how it effects me and changes how I see things.

Notes:

1
Artwork 1 Title: T in a Chair
Artwork 1 Dimensions: 76.5 x 61 x 1.5 cm
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Ecce Homo
Artwork 2 Dimensions: 100.5 x 80 x 4 cm
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Progression on Antidepressants
Artwork 3 Dimensions: 60 x 84 x 1.5 cm
Artwork 3 Medium: Oil on cardboard
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Untitled (self portrait)
Artwork 4 Dimensions: 51 x 40 x 1.5 cm
Artwork 4 Medium: Oil on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Untitled (self portrait)
Artwork 5 Dimensions: 51 x 40 x 1.5
Artwork 5 Medium: Oil on canvas
Artwork 5 Commentary:
Artwork 5 Image:

6
Catalogue5 ID0242
Artist ID: 0242

Artist Name: Gabriella Czinner


Website:
IG:

Artist Statement: I am currently working full time in a poorly paid mentally and physically exhausting job. This leaves
me little time to devote to my art.
I have always had a keen interest in art and pursued it as a hobby but never had any formal art training. I have now
reached a stage where I am keen to pursue it on a more professional level.

Over the past year I have been attending art classes at my local art centre, The Signal Art Centre in Bray, Ireland. I
exhibited paintings in the ‘Open’ and the ‘Emerging Artists’ Exhibitions where I sold my first painting. I
received a great deal of positive feedback from staff and visitors to the gallery. In fact it was the Signal Art Gallery
who alerted me to this Award.

The work I have chosen to show you start from a more traditional approach of painting to exploring new possibilities
with mixed media and a more abstract approach. This is the area I would love to pursue further.

I am inspired by a wide range of subjects but each of them has touched me in some way. I would love the chance to
immerse myself in a project where I can explore a subject completely without distraction. Working full time in a busy
job makes this difficult.

My ultimate goal is to exhibit in New York!

Notes:

1
Artwork 1 Title: The Iceberg
Artwork 1 Dimensions: 40x50x1
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Through the window
Artwork 2 Dimensions: 80x100x1
Artwork 2 Medium: Acrlylic on canvas
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: My life in blue
Artwork 3 Dimensions: 80x80x1
Artwork 3 Medium: Acrylic and pouring medium on canvas
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: Love
Artwork 4 Dimensions: 65x90x1
Artwork 4 Medium: acrylic and pouring medium on canvas
Artwork 4 Commentary:
Artwork 4 Image:

5
Artwork 5 Title: Kingfisher
Artwork 5 Dimensions: 30x40x1
Artwork 5 Medium: Acrylic on canvas
Artwork 5 Commentary:
Artwork 5 Image: