AEAP2019 All Entries Catalogue 4B

All Entries
Catalogue 4B
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
Catalogue2 ID0728
Artist ID: 0728
Artist Name: Jolene Liam

Website:
IG: https://www.instagram.com/jolenesaurus/
Artist Statement: Part of an ongoing interest in architectural drawing conventions, these illustrations are
explorations of the gaps between typical methods of representation. They were made in the hope of encountering
different ways of depicting and thinking about construction and buildings; of places and spaces.
Architectâ€™s drawings of a building are usually made at what have been decided as key stages in its lifetime. Design
drawings, working drawings, as-built drawings â€“ these represent important points in the transition from idea to
built object, enabling communication between the myriad of people involved in making a building â€“ pictures that
accumulate in detail as thoughts get added to it.
Arguably, however, the periods in between these types of drawings are the interesting bits. When a project starts on
site, it becomes concrete (pun intended), tangible, no longer a figment of imagination. The processes of demolition
and construction are where architecture is subject to contingency; where things come together or apart, not always
as expected; where change has to be accommodated; where flaws have to be accepted and sometimes even loved.
These are the bits that I am trying to illustrate.
Notes:
1
Artwork 1 Title: My Flat, As Lived
Artwork 1 Dimensions: 30 x 42
Artwork 1 Medium: Uni-Ball Signo Extra Fine 0.38mm Black
Artwork 1 Commentary: This is the story of one person and one studio apartment (drawn with one pen).
In my day to day work at a large practice, I draw hundreds of flats for thousands of imaginary people, filled with
generic furniture for abstract families. As a reminder that these homes will someday be filled and lived in by actual
people, I decided to document the space occupied by one person, myself, mess and all.
My Flat, As Lived illustrates the idea that architecture is not just about what has been designed by the architect, but
is completed in a myriad of ways by the people who live in it; that spaces are equally defined by that which is fixed
and that which is not.
Drawing a plan of everything that is movable within the flat was a way of exploring how spaces can be represented
solely in terms of the objects within it. It describes one version of domesticity for a young working professional living
in a city.
It is also a response to depictions of architecture which avoid the mess and clutter of everyday life - to me how the
two come together over time (or not) is the most interesting bit.
Artwork 1 Image:
2
3
Artwork 2 Title: My Flat, As Rearranged
Artwork 2 Medium: Uni-Ball Signo Extra Fine 0.38mm Black
Artwork 2 Commentary: My Flat, As Rearranged is a catalogue of items arranged according to size. Taking everything
out of the flat, in my mind and onto paper, this illustration is about the constant negotiation of the spaces we
inhabit, through the processes of arranging, rearranging, tidying, messing up, accumulation and letting go.
Artwork 2 Image:
4
Catalogue2 ID0729
Artist ID: 0729
Artist Name: Zheni Warner

Website: www.zheni.co.uk
IG: #zheniwarnerart
Artist Statement: My work is about colour and light. My colours are the result of extensive overpainting. Usually the
light on a painting is directed solely by the viewer. To counter this I supply my own light in various forms: traditional
glazes, light boxes, illuminated wire, dot lights; sometimes individually, often in combination. The viewer is able to
switch any one of those off, with the exception of the glazes, producing an interactive wall piece depending on
mood, external conditions or time of day. Several paintings in one!
Notes:
1
Artwork 1 Title: Your adorable eyes
Artwork 1 Medium: Oils with neon, light box and plexiglas
Artwork 1 Commentary: Title is from a poem by Baudelaire in which he describes the changing eyes of a cat. Te red
neon and the green plexiglass cover diffuse the light as in a cat moving from one area of light to another. The
multiple bubbles on the surface, as well as interacting with and changing the various greens of the paintwork,
indicate the eyes of perhaps a variety of cats moving in the darkness of the heavy blue background
Artwork 1 Image:
2
Artwork 2 Title: Faith and trust and love must earn their own reward, for it is on faith, hope and love that our life is
based
Artwork 2 Medium: Ois on canvas with illuminated wire and mini perspex domes
Artwork 2 Commentary: The title is from the medieval Christian mystic Lady Julian. The design is the head of a Celtic
cross, complete with halo. The three mini domes may symbolise many things: faith, hope and love (from the title);
Father, Son and Holy Ghost; the three crosses at Christ's crucifixion. I don't know, they just seemed the right element
to add ad the time to unify the composition. The surrounding illuminated wire works like the stitching of a cloth into
a chap book or larger manuscript. The complete icon is, of course, an ikon in its own right.
Artwork 2 Image:
3
Catalogue2 ID0730
Artist ID: 0730
Artist Name: Sara Bantran

Website: www.sarabantran.com
IG: https://www.instagram.com/art.sarabantran/
Artist Statement: I hope you enjoy my work. A true mark of an artist is one who sticks through with their vision
regardless. Through medical school and later cancer research studies, I have never abandoned my passions. Taking
time to concentrate on my art last year, I have focused on creating 'archival' pieces that are made with the utmost
care. My art is like my love, both passionate and strong. My colours focus on the ebb and flow of life. I see patterns
of colours unfold and incorporate that into my paintings. Swirls of colour under my brush. Layers of paint. Some of
my pieces combine art and science. Just how interesting is it to find beauty at the atomic level? I am subdividing my
work: those that focus on colour and emotion and those that focus on the accidental beauty of science that I come
across in my work. It has been a journey, creating new art and believing in my art throughout. The process itself is
rewarding: from stretching the canvas to the blissful feeling of :it's ready for brushstrokes now. I have been through
a lot, this past year and I, guess, throughout mylife but art has served as my creative outlet, my anchor and I would
be nothing without it. I am creating new works 1. Focusing on science/ research 2. Focusing on my Alexandrian
heritage. I would loved to have included them but then they will likely be on both my website and instagram page
and it would be wise to submit now.
Notes:
1
Artwork 1 Title: Beauty in the Eyes of the Beholder
Artwork 1 Dimensions: 11.8Hx10Wx0.2cm
Artwork 1 Medium: Oil on canvas
Artwork 1 Commentary: A colleague of mine snapped this photo and sent it to me. There is accidental beauty in
science and in research. They were colony formation assays that crystallized. They had formed these beautiful
branched formation in the wells. It marks a moment of time, captured. Many images in research are breathtaking
and the public never gets to see it. If they can only see the beauty at the atomic level. My dream is to create a
platform to connect art and science where profit from art would go back to fund cancer research. This painting
captures my love for both art and science and all I have given up for both. I am planning to create more science/art
themed paintings.
Artwork 1 Image:
2
3
Artwork 2 Title: Light
Artwork 2 Dimensions: 1 metrex80cm
Artwork 2 Medium: Oil paint on Canvas
Artwork 2 Commentary: This work focuses on the play of colour and light. From bold yellow, red and green to violet
and pink hues and splashes of alizarin crimson. Intense colour and an intense will to live dominate this painting and
uplifts the spirit. This was created all through the summer months and this reflects in the painting in warmth. Arches
and hues were derived from Persian influences.
Artwork 2 Image:
4
Catalogue2 ID0731
Artist ID: 0731
Artist Name: Katie Mcguire

Website: www.katiemcguireart.com
IG: https://www.instagram.com/katiemcguire_art/
Artist Statement: I am a sculptor working in fibre/textiles. I experiment with the traditional techniques of weaving,
crocheting and knitting. I explore traditional handmade techniques â€“ weaving, crochet, and knitting â€“ but
contrast traditional fibre/yarns/thread with a contemporary material: Polycord. Polycord is a building/construction
material â€“ an extruded cord used as a backing rod for filling gaps/insulation in the construction industry.
Polycord is not a traditional material for creating sculptures involving techniques of traditional handicraft. It is
industrially created which juxtaposes a digital production process with a hand crafted one. I create sculptures by
hand not only to embrace traditional techniques, but to add an element of personal character in the work. Each
individual sculpture experiments with the element of interior and exterior, bringing a material usually hidden from
view into an exterior presentation.
I explore the idea of restrictions and boundaries, experimenting with the ideas of weight, tension and form
throughout the process. This has developed from personal feelings of being set boundaries and restrictions in life
and being unsure how to, or whether we are able to pass through these boundaries or accept we cannot overcome
them. I aim to reflect this through the use of hand manipulated organic sculptures and how they take form in a
specifically created, or self-found space, and acknowledge whether the sculpture will take on or reject its set
boundaries. It is crucial for me to explore how a sculpture can react in the environment which it has been placed in.
Notes:
1
Artwork 1 Title: Limbo
Artwork 1 Dimensions: 110 x 95 x 44
Artwork 1 Medium: Polystyrene Backer Rod, Wooden Oak Frame
Artwork 1 Commentary: 'Limbo' is an exploration of the point I feel I am currently at in my life, and a point I feel I will
cross many more times. To be in limbo is to feel stuck in the present, debating whether to progress forward into the
unknown or remain where you are.
This piece explores the way an organic sculpture is placed into a restrictive frame but still has the option to pass
through the boundary of limbo and venture into the unknown. The sculpture built within the frame expresses a
theme of exploration and working its way throughout the frame to find its way.
Artwork 1 Image:
2
Artwork 2 Title: Grow Up
Artwork 2 Medium: Polystyrene Backer Rod, Found Crate
Artwork 2 Commentary: 'Grow Up' is an exploration of escaping boundaries. A found crate is used, an object which
could easily have been used for the sculpture to be inserted into or built up within the slats of the crate, the weight
could have been used to sit on a sculpture and remodel the form of the sculpture. However, from an old and used
object rises a new, contemporary sculpture, built from traditional techniques with a digitally produced material. It
grows optimistically vertically from something which could have easily been a restriction, it finds itself in a new light.
Artwork 2 Image:
3
Catalogue2 ID0734
Artist ID: 0734
Artist Name: Warren King

Website: www.warrenkingart.com
IG: https://www.instagram.com/kingsweny/
Artist Statement: The objective, when I paint, is to tap into my subconscious - to create a landscape or portrait
without any preconceived thought. Itâ€™s a kind of seance, not just with all that's gone before, but with all that is
alive - within me, nature, energy. I work quickly, spontaneously, without judgment of what appears. And when I
catch sight of something taking shape, I try to sculpt and mould it to the point where it seems it has always existed.
Notes:
1
Artwork 1 Title: Convergence
Artwork 1 Medium: acrylic
Artwork 1 Commentary: The dictionary definition of the word convergence suggests a meeting together of two or
more things, but for my painting I wanted to explore the possibility of several abstract shapes merging and evolving
to create something entirely new. This potential metamorphosis is fascinating for me and in a broader sense it is
what compels me to paint in an abstract style.
Artwork 1 Image:
2
Artwork 2 Title: Stream Of Life
Artwork 2 Medium: acrylic
Artwork 2 Commentary: The painting ties in with the analogy of the stream of consciousness. In this case, it is a
stream of light and energy, combining with and flowing through nature. It is a landscape painting, but of the mind,
conveyed in a minimal, abstract style.
Artwork 2 Image:
3
Catalogue2 ID0735
Artist ID: 0735
Artist Name: Vanessa Freitag

Website: https://freitagtextilart.wixsite.com/vanessa
IG: https://www.instagram.com/freitag_textilart/
Artist Statement: My main means of expression is sewing and other textile language techniques (crochet,
embroidery, tapestries). What I do are small format textile sculptures that when assembled, integrate sets of works,
as if they were a family. Weaving helps connect me to my more intuitive side, to dealing with pain and wounds. It is a
way of sublimating pain in something that provokes visual pleasure. So my work fulfills a therapeutic function. The
works arise first of a mental image that happens in moments of rest or when I perform some other repetitive activity
that allows me to think about the forms. This makes it possible that when you create them, you already have a rough
idea of what I intend to do. The colors I use are important because they structure all the work and make reference to
the aesthetics of Mexican popular art, at the same time, to the architecture of the popular dwellings of this country.
I produce organic and tactile forms that are very pleasing to the eye. I am interested that the objects look well done,
beautiful and cheerful as a craft. In addition, they allude to flora and fauna, or to nests where life grows.
Notes:
1
Artwork 1 Title: Flowers from here, flowers from there
Artwork 1 Dimensions: 275x275x200
Artwork 1 Medium: Soft sculpture with textil techniques: crochet and sewing
Artwork 1 Commentary: This series sought to explore the organic forms of plants, especially flowers. The starting
point were the memories of the flowers that were in the garden of my grandmothers.
In the Mexican gardens, I looked for flowers that reminded me of the gardens of my childhood. I discovered that for
the prehispanic culture of Mexico, flowers have had many uses and meanings in art, in handicrafts, in cooking and in
the rituals of everyday life. The flowers remind us of those happiest moments of our lives, as well as, the saddest
ones too.
Artwork 1 Image:
2
3
Artwork 2 Title: Inner Space
Artwork 2 Dimensions: 30X40X35
Artwork 2 Medium: Soft Sculputure
Artwork 2 Commentary: In this series of textile objects, which is still in process, I wonder if it is possible to develop
the necessary strength to face pain. That is to say: create beauty from pain. They are woven, filled and small format
images. They are organic forms that refer to flowers, nests, internal spaces. It is like a small architecture of our
moods. I wish that this architecture provokes well-being, happiness, tranquility, joy perhaps.
Artwork 2 Image:
4
Catalogue2 ID0736
Artist ID: 0736
Artist Name: Elena Helfrecht

Website: https://www.elenahelfrecht.com/
IG: https://www.instagram.com/elenahelfrecht/
Artist Statement: My photographic practice revolves around the inner space and its interactions with mental and
material environments. I am interested in how inner space is informed and influenced, where it originates and how it
can be made visible.
Engaging in creative playing becomes a direct connection between the internal and external realm. By confronting
the intangible, I relate individual experiences to the collective history and turn personal involvement into a shared
understanding.
In employing a theory I call the Matrixial Camera, photography becomes a performative action and an extended
form of procreation. This concept uses the relationship between mother and child as a similitude to analyze the
creative process in photography.
Making the image is a circular action, entailing birth, death, dissociation, and abjection. The inner space is extended
through the apparatus into the image: Thought and vision are injected into the womb of the camera, where a
palpable reality is impregnated by light, coalescing into a two-dimensional image. A part of the self is killed, the
reality in front of the lens sliced and silenced by the shutter, only to be revived by the gaze of the beholder.
Notes:
1
Artwork 1 Title: Daughters
Artwork 1 Dimensions: 130x80x0,1
Artwork 1 Medium: Photography; Archival Inkjet Print on Hahnemuehle Fine Art Baryta, 325gsm
Artwork 1 Commentary: (Central image from a body of work with the same name. Models: Loreal Prystaj and Kendra
McNichols)
Inspired by Baroque Architecture and Sculpture, the female body is treated as a symbol and ornament, representing
and celebrating the essence of womanhood. Instead of defining a geographical provenance, the collective origin of
every being is photographically located in the womb. With a focus on femininity, women are regarded as both
mothers and daughters, connected through a circle of potential and creation, following back the female lineage to a
mitochondrial Eve.
As in Baroque, working with crafted floral ornaments connects the natural with the artificial, weaving human art and
creation into the larger context of nature.
The camera itself functions as an extension of the female inner space and a metaphorical representation of the
womb - a seed in the dark impregnated by light and thought - distending into the image and making it accessible to
the viewer.
Artwork 1 Image:
2
3
Artwork 2 Title: Venus Expanding
Artwork 2 Medium: Photography; Archival Inkjet Print on Hahnemuehle Ultrasmooth, 305gsm
Artwork 2 Commentary: (Self-portrait, long exposure, Sicily, 2018)
This self-portrait explores the central elements of creation and touch, physically and psychologically.
Making an image for me is the most intense and direct way to communicate, and to literally expand an inner world
and give access to it. To touch and to be touched, to influence and be influenced is the core of both art and
communication.
In the creation of this image, my partner drew a circle of light around my body, visualizing the essential male and
female element in an action of expansion. The inner space spills into the world and becomes tactile in the
photograph, while the border between inside and outside disappears.
Artwork 2 Image:
4
5
Catalogue2 ID0737
Artist ID: 0737
Artist Name: Yuting Cai

Website: https://www.beiyu.space
IG: https://www.instagram.com/beiyu_________/
Artist Statement: Bei Yu (b 1993) 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 been 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 Chinese writer who questions the role of the younger generation's culture in different societies and
systems.
On the other hand, the medium of his work is always a combination between painting and photography, he wants to
use the digital materiality to explore how painting could be viewed in the digital perspective, so the medium of his
work is always the digital print with painting.
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 China Art
Museum, the Hubei Museum of Art, the United Art Museum and the Chun Art Museum.
Notes:
1
Artwork 1 Title: Mr.Interpretation and Mrs.Translation: I know you will disappear, but I still love you1
Artwork 1 Dimensions: 90x60CM
Artwork 1 Medium: Painting on photo
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 by a lot of research into visual culture, fiction and
philosophy, and questioning himself has been 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.
Artwork 1 Image:
2
3
Artwork 2 Title: Mr.Interpretation and Mrs.Translation: I know you will disappear, but I still love you2
Artwork 2 Dimensions: 90x60CM
Artwork 2 Medium: Painting on photo
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 by a lot of research into visual culture, fiction and
philosophy, and questioning himself has been 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.
Artwork 2 Image:
4
5
Catalogue2 ID0738
Artist ID: 0738
Artist Name: Christophe Denoux

Website: https://youtu.be/KVEgoEWpf30
IG: artcwc
Artist Statement: A mosaic master turned "slab glass" artisan, for more than 28 years, Christophe DÃ©noux has
focused on the balance between colour and shape in creating timeless work. Most commissions for these one-of-a-
kind works have been from discriminating collectors around the world. With his particular desire to pursue
perfection, each element of Christophe's creation is never repeated and therefore every artwork is unique. By
combining these natural resources with artisan tradition, he aims to renew ancient techniques whilst giving them a
contemporary appeal. Interpreting slab glass colours into a sculptural form, he uses dimension and colour to touch
the viewer's deepest emotions hoping to transport them in time and for all seasons.
https://youtu.be/KVEgoEWpf30
Notes:
1
Artwork 1 Title: Hope of Light XV -1
Artwork 1 Medium: 20mm thickness Slab Glass, Resin, sand, Stand in Marble
Artwork 1 Commentary: This slab glass sculpture has been achieved by applying an ancient glass art technique.
Shaped by a traditional hammer, it demonstrates the artist's intimate relationship with his materials. The artwork is
comprised of five different colours of slab glass, each piece twenty millimeters thick and set in a dark matrix of resin.
Through his expertise and process Christophe has created a multi-faceted colour effect which both captures and
refracts the light in many different ways. These sculpted layers of slab glass may appear static at first glance,
however they evolve constantly as they change colour throughout the day according to the light and the elements in
the background. In this way, the artwork is in perpetual motion, transcending the limitations of its framework. Even
the reflections on the ground or the walls also show that the work does not stop at the object itself. In his
sculptures, Christophe strives for the energy balance between shadow and light, stasis and movement, genesis and
evolution. In releasing this energy imprisoned in each piece of slab glass, his exquisite artworks also free our
imagination.
https://youtu.be/KVEgoEWpf30
Artwork 1 Image:
2
3
Artwork 2 Title: Hope of Light XIII - Earth as metaphysical body
Artwork 2 Medium: 20mm thickness Slab Glass, Resin, sand, Stand in Marble
Artwork 2 Commentary: This piece represents the paradoxical relationship between Man and Nature.
The green-bronze slabs evoke nature with an autumn shade also telling the end of a cycle.
The hexagonal alveoli symbolize the impact of human activities upon the ecosystems. The curvature depicts this
pressure.
The breaking up of the upper slab reminds the erosion of the natural resources; the block of blue glass, the threat
from climate change with the iceberg splitting from the ice pack. The fractures in the resin show the holes in the
ozone layer.
The lower slab places man dependent upon his environment for his survival. The absence of glass material within the
alveoli reveals the precarity of human condition and the possibility of self-destruction.
Artwork 2 Image:
4
5
Catalogue2 ID0739
Artist ID: 0739
Artist Name: Chris Shaw Hughes

Website: www.chris-shaw-hughes.com
IG: https://www.instagram.com/chrisshawhughes/
Artist Statement: I completed my BA and MFA at the University of Brighton (2005-2010) and currently work in
Lancing, UK. Through painstakingly crafted paintings and drawings, I attempt to document important geographical
terrains and significant historical snapshots that are at once both visually arresting and thought provoking. The
highly detailed work captures moments of tension that are often overexposed in the news media, and asks us to
reflect on their meaning in greater depth.
My practice is heavily engaged with methods of mechanical reproduction- using both photography and carbon paper
in my current practice. Although I have previously worked using a diversity of media, the employment of carbon
paper has allowed me to investigate a kind of 'negative' aesthetic. In 2010, my work was selected to be part of the
Bloomberg New Contemporaries exhibition, which was shown at the 'A' Foundation as part of the Liverpool biennial,
and at the ICA in London in 2011.
Notes:
1
Artwork 1 Title: Gaza/Syria 2016
Artwork 1 Medium: Carbon Drawing
Artwork 1 Commentary: This work is made using many photographs of the destruction by bombing of Syria and Gaza
to create an overall collage image. I then draw through the collage and carbon paper to reproduce the final image on
paper. This image is one of a large series of drawings depicting cities whose civilian populations have experienced
massive bombing.
Artwork 1 Image:
2
Artwork 2 Title: Dresden 1945
Artwork 2 Medium: Carbon Drawing
Artwork 2 Commentary: This work was made from an archive anonymous photograph of the destruction by bombing
of Dresden and is one of a large series of drawings depicting cities whose civilian populations have experienced
massive bombing.
Artwork 2 Image:
3
Catalogue2 ID0740
Artist ID: 0740
Artist Name: Nadja Ellinger

Website: www.nadjaellinger.de
IG: https://www.instagram.com/nadjaellinger/
Artist Statement: I use photography to visualize my inner feelings, fears and thoughts to gain a better understanding
of myself and my relationship to my environment. The last three years, Iâ€™ve been engaged with the topic of fairy
tales. They offer a wide spectrum to communicate about inner processes. Based on the dream interpretation of
Freud and with the modern findings after Bettelheim and Kast, I created fantasy worlds that appeal to the viewer in
a personal and direct way. Through the overdetermination of the symbolism, it is possible to reach the viewer in
different ways and thus make the story personally experienceable. The outbreak of the immediate political and
social context enables a space free of prejudice, in which one can fantasize and experience without constraints.
Based on this Iâ€™m currently exploring the human psyche through my lense, trying to understand what defines us
or how we define ourself.
Notes:
1
Artwork 1 Title: Ãœber die Zerbrechlichkeit L I
Artwork 1 Dimensions: 30x40
Artwork 1 Medium: Photography
Artwork 1 Commentary: â€œÃœber die Zerbrechlichkeitâ€• (About Fragility) is a project about personal failure,
fears and vulnerability. In our society, the external presentation is always present and defines the indivuallâ€“ and it
should be as successful as possible. The failure and anxiety is left undiscussed. But this uncertantity and insucerity is
what makes us human, opens us up to possibilities, and enables growth. Therefore, this series shows the fragility of
different people I met â€“ not as something negative that should be avoided, but as something deeply human and
honest.
Artwork 1 Image:
2
Artwork 2 Title: Ãœber die Zerbrechlichkeit H I
Artwork 2 Commentary: â€œÃœber die Zerbrechlichkeitâ€• (About Fragility) is a project about personal failure,
fears and vulnerability. In our society, the external presentation is always present and defines the indivuallâ€“ and it
should be as successful as possible. The failure and anxiety is left undiscussed. But this uncertantity and insucerity is
what makes us human, opens us up to possibilities, and enables growth. Therefore, this series shows the fragility of
different people I met â€“ not as something negative that should be avoided, but as something deeply human and
honest.
Artwork 2 Image:
3
Catalogue2 ID0741
Artist ID: 0741
Artist Name: Malcolm Koch

Website: www.membraneart.com
IG: https://twitter.com/MembraneArt
Artist Statement: Iâ€™m re-imagining our universe â€” entangled in the void of spacetime.
My curved canvases become a way to initiate eventsÂ that consumes the surface geometry, creating distinct
expressions and reciprocal marks that cannot be achieved on the flat picture plane, yet the results of the work are
always presented in that form â€” a metaphor for how we may observe.
As the curved surfaces create the structural basis for the expressions, it also means that the pieces themselves have
been developed and composed partly and sometimes completely out of plain sight. In the end, you never truly know
what youâ€™re going to be looking at until you unravel and reveal it. This shows that the markings have come from
somewhere else, where expression and sculpture unite, an approach that may be considered neither painting nor
sculpture. My term for it, is Membrane Art.
Since 2004, I've been evolving this aesthetic thought. To the point where I have now created events that engage with
both front and back surfaces as one expression. A complete approach to abstraction yet a style of abstraction that is
deeply rooted in the present context of a multi-dimensional universe and the way nature itself could be.
Notes:
1
Artwork 1 Title: Golden Helium Bloom
Artwork 1 Dimensions: 91h x 78w x 4d cm
Artwork 1 Medium: Oil paint and gloss varnish on JPP Synthetic (905gsm), floating on a 3mm blue-mirrored backing
board with 12mm spacers.
Artwork 1 Commentary: This work is an investigation into the aesthetic structure of a helium atom (ref. Atomic
No.2), the second-most common element in the universe.
The objective was to interpret the complex science of the particle's properties by bending and curling the surfaces of
two canvases simultaneously then, using a multiplying effect with either drill holes and saw cut events apply them
within and through the curved structures to create reciprocal marks (quarks and electrons). This approach allows me
to create a set of expressions by engaging with both front and back surfaces at the same time â€” a
â€˜completeâ€™ approach to painting.
When the canvas is re-stretched to two dimensional form, the smaller inner canvas is then used as a template to
create hand-painted expressions onto the surface of the other, hinting at a slightly smaller â€™hiddenâ€™
dimensions.
Finally the work is mounted onto a blue-mirrored background with 12mm spacing. To highlight the
â€ñothingnessâ€™ that has been created and reflect the colour that is illuminated when helium is burnt.
Artwork 1 Image:
2
3
Artwork 2 Title: Oxygen Captured
Artwork 2 Dimensions: 86h x 111w x 6d cm
Artwork 2 Medium: Synthetic polymer on JPP Synthetic, 566gsm, colour paper 270gsm. Limed box frame with 3mm
plexiglass, hand painted spacers and structural frames for floating.
Artwork 2 Commentary: The complex science surrounding the properties of a particle (ref. Atomic No.8) is
fundamental to the formation of the conditions that promoted life on our oxygenated earth.
The constituent parts of an atom â€“ protons, neutrons and electrons are represented by drill holes through a furled
canvas (protons, neutrons) and sawn slashes (electrons). When the canvas is re-stretched to two dimensional form
the drill holes and saw cuts create reciprocal opposing "marks" within the white surface as in the inner vastness of
atomic space.
The wave-like furling of the canvas, and the passage of drill and saw marks through it, when arranged in this fashion
result in the kind of symmetry that is reminiscent of atomic structure and dynamic particle relationships that are the
basis of all matter.
Finally, the single oxygen atom is contained and sealed within a box frame. As a way to remind us of itâ€™s precious
qualities for our existence.
Artwork 2 Image:
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Catalogue2 ID0742
Artist ID: 0742
Artist Name: Stella Kapezanou

Website: www.stellakapezanou.com
IG: https://www.instagram.com/stellakapezanou/
Artist Statement: Stella Kapezanou is a visual artist composing complex, ironic and sometimes obscure works which
draw their inspiration from capitalistic and materialistic western societies.
The artistâ€™s point of departure is the very â€ãesthetics of consumptionâ€™â€™, and therefore she draws her
images from the â€˜everydayâ€™ life of people and the relations which bind them with objects, places and times.
She studied Painting at the Athens School of Fine Arts (ASFA) where she was awarded an honorary scholarship by the
State Scholarships Foundation and received, under Motoroil Hellas grant, her MA Fine Arts from Chelsea College of
Arts, London, where she was awarded The Frank Bowling Scholarship.
She is intrigued by subjects that are not considered â€˜high artâ€™ but rather â€õrdinaryâ€™, in the sense that
they are familiar to the viewersâ€™ eyes, and she strives to define the real relations between 'men' and their
â€˜thingsâ€™. As a matter of fact, she paints the very absence of relations. Her subjects donâ€™t quite intersect,
theyâ€™re just strange people playing in a fake world.
Kapezanouâ€™s paintings are too picture perfect, almost adverts, unrelated possibilities in the same frame of the
painting. The depicted scenes could never quite occur; the sky is an ideal sky, the green grass a perfect stand-in for
all lawns and the sceneries are carved out as if taken out of a Hollywood series. The world gets captured not as it
appears, but as the artist wants to perceive it. By depicting such scenes in a totally personal artistic interpretation, a
new world is created, where life reproduction happens not according to a mere external reality but according to her
wish.
She currently works between London and Athens.
Notes:
1
Artwork 1 Title: Homecats
Artwork 1 Dimensions: 130x190 cm
Artwork 1 Medium: Oil on linen
Artwork 1 Commentary: An homage to Olympia by Edward Manet
Artwork 1 Image:
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Artwork 2 Title: Nocturnal Rites
Artwork 2 Medium: Oil on linen
Artwork 2 Commentary: Stella Kapezanou is intrigued by subjects that are not considered â€˜high artâ€™ but rather
â€õrdinaryâ€™, in the sense that they are familiar to the viewersâ€™ eyes, and she strives to define the real
relations between 'men' and their â€˜thingsâ€™. As a matter of fact, she paints the very absence of relations. Her
subjects donâ€™t quite intersect, theyâ€™re just strange people playing in a fake world.
Artwork 2 Image:
3
Catalogue2 ID0743
Artist ID: 0743
Artist Name: Maud Whatley

Website: maudwhatley.com
IG: @maudwhatley
Artist Statement: My work is conceptual and supposed to be quietly funny. I use power dynamics between
represented bodies and the implied presence of my own to comment on oppressive sociological standards, situating
the represented (male) body in a relationship of power exchange with the (female) artistâ€™s corporeality. Through
rudimentary digital collage, sculpture, intricate drawing and attention to the installation of drawings I attempt to
suggest a new body conceived in the cracks between appropriated fragments of nonsensical power exchange
systems built on homosocial bonding and farcical eradications of female agency.
I use the concept of the erotic triangle as a symbol and model for power distribution. By re-iterating the male body
and then destabilizing it through the orchestration of my own triangular organising principles and by pointing the
finger of comedic ridicule, my installations identify and satirize components of performed social dynamics and the
Western visual canon. I undermine familiar tropes from famous works; alabaster nudes, rosy cupids, women with
pinched nipples spilling out of chiffon froth. This act is intended to capture my delight in the form of these pristine
bodies; disgust at that delight; and fascination with the visual systems which foster the conflict.
Internal mediation exists between my sense of subjectivity as corporeally complicit female maker of male images.
Self-abjection lurks beneath the clean exterior of neat drawings of men. This tension is reason to pursue the theme
and simultaneously at odds with my drive to critique the power wielded by the male body. Appropriating or
referencing male anatomy and art historical images on that theme becomes for me an expression of suspended
ambivalence towards male corporeal privilege and cypher for abject woman as image maker.
Notes:
1
Artwork 1 Title: Untitled (erotic triangle)
Artwork 1 Dimensions: 2 framed drawings each 128 x 55cm. Ceiling hung element hangs 100cm out from the wall
Artwork 1 Medium: Green pencil on paper, chain, metal hooks, artificial hair, latex, gold leaf, Ann Summers heat
stripper much, aquarium heater
Artwork 1 Commentary: Untitled (erotic triangle) is an installation which combines drawing with sculptural elements
in order visually to think through a triangular model of social critique based on Eve Sedgwickâ€™s concept of the
erotic triangle. It comprises three distinct parts which together seek to construct a prism around my central concern
in making the work. That is, the position of the female maker in relation to male subject matter if women are
superficially facilitative of male bonding.
The physical manifestations of the corners of this conceptual triangle can loosely be distinguished as follows: 1. An
Ann Summers stripper mug positioned on the floor, filled with boiling water and holding the protruding stalk of an
aquarium heater which maintains a high temperature and perpetuates nakedness. 2. Two long drawings in green
wax pencil, one depicting the life-size trunk of my brotherâ€™s body as presented in a selfie and the other an
abstracted interpretation of a marble block, un-hewn but for the graffitied inscription NICK BURROWS WAS HERE. 3.
A thick length of synthetic hair cut from a wig and bound into a rigid sceptre with browning latex, gilded in places
with gold leaf. This is suspended from the ceiling so that it hovers at intestinal height, exposed hairs almost brushing
the surface of the drawings and globular tail dangling into the viewerâ€™s space.
By truncating my brotherâ€™s form, I enact a kind of objectification; of masculinity and the fiction of represented
bodies. Simultaneously, there is androgyny to the semi-clothed flesh. Folds of crumpled t-shirt, cupped at the centre
of the image in the same way as Leppeâ€™s dress, surround a central murky orifice with a drooping, milky lozenge of
fabric. Add to this the visceral ambiguity of the poised latex lance - phallic in its rigidity, corporeally unctuous in
composition, a messy bundle of residual waste - and the gendered intentions and desires attributed to each corner
of this triangle become mixed and melted, teasing out the fictive nature of aesthetic symmetry and fictive gender
subscription that it seems to support.
The abstract linear composition on the right seeks to align with Sedgwickâ€™s remarks about suppressed inequality.
Hung side by side with a figurative form, the drawings together allude to symmetry. Taking into consideration the
western tradition of art history, it is possible to read both drawings as male bodies. The inevitability of male
legibility, or corporeal power, is referenced further by the flippant graffiti: NICK BURROWS WAS HERE. â€Ñick
Burrowsâ€™ is the generic, alabaster man. He is the collection of projected characteristics applied to the abstractly
rendered block and legible by virtue of the system of gendered dominance and subordination that Sedgwick
describes. The symmetry between the drawings is a mirroring of men.
The influence of idealized hindsight or expectant foresight on the present underpins my interest in the power
exchange between male bodies and their makers and cyclic patterns of sociologically influenced representational
artwork. Sohail Inayatullah suggests the â€˜Futures Triangleâ€™ as a tool for mapping time and exploring plausible
futures(Inayatullah, 2008:7). Inayatullah uses a diagram to lay out the three dimensions which influence potential
future outcomes: â€˜Weight of Historyâ€™, â€˜Push of the Presentâ€™ and â€˜Pull of the Futureâ€™. The exchange
of influence and power between the three forces, each visualized at a different vertex of the triangle, produces a
space of energy in the centre which Inayatullah labels â€˜Plausible Futureâ€™.
In Untitled (erotic triangle) I invoke past, present and future as another way to capitalize on triangular form. The
triad of component parts function similarly to Inayatullahâ€™s Futures Triangle. They conjure a collective energy
instead of offering firm narrative. The floor objects speak for sculptural tendencies in classical art which have
infamously influenced creative practice and artistic training; the past. The wall drawings are my contemporary
drawing practice, shaped and enticed by the classical male body but simultaneously critical of it; the present. The
suspended wand of abject gleaming discharge and matted synthetic hair represents an imagined future female
maker, drawing out (and with) her own abject subjectivity from the clinical male bodies upon which figurative
western art is built; the future. These three broad temporal sections feed into one another, and can contribute to
the understanding and interpretations of the artwork, but their significance and legibility is highly variable and
dependent on the viewing subject.
2
Lacan makes reference to the vase as a void which introduces the possibility that it might be filled. In Untitled (erotic
triangle), I pose questions about how to fill the void at the centre of the erotic triangle. My plausible future is a hope
that by acknowledging oppressive precedents and their influence on my creative practice, and by choosing to
represent them, they become Lacanâ€™s vase; indicative of their own emptiness. The power they hold can therefore
be requisitioned by my female fingers in order to sculpt new plausible futures from the remains.
Artwork 1 Image:
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Artwork 2 Title: Sleep of Endymion ('cos that's what I googled)
Artwork 2 Dimensions: Site specific, here 275 x 250 x 100 cm
Artwork 2 Medium: Acrylic on wall, chrome air freshener, pomegranate fragrance, glass, wood, canvas, soap, resin,
acrylic on cigarette papers, steel, plastic
Artwork 2 Commentary: The Sleep of Endymion installation satirizes works which depict the myth of Endymion and
Diana. An overview of the story posits Endymion as a beautiful shepherd favoured by Diana, goddess of the moon. In
one version, Diana asks Zeus to put the shepherd into an eternal sleep so that she can enjoy his youthful beauty
forever. The goddess lasciviously visits Endymion every night and bears fifty daughters out of the dubious nocturnal
arrangement. In another telling, Hypnos, god of sleep, is besotted with Endymion, suspending him in a slumber that
leaves his eyes open to preserve the full beauty of his waking face. A queer tale in all senses and one in which
triangular desire is integral.
The ambiguity and superlative nature of gendered power distribution even in the details of the myth appeals to my
interest in Eve Sedgwickâ€™s erotic triangle framework. It is easy to interpret desire between male bodies (Zeus,
Endymion, Hypnos) as routed through Diana. Simultaneously, Endymionâ€™s sleeping passivity is almost too obvious
a satire on objectified flesh. The erotics and quirks of this narrative have been widely and reiteratively explored in
western art, particularly eighteenth and nineteenth century painting. Depictions have a reputation for
transgressively queering the male body. Girodetâ€™s interpretation is considered â€ãn unambiguously homoerotic
staging of the male bodyâ€™ (Solomon-Godeau, 1997:69). By the standards of the neoclassicism of the period the
Endymion myth offered no obvious didacticism and was therefore an exercise in aesthetic indulgence.
In this installation a transparent, sliced acrylic orb suspended from the wall by a silver bracket and hook stands in for
the presence of a morally slippery deity. The clinically perfect dome amplifies formal cues from the ever-present
reveal of a single pert breast in paintings of this scene by Fragonard, Sebastiano Ricci, Nicolas Bertin, Luca Giordano,
Franz Christoph Janneck; the list continues.
Three resin lumps, cast from clay squashed into a fruit flavoured condom, are cradled inside the lip of the orb and
forty-seven more sit in a pile on the ground below. These fifty forms acknowledge Diana and Endymionâ€™s fifty
daughters. They are based on pomegranate seeds, invoking other mythological connotations - the Greek story of
Persephone positions pomegranate seeds as literal currency for corporeal exchange; Persephone eats six of the
twelve offered to her by Hades and therefore grants him ownership of her body for half of the year. A symbol of
fertility, pomegranate in Tamil is â€˜maadulampazhamâ€™ and means â€˜womanâ€™s mindâ€™ which is thought
to be full of hidden seeds.
As well as referencing my subjectivity as a female maker, this association with concealment is actively manifest in
the cigarette papers sealed inside each seed. Each of the top fifty google image results for â€˜sleep of endymionâ€™
is painted onto one of the papers in an attempt to question viewing agency in the process of image production and
consumption. My intention was to explore disintegration of intention and ultimately evaporation or warping of
transgression through processes of repetition. This idea was unintentionally supported by the gradual disintegration
of the silicone mould used to produce these seeds. By coincidence, it ceased to be functional after producing the
fiftieth seed.
Endymion is constructed from an appropriated radiator. There are always radiators in gallery spaces. There are
always white men in gallery spaces. Here the two join in homage to this pair of valuable lessons. I have incorporated
the radiator and attempted to delight in and mock it. A sticker slapped arbitrarily onto the surface depicts the penis
and testicles of Michelangeloâ€™s David sliced from their lauded torso. With all of the white dicks in history to
choose from, this one references with irony the cover of Kenneth Clarkâ€™s The Nude: A Study in Ideal Form which
shows a much larger portion of the same famous statue; albeit with a different tone.
My version of Girodetâ€™s Endymion head is painted in domestic emulsion on scrap plywood and balances in a
corner of the radiator on a slice of mirror. Wedged against a wall on the gleaming skin of his cumbersome
rectangular body, this corner of the work looks to Narcissus and the inevitably reflective self-indulgence of making a
work which conceals information central to its conception. A viewer can see the sleeping head reflected in the strip
of glass below. It is disembodied; taken from where it belongs - cut brazenly out of Girodetâ€™s work. Get close
enough and it is possible to see your reflection alongside the roughly cut wooden profile. There are two cast seeds
4
on the ledge too, some collateral smears of Vaseline and the image of the underbelly and tiny toes of cupid. This
awkward exercise in partial capture of collected preparatory visual information explores modes of display which
quietly admit to the act of research and conscious attention to component parts but without making this the point of
my visual results.
At the other end of the radiator, flopping unprimed canvas feet give way to shiny white toes carved from soap. A
notable sculptural interpretation of the myth is Antonio Canovaâ€™s 1819-1822 The Sleeping Endymion. Satish
Padiyar describes the obsessively polished marble skin of this work as â€˜luminous, sensual envelopeâ€¦the
reinvented classical sculptural objectâ€™ (Padiyar, 2007:4). Padiyar perceives a licked surface quality which again
feeds the homoerotics constantly reinforced by the history of this storyâ€™s visual currency. This connection with
licking coupled wickedly in my mind with the faux-marble appearance of carved nubs of soap; it would be a very
unpleasant experience to lick these toes. This is another acknowledgment of the corporeal erotics of my
simultaneous fascination with and disgust in my male subject matter.
A cupid painted onto the wall of the corridor hovers between orb and Endymion in a simple visual resolution to the
conceptual triangulation of this scene. The chrome air freshener fixed over his genitals aggressively squirts out
pomegranate scent in a visible stream every seven minutes. The viewer is able to watch themselves being pissed on
and potentially enjoy the experience. This simultaneously fetishistic and juvenile nod to how we consume individual
pieces of art and whole swathes of visual culture ultimately intends to undermine and question the reverence with
which accepted institutions and critical modes are used to justify both contemporary and historical art and to
rigorously interrogate my position within that.
Artwork 2 Image:
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Catalogue2 ID0744
Artist ID: 0744
Artist Name: Steve Chapman

Website: www.somethingsidid.com
IG: @stevexoh
Artist Statement: Steve is interested in creativity and the human condition and his artwork explores the relationship
between the two.
He is a popular self-taught, "Outsider Artist" who is best know for blending the 2D and 3D world through the hand
cut and hand-painted wooden characters he creates. As part of his #freeart project he has installed and left many
pieces in cities around the world for the general public to find.
He has sold work across three continents and has exhibited alongside the likes of David Shrigley, Pablo Picasso and
Henry Moore.
As well as his art he is a much sought after speaker and writer on creativity and is author of the books â€œ100 Crap
Facesâ€• and â€œCan Scorpions Smoke?â€•
He is also the host of the worldâ€™s first silent podcast â€œSound of Silenceâ€• which has featured the silence of
some very well known guests.
Steve is at his best when he doesn't quite know what he is doing.
Notes:
1
Artwork 1 Title: The Naturist
Artwork 1 Dimensions: H:100 x W:30 x D:30
Artwork 1 Medium: Mixed: wood, acrylic, astroturf, motorised turntable
Artwork 1 Commentary: The Naturist is a gnome for modern times.
The two sided wooden sculpture (buttocks on the reverse) sits atop a custom made astroturf plinth that slowly
rotates to allow the world to witness its beauty.
This piece was recently exhibited in Guildford.
Artwork 1 Image:
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Artwork 2 Title: Sausages and Mash
Artwork 2 Dimensions: H:180 x W:280 x D: 100
Artwork 2 Medium: Mixed: wood, acrylic, wallpaper, carpet
Artwork 2 Commentary: Sausages and Mash offers us a peek into the lives of these two characters in their ageing,
inner city flat.
This large, dimensional piece is striking in it's size, colour and use of different media. When viewing it straight on (as
in the picture) the viewer can only see the world that the characters inhabit.
Note: I have an additional picture of this work with me in it which gives it its true sense of scale. Please let me know
if you would like me to send it.
Artwork 2 Image:
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Catalogue2 ID0745
Artist ID: 0745
Artist Name: Orsina Pasargiklian

Website: www.orsinapasa.com
IG: https://www.instagram.com/orsinapasa/
Artist Statement: I am an Italian born artist based in West London. I graduated in BA Fine Art at Middlesex University
in 2012. I since then worked on developing my practice in London, as well as in Beijing and New York as an artist in
residence.
My interest lays in the representation of the urban environment and its developments, focusing on factors such as
urban growth, economy, migration, globalization and the political narrative that accompanies them. My paintings
suggest that these elements have had a significant impact on shaping the aesthetics of the contemporary cityscape
as much as the architectural spectacle that accommodates them.
I often draw inspiration from maps of cities and statistical graphs concerning urban development and its
consequences. In order to translate these data into paintings, I elaborate and personalize them, creating an aesthetic
that is harmonic and delicate, and jars with the cold images of graphs and the harsh reality of the information they
provide.
I also use geometry to encapsulate the essence of urban architecture in my paintings. My use of geometric clusters
and their graceful aesthetics rendered with earthy and soft colours, propose organic growth, and potentially suggest
the idea of self-growing cities.
Notes:
1
Artwork 1 Title: Snowflake
Artwork 1 Medium: acrylic paint on canvas
Artwork 1 Commentary: This painting is based on a graph showcasing the declining amount of ice caps recorded in
the Arctic due to climate change from 1980 to current date, according to NASA.
I recreated the line graph with chunks of white acrylic paint to resemble a melting iced landscape.
Artwork 1 Image:
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Artwork 2 Title: London View
Artwork 2 Dimensions: 98x128x1.5
Artwork 2 Medium: oil paint on canvas
Artwork 2 Commentary: This map of London is made out of 9 30x40 cm oil painted canvases. The dark bruising on
the map corresponds to hate crime reports in London in the past two years, more specifically: homophobic,
domestic abuse, racist, islamophobic and disability hate crime. I used this particular format because I wanted the
gaps in between the canvases to resemble window bars and turn this data reports into a panoramic window view of
the city.
Artwork 2 Image:
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Catalogue2 ID0746
Artist ID: 0746
Artist Name: Glynis Lamond

Website: glynislamond.wixsite.com/portfolio
IG: Glynis(@glynislamond)
Artist Statement: Collecting is central to my art practice. I am driven by an urge to observe, touch and manipulate
found objects: the familiar everyday things invested with individual and collective memories, activities and
narratives. I am concerned with the production of â€œstuffâ€•; the endless by-products of being human; and the
commodified condition of contemporary life. My intention is to give material form to intangible memories, to be
reconsidered in the context of a technological age.
Materials seduce me, responding to the patina of utility and wear or the visceral, sensorial and emotive effects of
environmental forces. Through an inexhaustive process of gathering and making, I offer new perspectives on the
unseen or taken for granted. Handmade furniture is deconstructed, as I attend to traces of its craftsmanship. I have
a sense of nostalgia for the embodied modes of learning that have ceased to be passed down through generations.
Central to my concerns are the effects of mass production both on mankind and the environment. By a process of
deconstruction and reconstruction, I make works that expose how things were crafted in past eras contrasted with
the effects of mass production.
The success of any artwork depends upon whether it sparks a conversation. By presenting work to an audience my
intention is to provoke thought around social and ecological issues. My objective is to create artwork that holds an
aesthetic value and also acts as a catalyst for debate.
Notes:
1
Artwork 1 Title: Two Carver Chairs
Artwork 1 Dimensions: 50 cm x 275 cm x 2 cm (width is flexible)
Artwork 1 Medium: Re-claimed wood.
Artwork 1 Commentary: This three-dimensional drawing transforms two discarded objects found devoid of function.
Two Carver Chairs were rescued from a fly-tipping site near to my home. I seek out items which reflect on memories
of life and focuses on the unnoticed in our familiar everyday environment- things that often go unseen and taken for
granted by society. Deconstructing discarded furniture, I rework the pieces with my own hands as â€˜drawingsâ€™,
transforming them so they take on a new life. An incarnation created from fractions of the past which reflect
memories of life before the digital age. The chairs can no longer find their original function and are forced into a
position forming a new structure and taking on a different purpose. I respect the craftsmanship that goes into the
making of the objects we use and in which we invest our histories. Glimpsing into another time, when furniture was
hand-crafted, the component pieces expose remnants of a different society juxtaposed with the present-day
multitude of mass-produced objects.
Artwork 1 Image:
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Artwork 2 Title: Purple Plastic & Shell-Spot the Difference series 2018
Artwork 2 Dimensions: 84 cm x 59 cm
Artwork 2 Medium: Photograph
Artwork 2 Commentary: I have discovered that plastic waste often goes unnoticed because it is camouflaged with
the natural forms around it. Our beaches appear clean but only under scrutiny do the washed-up fragments emerge.
In a series of photographs, I have documented found plastic alongside natural forms and because plastic weathers in
the same way it takes on a similar (almost indistinguishable) surface appearance. Itâ€™s this quality and seductive
aesthetic when juxtaposed with its pollutant character, that I hope people will engage with.
Artwork 2 Image:
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Catalogue2 ID0747
Artist ID: 0747
Artist Name: Tom Voyce

Website: www.tom-voyce.com
IG: tom_voyce
Artist Statement: My work revolves around the subject of travel and place. I aim to portray landscapes in a semi-
abstract way through the use of expressive brush stokes, strong compositions and line. Heavily influenced by 20th
Century American painting, my work treads a tightrope between figuration and abstraction and takes particular
inspiration from the work of Richard Diebenkorn, who rode a similar path through his work. The tension between a
figuration and abstraction in my work, often unresolved, gives the work the very energy, dynamism and vibrancy
that I feel make my paintings successful. The language is one of abstract concerns (shape, dimension, tone, colour,
mark etc) balanced with the presence of organic forms, where landscape provides a rationale or pattern which
informs the compositions. What I search for through these works are accounts of fleeting moments within a
landscape; the fall of light on a building, or the shadows cast by a motorway flyover. The strength in these pieces lies
not in their faithful depiction of a landscape, but in their suggestion of a sense of place, of being present within a
particular space at a particular moment.
I am currently completing a number of art residencies in New Zealand in search for new subject matter. My journey
has so far taken in visits to cities across Canada and the US (a pilgrimage to see the bay area artists work in their
natural surroundings) as well as the islands of Fiji â€“ all befitting of my favourite subject matter; places of transit.
Notes:
1
Artwork 1 Title: Entering a city (Dunedin)
Artwork 1 Dimensions: 27 x 18 x 0.5
Artwork 1 Medium: Oil on board
Artwork 1 Commentary: This artworks explores many of the important elements of my practice within it- structure,
composition, contrast of light and line. It also resinates with me feelings of driving through small villages and suburbs
prior to entering a city, the weather being changeable and the light casting shadows to create shapes and new
colours across the road and onto the buildings. The painting was created during my residency in Dunedin- a small
city in the very south of New Zealand. It is the largest population centre for many miles so has the feeling of being
the main location of 'civilisation' compared to the rest of the Otago region. I am very interested in this idea of 'transit
places' as well as the more formal parts that make it a painting first, and a location or a place second.
The artwork is oil on gesso'd MDF board. Built up in layers, I produce a whole series of paintings taken from the
same location from thumbnail drawings and colour studies. This allows a shared relationship to develop and means I
can be more 'care free' whilst making them- in that they won't become to 'tight' and 'overworked', thus loosing the
energy I enjoy in the mark-making.
Artwork 1 Image:
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Artwork 2 Title: San Francisco 4
Artwork 2 Commentary: California and the bay area for me if from where many of the inspirational painters the I
admire created their influential works of art (Richard Diebenkorn). I wanted to make an artistic pilgrimage here and I
was immediately blown away by the shapes, light and compositions. Everywhere attracted the eye, it was like I was
walking through a painting. I found myself sketching continually and this painting is from of those moments- finding
beauty and interest in the ordinary.
The artwork is oil on gesso'd MDF board. Built up in layers, I produce a whole series of paintings taken from the
same location from thumbnail drawings and colour studies. A shared relationship can be developed. I also allow a
history of its making to come through by leaving marks, drawing and scrapes. This can be seen especially in the
borders around the painting- a reference again to Diebenkorn's influence on my development.
Artwork 2 Image:
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Catalogue2 ID0748
Artist ID: 0748
Artist Name: Lesley Hilling

Website: www.lesleyhilling.co.uk
IG: https://www.instagram.com/lesley_hilling/
Artist Statement: My work explores two themes - the exterior, architectural layering of buildings and cities and the
interior home space.Â Each with an emphasis on memory, collective and personal, the passage of time and how it
impacts upon our lives.
I build three dimensional collages out of salvaged wood - floorboards, driftwood and aged furniture is re-worked into
new forms - jigsawed and layered with an obsessive joinery.Â
The style of construction refers to the city and how cities have been built up layer upon layer, network upon network
over time. Within this web are openings and compartments that house tiny artefacts of memory - a photograph
enlarged and distorted by a magnifying glass, shells, clock parts, toys and forgotten treasures.
The layers of greying timber with their eroded paint remind us that people once used, worked and lived with this
material.
Notes:
1
Artwork 1 Title: On Longing
Artwork 1 Dimensions: 140cm x 140cm x 20cm
Artwork 1 Medium: Wood and mixed media
Artwork 1 Commentary: On Longing is the title of a book by Susan Stewart which explores the souvenir, collections,
nostalgia and the passage of time. I made this piece in 2017, shortly after my father died - my mum had died years
before -and I assembled many items from their lives, and their parents lives within the piece. It's full of loss and
longing.
Artwork 1 Image:
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Artwork 2 Title: A Game For The Living
Artwork 2 Dimensions: 80 cm x 85 cm x 20 cm
Artwork 2 Medium: Wood, glass and mixed media
Artwork 2 Commentary: A Game For The Living is the title of a book by Patricia Highsmith. Itâ€™s a very evocative
title and I felt it suited the work. The piece is about the passage of time â€“ sometimes life can seem like a game of
chance in that random events have huge consequences on the course of our lives and life is a fragile thing. The
central picture is of my friend Loxley at his wedding in the seventies. Recently he celebrated his 70th birthday and
hidden away in the piece is a picture of him as he is today. The man on the motorbike is my dad in the fifties and
there is also a small picture of my dad when he was old. The coloured glass and the magnifying glasses distort in the
same way that our memories are distorted over time.
Artwork 2 Image:
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Catalogue2 ID0750
Artist ID: 0750
Artist Name: Hiroko Lewis

Website: hirokoart.co.uk
IG: hirokolewis
Artist Statement: Over the last few years, I have expanded my media repertoire to include metal leaf and patination.
I am fascinated by the glow of "haku" metal materials and patination which add extra dimensions and colours,
allowing a degree of expression that normal paints cannot achieve.
I "go with the flow" of these chemical reactions to create patinas which are then integrated with oil paint and other
traditional media to form a collaboration between unrestrained nature and control.
Notes:
1
Artwork 1 Title: I am become water
Artwork 1 Medium: Mixed media on wooden board
Artwork 1 Commentary: "I am become waterâ€• and â€œThe memory of waterâ€• are about experiences and
recollections. Swimming in a tropical ocean this summer took me back to a childhood lived near the sea and notions
about "being water" in martial arts. It can be a powerful metaphor of a peaceful mind to immerse oneself into;
depth and continuity and oneness and suchness.
Using metal leaf and refractive patination means that the image changes considerably according to the viewpoint,
the lighting, and the time of day. With this, I aim to mimic the same effect that can be found in rippling water.
Artwork 1 Image:
2
3
Artwork 2 Title: The memory of water
Artwork 2 Medium: Mixed media on canvas
Artwork 2 Commentary: "I am become waterâ€• and â€œThe memory of waterâ€• are about experiences and
recollections. Swimming in a tropical ocean this summer took me back to a childhood lived near the sea and notions
about "being water" in martial arts. It can be a powerful metaphor of a peaceful mind to immerse oneself into;
depth and continuity and oneness and suchness.
Using metal leaf and refractive patination means that the image changes considerably according to the viewpoint,
the lighting, and the time of day. With this, I aim to mimic the same effect that can be found in rippling water.
Artwork 2 Image:
4
5
Catalogue2 ID0754
Artist ID: 0754
Artist Name: Caroline Hiron

Website: www.carolinehiron.co.uk
IG: chiron.artmm
Artist Statement: â€˜Pattern, texture and colour have always been the driving force behind my art and nature is my
primary inspiration. I find comfort in the order and symmetry found in our natural environment but I also embrace
the chaotic unpredictability of life and its perpetual state of flux. My work explores a combination of these different
elements and how they can work in harmony within one image. Constant experimentation with a wide variety of
mediums underpins the development of my ideas and often dictates the direction of their outcomes.
Linked to my own ageing process, I have developed a curiosity about the future and how that might look from a
visual viewpoint? Perhaps a mixture of the natural and the artificial? A more recent preoccupation with photography
has inspired a new collection. This work explores the essentiality of trees and a variety of ways to enhance, disguise
and celebrate them. I wish to provoke the viewer into considering, more carefully, the part that the â€˜sentinels of
the earthâ€™ play in our lives. I hope to demonstrate, through visual language, an arboreal ability to communicate
through hidden signals.
Constantly observing and collecting visual ideas are fundamental to my ever developing, evolving conceptions. A
process that is sometimes overwhelming but always intoxicating.'
Caroline Hiron was born in Swansea, South Wales, in 1963. She currently lives in Gosport in Hampshire. Caroline left
school at 16 and went straight to Art college. This culminated in an M.A. in Printed Textiles from The Royal College of
Art.
Art and Design have persistently played a part in her life so far, in one form or another.
Notes:
1
Artwork 1 Title: Arterial Transfer
Artwork 1 Medium: Mixed media
Artwork 1 Commentary: I am fascinated by the idea that trees have a whole communication system that we can't
see. Using my own photography of trees I then like to explore a variety of ways to transcribe these messages
through colour, pattern and texture. I believe that these missives may hold a key to the future.
Artwork 1 Image:
2
Artwork 2 Title: Unseen Conveyance
Artwork 2 Medium: Mixed media
Artwork 2 Commentary: This is a visual translation of how trees might view themselves and the messages that pass
between them. Hidden in their bark are the written histories of all that they have witnessed. In my imagination, they
use colour and pattern to share their stories.
Artwork 2 Image:
3
Catalogue2 ID0755
Artist ID: 0755
Artist Name: Charlie Hawksfield

Website: www.charliehawksfield.com
IG: https://www.instagram.com/charliehawksfield/
Artist Statement: After working with collage and figuration for some years, I have recently, through a totally organic
process of experimentation and selection, started painting abstract pieces on raw canvas, using chipboard as a
support. The initial drawing is done with rags using printing ink to pick up the pattern of the support or floor, similar
to a rubbing, then layers of colour and line are added until I am satisfied with the composition. I wanted to be more
physical with these pictures, the act of rubbing and grinding paint and ink into the surfaces of the works creates
interesting marks and ares of tone upon which to build.
Notes:
1
Artwork 1 Title: Dithyramb
Artwork 1 Dimensions: 183.5x103.5x3
Artwork 1 Medium: oil, Acrylic, Ink, Wood Stain on Canvas
Artwork 1 Commentary: Dithyramb was the word in my head while painting this picture, I picked it as a title more for
the sound than the meaning, however it hints at the freedom of moving away from figuration. This painting started
as figures in a landscape and morphed into abstraction.
Artwork 1 Image:
2
Artwork 2 Title: Top Shelf
Artwork 2 Medium: Oil, Acrylic, ink, Woodstain on canvas
Artwork 2 Commentary: Top Shelf referee to the figurative element slipping back into this painting, in this way, this
is the opposite process to "Dithyramb"I found this very exciting as I have always wanted to make work that operates
in the space between abstraction and figuration
Artwork 2 Image:
3
Catalogue2 ID0756
Artist ID: 0756
Artist Name: Kate Kelly

Website: www.kateemilykelly.co.uk
IG: https://www.instagram.com/katekelly5015/
Artist Statement: My practice continues the tradition of figurative oil painting. My work is infomed by thinking about
feminism, and gender and I seek to explore the concept of a female gaze. My subjects stare out with confronting
demeanours as if the viewer is entering their space. They are self-aware; I aim to challenge the normalised
voyeuristic gaze of the viewer, as it is propagated by the media. I seek to adjust or subvert the relationship between
the viewer and the viewed. I appropriate traditional methods and media, contrasting with my choice of a vibrant
colour palette and tonal vocabulary. I do this to represent a new and different set of social norms, speaking of the
modern, the joyous, and the celebration of the myriad of ways we can self-express. Within my painting and within
art, I am interested in giving women space in physicality and by suggestion in a broader social sense.
Notes:
1
Artwork 1 Title: Strong Man
Artwork 1 Medium: Oil on canvas.
Artwork 1 Commentary: Strong Man is the translation of the subject's name. From Cantonese to English. The
Subject is a plus size fashion designer and model. The work seeks to comment on contemporty ideas of female
beauty and strength.
Artwork 1 Image:
2
Artwork 2 Title: Emily Thomas, The last Governor of Holloway
Artwork 2 Dimensions: 100x80x3cm
Artwork 2 Medium: Oil on Canvas
Artwork 2 Commentary: Emily Thomas was the last governor of Holloway prison. The painting seeks to challenge
actions about what it is to be a prison governor. It also seeks to demonstrate or reveal some of the sensitivity and
power required in that role.
Artwork 2 Image:
3
Catalogue2 ID0757
Artist ID: 0757
Artist Name: Albeiro R. Tomedes

Website: www.tomedes.co.uk
IG: tomedes.artist
Artist Statement: Tomedes is inspired by the richness of nature and the traditions he grew up alongside in the
Amazon. His innovative, creative process aims to fuse the boundaries of painting and sculpture. Much of his work
explores the liminal space in-between these practices, whilst examining how modern life and industrialisation can
damage fragile cultures.
Using a highly distinctive technique that he developed, oil and gloss paint is dried in large trays to create a layer of
â€œskinâ€•. Whilst the underneath is still wet, Tomedes peels off the skin, carefully leaving the underside to dry,
thus creating the unusual raw material used in his works.
Freed from traditional constraints and artificial boundaries, the dried but malleable paint is given an independence
that allows new forms of expression. Tomedesâ€™ main aim was to find a different and freer way of using paint to
extend it beyond a flat surface. From weaving dried strips of gloss paint through to works formed out of
â€œdestructive creativityâ€•, Tomedesâ€™ further extends his investigation of creation, destruction and the innate
qualities of paint.
â€œI felt driven to find a style that could fully express my own inner experiences. Some of my works are made very
deliberately - almost ritually - methodically following traditional patterns. Others are broken, ripped apart, cut,
destroyed and violently attacked.â€•
Many of Tomedesâ€™ works can alternatively be viewed as a painting, a sculpture or an art installation, stimulating
thought about the role that paint can take and the form produced.
Notes:
1
Artwork 1 Title: Curripaco
Artwork 1 Dimensions: 160 x 160 x 15 cm
Artwork 1 Medium: Oil and gloss paint skin cut-outs woven on board
Artwork 1 Commentary: Working with the indigenous Curripacos tribe in my hometown, I learned how to weave
different indigenous objects using natural fibres found in the Amazon jungle. As their tradition is lost in the new
generations I decided to incorporate this into my practice. I created a material from just oil and gloss to weave a
piece on a wooden board. Many litres of paint were left to dry in trays over a long period of time allowing the
surface of the paint to dry into a skin thick enough to allow me to peel it from the wet paint underneath. Once the
peeled sheets of paint skin were dried I cut them into long, thin strips and wove them together. The resulting piece
is fold like a fabric giving the flat surface of the board a third dimension, allowing the work to explore the liminal
space in-between painting and sculpture.
Artwork 1 Image:
2
3
Artwork 2 Title: The Embrace
Artwork 2 Medium: Oil and gloss paint skin cu-outs woven on board
Artwork 2 Commentary: Local art and craft skills of the Colombian Amazonâ€™s indigenous communities are rapidly
being lost. I grew up there and have since watched invasive industrialisation and modern media quickly supplant
traditions. Informed by an expedition to a jungle community and working with the few remaining elders who still
have knowledge of local weaving techniques, I was inspired to capture many of the tribeâ€™s traditional patterns.
Using dried skins of oil and gloss paint, a fabrication technique I have progressively developed as a semi sculptural
form of painting, my pieces are 3-dimensional works that take on liminal qualities in between paintings and
sculptures of malleable fabric. The irony of presenting age old indigenous weavings with such a contemporary
application of gloss paint and oils, the products of an industrial chemical process, asks the user to consider the
nature of artistic and cultural progress.
Artwork 2 Image:
4
5
Catalogue2 ID0758
Artist ID: 0758
Artist Name: Sarah Spencer

Website: www.saraspencerartist.co.uk
IG: https://www.instagram.com/sarah.spencer72/
Artist Statement: My work is an exploration into the passage of time and the memories associated with the
transition of one stage of life to another. The distortion evident in the paintings echoes the way such memories
might become coloured by emotions and imagination over time - rather than seeing things as they actually are, we
might see things as we are.
I have focussed on developing my use of colour and composition in my recent work. My compositional influences
include Renaissance artist Piero della Francesca and film directors David Lynch and Stanley Kubrick.
Colour is important compositionally, in that it leads the eye through the image, and I choose my palette to generate
an emotional response. In viewing these depictions of interior spaces, devoid of obvious human presence, I aim to
evoke a sense that something has just happened â€“ or is about to happen, leaving the final interpretation to the
viewer.
Notes:
1
Artwork 1 Title: The Transition III
Artwork 1 Commentary: The interior space that this painting depicts is somewhere between illusion and reality.
Somewhere that is drawn from memory but is distorted by not being able to recall all the information. Some
elements are very clear for example the fabric on the chair. I can remember how it felt and how it smelt whilst other
areas are blurred and eroded giving a suggestion that something has just happened.
The first layers of this painting were painted earlier in the year and then put aside, it was taken out again in August
and reworked adding more layers and glazes. Pattern is also an important process in making my artwork as certain
patterns have strong connections to periods of history. The pattern in Transition III relate to chair fabric that takes
me back to my childhood
Artwork 1 Image:
2
3
Artwork 2 Title: Presence II
Artwork 2 Dimensions: 40 x40 x 2
Artwork 2 Commentary: As with The Transition III, this painting was created at two different times, this process of
painting initial layers then leaving a few months before returning and reworking is beneficial to my way of working
as I can see clearly the way the painting needs to evolve. Whilst painting I discovered something taking shape in the
layers of glazes that appeared to look like a rucksack, which made me think how sinister a bag without human
presence in a public space is. A painting which was initially about light turned to dark in an instant.
Artwork 2 Image:
4
Catalogue2 ID0759
Artist ID: 0759
Artist Name: Conor Collins

Website: www.conartworks.com
IG: https://www.instagram.com/conartworks/
Artist Statement: I wish I knew why I made art, but the truth is I just have to. Itâ€™s as if being an artists is my illness,
and the paintings are the symptoms.
I look at the world around me, its people, its problems, its joys and its shames and am compelled to show these back
at the world. But I donâ€™t just want to reflect the world back at it, my art should be more than a mirror, I want it to
be a tool to shape society itself. Itâ€™s through showing the world all the thing that make it good, and kind and
wonderful, but also not shying away from that which makes it cruel, unjust and unforgiving that I can create real art.
I am driven to create art that is sincere and art that is of its time. If the day today is a day full of transphobia, then
this is what I will paint. If the day is the day a sexist racist becomes presidentâ€¦then today I will paint that.
If I showed the world sweeter than it is, the world would call me a comedian.
If I showed the world worse than it is, the world would call me a politician.
All I do is show the world exactly how it is, and for that I am considered an artist.
Notes:
1
Artwork 1 Title: FAKE NEWS
Artwork 1 Medium: Acrylic Paint and Dollar Bills on canvas.
Artwork 1 Commentary: For months I had the artists equivalent of writers block. It was killing me. Day after day I
grew more unhappy and more upset that for some reasonâ€¦.some unknown reason I just could not paint. I resisted
for months creating another painting of Trump, I mean after all I already created on and it had some relatively good
successâ€¦so why should I create another? Then it dawned on me.
I am an artist who paints the world around me, so what was the world around me? Trump. He was top of my twitter
timeline every morning with another offensive statement. He was in the newspapers I read. He was on the news
every time I turned on the television. He was in satirical cartoons, he was in every conversation on the bus, and if I
just began a conversation with a cashier within minutes I would be asked â€˜So have you heard what Trump has
done now?â€™. I realised he was the cause of my block, and the only way to get through itâ€¦was to create a full
portrait of him.
I collected countless quotes of his. The racist, the sexist, the bigotedâ€¦all of them. I primed a canvas with dollar bills
forming a wall, and I white washed it. Then over the course of weeks I added quote after quote after quotes, slowly
forming a massiveâ€¦HUGEâ€¦portrait of his face. These were his words, his face, on a wall of whitewashed dollars.
This was Trump.
Once I had finished itâ€¦ I was free again.

Artwork 1 Image:
2
3
Artwork 2 Title: Alan Turing II
Artwork 2 Medium: Human Blood, Ink and Acrylic Paint on Canvas
Artwork 2 Commentary: As a gay man, in the UK I have never been allowed to donate blood. Well never is perhaps
an exaggerationâ€¦I could donate if I am a virgin, or if me and my long term partner had not had sex in a year. If
either of these are not the case, then my blood is considered unclean.
The world has moved on such a great deal, and in many ways I can understand why the ban was in place, particular
during the Aids crisis, when a whole generation of gay men were wiped out of history. However today is not then,
and medical science has moved on. All blood is screened for any issues so why is it that I am still banned?
To protest this I asked for Gay and Bisexual male volunteers across the medical community to donate their blood to
this painting. There are over 20 different doctors, nurses, and surgeons blood in this painting to make the portrait of
Alan Turing. The subject of Turing has been chosen as he is one of the most important men in history. His incredible
brain is the reason we cracked the enigma code, is the reason the war ended 2 years earlier than expected, and the
reason why we today all have computers. Without him, the world would be very different, and undoubtable worse
off. However if he were alive today, he too would be considered unclean.
This piece highlights the waste, the hypocrisy and the need for change.
Artwork 2 Image:
4
5
Catalogue2 ID0760
Artist ID: 0760
Artist Name: Rachel Arif

Website: www.RachelArifArt.com
IG: rachel_arif
Artist Statement: Rachel Arif Fine Art
Artist Statement
I am a Contemporary Landscape Artist based in London. I spend my spare time in Suffolk, where I get much of my
inspiration. I am drawn to the enchanting coastal region with its quaint rural villages and bleak beautiful marshes
and heaths.
Known as 'Constable Country', the artist himself painted many of the villages, streams and heaths that I visit today.
Known as an area of outstanding natural beauty, my work is mainly concentrated here. I am particularly drawn to
the coastal towns and villages of Aldeburgh, Southwold, Thorpness and Walberswick.
This enchanting part of Britain with its wonderful light is what attracts artists alike. The coastline, heaths, marshes
and fields of gold are what I cannot get enough of.
My work is abstract and loosely painted. Highly textured, atmospheric, magnetic and weather filled.
Our land and weather here in the U.K have made us who we are and are intensely emotional, powerful forces that
are part of our very soul. I am always trying to find ways to capture a moment of that emotion, evoking those
weather filled days.
Notes:
1
Artwork 1 Title: Harvest
Artwork 1 Medium: Oil and Gesso
Artwork 1 Commentary: Harvest
The paintings in my gallery are inspired by my travels across the world and in particular the East Anglian coastline.
The inspiration for this work was a period of time spent in and around constable country in Suffolk. I was
mesmerised by the light different tonal and mood effects that the light has on the landscape.
My aim is to create artworks that capture the awe-inspiring emotion that a dramatic landscape evokes.
Artwork 1 Image:
2
3
Artwork 2 Title: Gravity
Artwork 2 Medium: Oil and Gesso
Artwork 2 Commentary: This work is inspired by my travels across the East Anglian coastline.
The inspiration for these works often starts from a memory or using a photograph as a reference point. From there
on my aim is to capture the essence of the landscape, highlighting the different tonal and mood effects that light has
on nature.
I have always been fascinated and mesmerised by the ocean and the ever changing light on the landscape depending
on the season. My aim is to create artworks that capture the awe-inspiring emotion that a dramatic landscape
evokes.
Artwork 2 Image:
4
5
Catalogue2 ID0761
Artist ID: 0761
Artist Name: Nadav Drukker

Website: https://www.instagram.com/nadavdrukker/
IG: https://www.instagram.com/nadavdrukker/
Artist Statement: Simultaneously an artist and a scientist, these two facets of me get fused in my ceramics.
As a theoretical physicist I teach and research the deepest mysteries of the universe. As an artist, I create sculptural
pieces with forms closely resembling traditional pottery whose purpose it to mirror the creativity of scientific pursuit
in art. My works represent specific research projects with the shapes and designs inspired by the research, within
the topic of string theory, the most fundamental hypothetical theory of nature. The formulas written on the pots are
at times rough calculations and at others refined results of my research. The artistic language serves to exemplify the
stage of research by varying the material from coarse stoneware to pure white porcelain and the decoration
techniques span incision, inlay, cutting, oxides, glazing and gilding.
String theory and supersymmetric field theory are very abstract topics studied by only a handful of specialists. My art
aims to convey how science creates knowledge and the viewers need not decipher the formulas, rather they should
be viewed as cuneiforms or hieroglyphs. In my art I aspire to present the language of mathematics as beautiful and
holding knowledge encouraging further exploration.
Notes:
1
Artwork 1 Title: Cusp-13
Artwork 1 Medium: glazed stoneware
Artwork 1 Commentary: This piece is a distilation of a research project calculating a quantity known as the quark-
antiquark potential. The cross-section of the pot is two arcs meeting at two corners, which is a figure appearing in
our study.
The potential has two alternative description, and we used both to calculate it. I use the two sides of the pots to
represent the basic formulas in the two calculations.
I have made other pieces with the same general form and many more formulas, but this one represents only the
most basic points of our paper and the formulas involved.
Artwork 1 Image:
2
3
Artwork 2 Title: Supertube-1
Artwork 2 Medium: partially glazed stoneware
Artwork 2 Commentary: This works carries over the main tool of a theoretical physicist, the blackboard to an art
setting. I used black ceramic tiles and experimented with multiple materials to develop a special glaze â€œchalkâ€•,
to be able to realize the blackboard-chalk effect in clay.
The topic explored here is a research paper that I wrote about the possibility or impossibility of time machines in
string theory. Specifically, I found a mechanism that prevents the creation of certain time machines, leading to
whatâ€™s known as â€œchronology protectionâ€•. The mechanism involves an object called â€œsupertubeâ€•
separating two parts of space, which would have needed to be transversed in order to realize some proposed time
machines. The flat surface and the clay ring that I fused onto it represent space-time and the tube that separates the
two regions and prevents the creation of time machines. The formulas are all taken from my authentic research.
Artwork 2 Image:
4
5
Catalogue2 ID0762
Artist ID: 0762
Artist Name: Melissa Wraxall

Website: www.melissawraxall.com
IG: melissa.wraxall
Artist Statement: My drawings and paintings are interpretations of photographs, many found, historical images.
These paintings are about the relentless passing of time, transient lives and fleeting memories. Each photograph is a
fraction of a second - a tiny piece of the jigsaw or narrative of someone's life. While the paintings are essentially
figurative, I aim to produce abstraction in the detail, choosing when to control the paint and when to allow it to drip
and run.
Iâ€™m not aiming for a photo-realist likeness in my paintings. Many of the photographs are black and white which
gives me freedom to use colour intuitively. Images that are faded, damaged or indistinct allow for even more
painterly invention. My process of drawing and painting from these images is not only one of creation and
destruction, of physically applying and removing the medium from a surface, but as a conversation between myself
and people who are long gone, or children now grown old, trapped as ghosts in a layer of silver emulsion.
Notes:
1
Artwork 1 Title: Sydney Winter
Artwork 1 Commentary: "Sydney Winter" is based on a photograph of friends of mine, on a winter's afternoon in
Sydney, where I grew up. It is unlike most of my other work in that it is entirely monochromatic, and derived from a
photograph that I took myself. I initially intended to use more colour but I felt that the contrasty, spontaneous
brushstrokes conveyed the cold and pensive mood I was after.
Artwork 1 Image:
2
Artwork 2 Title: Sunday Best IV
Artwork 2 Medium: Oil on paper
Artwork 2 Commentary: Sunday Best IV is based on a photograph of a large group of family and friends from around
the First World War. One young man is in a sailor's uniform so this gathering may have been to see him off on his
journey. At the beginning of the war, this would have been seen as a fantastic opportunity to see the world, as the
servicemen and their families would have had no idea of the destruction and tragedy that lay before them. I wanted
to use vivid colours to convey the carefree sense of excitement and adventure of this moment in time.
Artwork 2 Image:
3
Catalogue2 ID0763
Artist ID: 0763
Artist Name: Secil Erel

Website: www.secilerel.com
IG: https://www.instagram.com/secilerel/
Artist Statement: Art is the way I've chosen to understand the life and healing to my own existence and my
environment.â€¨My main focus is the abstract systems that can be identified in many aspects of the natural
world.â€¨When I start to create, first I install a system and then I start to flow inside that system.â€Ï like to begin
with a fictional infrastructure and let my pieces take shape through a process directed by the natural flow of
painting, in that way, questioning the precision of architecture and memory. â€Ï generally begin with this approach,
where I use multiple layers of paint on a single surface, to construct the image. Instead of using multiple layers on a
single large surface.â€Ï generally work in series, where I focus on different aspects of an experience.â€Äfter an
image on canvas has been constructed using layers of paint and masking tape, I strip all the masking tape from the
canvas and preserve it. I then create a collage composition with those partially painted strips of masking
tape.â€¨Colour, texture, light, layer are my mediums. My working process involves something like synesthesia.â€Ï
wish my images to reflect modular systems in nature, and the recombining of units that happens on a cellular level. I
would like to enable my audience to navigate a modular colour fiction, and to enter an imagined space.â€¨So, I am a
kind of storyteller moving between ebb and flow, the dim and glow, high and lowâ€¦
Notes:
1
Artwork 1 Title: life changing
Artwork 1 Dimensions: D:50cm.
Artwork 1 Medium: oil on canvas
Artwork 1 Commentary: 'Life changing' is a work that I painted layer upon layer, inspired by personal and spiritual
growth related with the Universe.
Artwork 1 Image:
2
Artwork 2 Title: Healing
Artwork 2 Commentary: 'Healing' is a work that I painted layer upon layer, inspired by the snake symbol that
represents healing, personal growth and life energy.
Artwork 2 Image:
3
Catalogue2 ID0766
Artist ID: 0766
Artist Name: Michael Cole

Website: www.michaelcoleart.com
IG: @mike_cole_art
Artist Statement: I am a London based artist, originally from Kent, specialising in oil painting and drawing. Having
been mostly self-taught, in recent years I completed courses at Chelsea College of Art and the Heatherley School of
Fine Art, which has allowed me to develop my skills. After balancing my passion for art with a hectic career, I am now
making the move to becoming a full time artist.
Recent work has included private commissions and ongoing projects for various clients, including six paintings for
BP's prestigious Centenary Collection.
Notes:
1
Artwork 1 Title: Enver and Mark Negotiate
Artwork 1 Dimensions: 40x40x1.5cm
Artwork 1 Medium: Oil paint
Artwork 1 Commentary: This painting depicts a conversation in the pub between my artist friend Enver (on the right)
and Mark who works for BP.
It is the result of many discussions between the two around a commissioned project for BP which I became involved
in. While they became great friends, I wanted to capture the compromise between the creative and corporate
worlds, which many artists will be familiar with. Enver proposes a bold creative idea, and Mark listens patiently with
a down-to-earth weariness, while they steadily empty their glasses.
Artwork 1 Image:
2
3
Artwork 2 Title: Wild Camping in the Rhinogs
Artwork 2 Dimensions: 25x30x1.5cm
Artwork 2 Commentary: On a hiking trip earlier in the year, I camped by a lake in the remote Rhinog region of
Snowdonia. I was the only person for miles, and as I watched the the sunset I noticed the mountains behind me had
started to glow.
I wanted to show the serenity, isolation and colour of an evening in the mountains.
Artwork 2 Image:
4
Catalogue2 ID0767
Artist ID: 0767
Artist Name: Jenna Brady

Website: Www.jennakimart@hotmail.com
IG: @jennakim_art
Artist Statement: Iâ€™m Jenna and Iâ€™m a Manx born abstract artist. I create pieces of art from acrylics and ink,
and prefer to focus on bright and colourful paintings.
I am self taught, and I take my inspiration from literally anything...it could be a scenic view or even just a
conversation. Rather than focusing on the destination, I paint for the journey, allowing my intuition and impulses to
guide me.
Notes:
1
Artwork 1 Title: Ophelia
Artwork 1 Medium: Acrylic
Artwork 1 Commentary: Ophelia is one of my more textured pieces. It measures at 60cmx60cm without the frame
and 69x69cm in the frame. Ophelia is one piece from my â€˜Moon seriesâ€™
Artwork 1 Image:
2
Artwork 2 Title: Callisto
Artwork 2 Dimensions: 69x69cm
Artwork 2 Commentary: Callisto has gained the most attention on my â€˜Moon seriesâ€™, with its bright colours,
and the hints lime green throughout the piece bringing it to life. It measures at 60cmx60cm without the frame and
69x69cm in the frame
Artwork 2 Image:
3
Catalogue2 ID0768
Artist ID: 0768
Artist Name: Tom Beardwell

Website: www.tombeardwellsculptures.co.uk
IG: tom_beardwell
Artist Statement: Iâ€™m a twenty year old artist/sculptor, having spent most of my life in Lincolnshire, I am now
studying at the University of Hertfordshire.
I first discovered my love of sculpture, age sixteen, when sculpting my grandfather, recreating in clay every lifeline.
Now, Iâ€™m striving to create sculptures that express the raw energy that emanates from every subject matter.
From each form there is a bespoke style emerging with its own energy.
I am compelled to create sculptured form, allowing myself to be inspired by my subject to reinterpret by an intuitive
response.
Sculpting is what I love, sculptures fill my dreams, theyâ€™re waiting to take tactile form.
Notes:
1
Artwork 1 Title: Gravitas
Artwork 1 Medium: Bronze
Artwork 1 Commentary: The original intentions for this project was to explore the idea of male beauty, what we
perceive as the perfect body and how that has evolved over time from the original vision of the male physique. The
concept of the perfect male physique originated in ancient Greece, where athletics and heroism were major themes
of their culture. This created an image of a toned, athletic and muscular man that many still aspire to today: a body
made for action.
This concept has naturally lead me into the world of bodybuilding, I am interested how it has evolved over time from
a male image considered very beautiful, to the extremely muscular bodybuilder today. My aim has been to delve
deep into reasons why this supposed pinnacle of male physique has changed and what drives people to obtain the
perfect image. There is no better way to explore this theme with than sculpture, working in the same way that
ancient Greeks sculpted and cast their own bronze statues depicting the male form.
I began by sculpting the male figure as exact as I can. Next came the transformation. In my sculptures I have chiselled
away the unnecessary, just as bodybuilders do with their own bodies. However I have taken this process further so
that it results in something looking almost alien. What had started off as an already perfect physique, has been
developed further, contorting the original form. My inspiration behind this is how many fitness enthusiasts strive to
chisel away at their own bodies by working out. Even if they have what may be perceived as a perfect physique, they
want to continue and improve. In a way the process of improving your body almost becomes an obsession.
Artwork 1 Image:
2
3
Artwork 2 Title: Delerium
Artwork 2 Medium: Clay (bronze cast for exhibition)
Artwork 2 Commentary: Our lives are made up of fragments, what breaks us assembles those same piece again.
These shards can be both good and bad, we perch precariously atop these experiences. They support us, lift us up
and above to greater things.
To sit on the broken pieces of oneâ€™s self, that is your throne. That is your legacy.
Artwork 2 Image:
4
Catalogue2 ID0769
Artist ID: 0769
Artist Name: Chiho Iwase

Website: www.chihoiwase.com
IG: instagram.com/ciwase
Artist Statement: Currently I am working on portrait paintings which are not reproduction of individual expressions
but refer to our sensibility and spiritual energy. I attempt to portray contemporary mythological figures rising up
within my imaginary narratives based on my personal stories, social experiences and cultural background.
My painting always begins with life drawing and meets expressions. Understanding human bodies in drawing evokes
my imagination and leads me to new ideas. In addition, I find the contradictory situation of posing models in
academic drawing sessions as they are observed like objects and treated as nameless. I choose those models to be in
my paintings since my concern in this series is also exposing my doubt about the boundaries between animate and
inanimate, or self and others.
I am searching the potential of portrait painting and mainly approaching psychological aspects and functions of
portraits in ancient believes. I would like my works rather not to be representation of individuals but something
mythical and universal in a way.
Notes:
1
Artwork 1 Title: A deity / essentials of life
Artwork 1 Medium: Acrylic and pencil on linen
Artwork 1 Commentary: This is a portrait of my imaginary goddess. I try to indicate a sacred modern female figure
symbolizing nature such as mountains, forest, rivers, and the sun.
Artwork 1 Image:
2
Artwork 2 Title: Miracles behind the light
Artwork 2 Medium: Acrylic and pencil on linen
Artwork 2 Commentary: In this painting, I focused on lighting expression and depicting the spiritual strength using
the lighting effects. When I was drawing this model, there was a very strong dramatic light, that gave me inspiration
of possible super natural powers.
Artwork 2 Image:
3
Catalogue2 ID0771
Artist ID: 0771
Artist Name: Laura Cowley

Website: lauradaisycowley.com
IG: lauradaisycowley
Artist Statement: Laura Cowley makes work that explores the intersection of the machine with the natural. The work
questions the assumed distancing of digital processing. Looping projections are evasions of closure, denials of decay
and highly authored repeated moments that highlight a tension between the natural and forms reproduced by
technology. Technology can create a facsimile of an experience and the work explores the possibility that
replacement, via technology, might be good enough and whether our instinctual distrust of the artificial is
warrented. Harawayâ€™s idea of the myth of the cyborg discusses the false dichotomy of nature and machine, or
human and machine. Engaging with digital methods is a way of embracing the machine and artificiality. Digital
processing and the labour involved are further explored in the ongoing Union for the Useless project. The Union
aims to address a frustration with the centring of peopleâ€™s potential to work as being inextricable from their
worth, particularly in light of the utopian potential of emerging technologies on societies relationship to work and
labour. The lens of projection through which the work is created is distorted (and perhaps clarified) by the
experience of disability.
Notes:
See USB Stick for Video 2
1
Artwork 1 Title: Little Good to Ourselves
Artwork 1 Medium: Printed canvas, curtain ties
Artwork 1 Commentary: The Union for the Useless is a hypothetical organisation to represent people who are not
part of the world of paid work or who exist precariously on the margins of full time employment. The Union
celebrates a supposedly toxic aspect of identity. It asks whether by embracing this maligned identity, rather than
distancing ourselves from it, some kind of community or even self acceptance might be found. The banner uses
humour to engage with the fact that not being â€˜in workâ€™ is something that most will experience and to
negotiate the feelings of shame that often accompany these moments. This work is part of a larger Union for the
Useless project which engages with Benjaminâ€™s thought on the power of Chaplinâ€™s films where â€˜the
laughter that these films provoke hovers over an abyss of horror.â€™ The project affirms that there is potentially a
radical moment in acknowledging the negative, particularly if it can be laughed at.
Artwork 1 Image:
2
3
Artwork 2 Title: Ordinary Time
Artwork 2 Medium: (New Media) Video installation, portable projector disguised in key box
Artwork 2 Commentary: This light installation is a continuously looped projected animation lasting just eight
seconds. The Themes of metamorphosis and renewal are contrasted with stifling repetition. The work is preoccupied
with contemplation, artificial light, Bergsonian ideas of repetitive moments, and full utilising the quickest glance
someone experiencing the work might grant to it.
Each frame and each layer is drawn by hand but processed digitally and re-introduced into new environments using
a portable pico projector. The projector was also positioned low on the wall, so that people observing the work head
on, cast their own shadow onto the piece. The movement in the piece lasts just four seconds, and then loops
continuously in a meditative rhythm.
The image provided is of the projection as it appears installed in a gallery space. The following link is a 1 minute clip
of the file which is projected to create the instalation.The full file loops seamlessly. I have a suitable projector and
the projection itself is designed so that it can and always has been shown in light gallery spaces. Mains power supply
is needed.
WeTransfer link: https://we.tl/t-rioikahP23
Artwork 2 Image:
4
5
Catalogue2 ID0773
Artist ID: 0773
Artist Name: Valeria Abendroth

Website: www.valeria-abendroth.com
IG: valeria abendroth
Artist Statement: The artistic topic of Valeria Abendroth is to explore how culture, society and the advancement of
technology influence personality-development.
"With cosmetic, technical and pharmaceutical means, we change to comply with social norms. The intellectual and
physical abilities of a person are exposed to enormous competitive pressure. We are encouraged to strive always to
the perfect existence. Â« says the artist.
Valeria artistically processes her knowledge into these themes through the use of media such as sculpture,
installation and video.
As a Russian-born artist who grew up in Germany, she is particularly interested in Russian female identity. Beauty,
cultural influence, the role of the women and her self-discovery, is what comes out in her poetic and appealing video
works. Through the combination of culturally influenced topics and the current way of life, she arises a dialogue that
works as interface between tradition, present and future.
In the same way Valeria's sculptures reflect on the meaning of our body in the present and the future. The media she
works with are declines mostly coming from the medical field, such as synthetic materials, waxes and silicons. Her
biomorphic sculptures, as reminiscent of human body parts, become integrated parts of the spatial installations
where reality and fantasy merge in the space.
Valeria's artworks are at the same time traditional and experimental. The visualization of her works is often playful,
through the use of this peculiar materials and original aesthetics she arouses curiosity and opening up new ways of
perception for the viewer.
Notes:
Vimeo = https://vimeo.com/229784486
1
Artwork 1 Title: memory I
Artwork 1 Dimensions: 22,5cm x 25cm
Artwork 1 Medium: Linoleumcut
Artwork 1 Commentary: The linoleum pictures are one of my newly developed technique which is derived from the
conventional linoleum section. The flat high-pressure tool (the linoleum plate) originally intended as a printing block
in art production, becomes a filigree relief.
The raised linoleum cutouts produce different light incidents and give the work an interesting play of light and
shadow.
The cutting happens in a near meditative state. Due to the required precision, concentration and sensitivity creates a
close relationship between me and the portrait.
Looking at the work, a delicate, mysterious lady appears.
The linoleum pictures symbolize the idea that every human is not interchangeable, but unique individuals who
require a closer look to recognize the true beauty. The process of cutting into the surface of the material is like
digging and searching for the real thing.
Artwork 1 Image:
2
3
Artwork 2 Title: Ð¼Ð½Ðµ Ð½Ñ€Ð°Ð²Ð¸Ñ‚Ñ•Ñ• (engl.: i like it)
Artwork 2 Dimensions: variable, 3 channel video installation, 14.36 min
Artwork 2 Medium: videoinstallation
Artwork 2 Commentary: Here, three women sit side by side in an empty room, wearing neutral clothes and each is
wearing a headdress. They talk to each other and sing traditional Russian folk songs, which are about love, home and
humor. I connect these pictures with audio excerpts of a conversation with my grandmother, where she talks about
beauty and explains the meaning of two Russian love songs. The music consists out of pieces by Rachmaninov and
Tchaikovsky in addition to short excerpts of electronic sounds.
So I describe the search for identity at the interface between tradition, present and future.
In this video work "ÐœÐ½Ðµ Ð½Ñ€Ð°Ð²Ð¸Ñ‚Ñ•Ñ• - Mne Nravitsa" (I like it), unconscious cultural experiences are
discussed on the development of personal and social identity.
I developed a stylized form of the Kokoschnik, which is a Russian headdress in the traditional solemn women's
costume of the 16th century. I use this attribute as a symbol for the identification. The original design of this
headdress was transformed by me by being cut out of transparent plastic with the laser technology.
The installation can take different dimensions. It can either be projected by 3 projectors directly on 3 walls or on 3
fabric screens. Or it can be shown on 3 tv screens standing close to each other.
Link to the video on WeTransfer:
https://wetransfer.com/downloads/9fc7c39c5e538c4e8229742fc5009b9720181125105111/3c475e25f808eb863e80
6035ddfd0d6b20181125105111/69426b
Link to the video on my webpage:
https://valeria-abendroth.com/portfolio/%D0%BC%D0%BD%D0%B5-
%D0%BD%D1%80%D0%B0%D0%B2%D0%B8%D1%82%D1%81%D1%8F-i-like-it/
Link to the video on vimeo:
https://vimeo.com/229784486
Artwork 2 Image:
4
5
Catalogue2 ID0774
Artist ID: 0774
Artist Name: Poppy Briggs

Website: poppybriggs.co.uk
IG: @poppyabriggs
Artist Statement: My work is an examination of time in relation to practise and printmaking, I am exploring the
relationship between movement and memory and am using traditional printing processes to capture this. I am
fascinated by the fact that the plate or block can be created in an instant but that the process of printing can take
hours. I am engaged with decision making that comes into play when using ink, the printing press and different
papers.
I am interested in the ephemerality of time and the only unrepeatable measure of time being memory. Does time
continue on infinitely or does it loop and repeat in cycles? Thinking in this way brings into light that nothing will ever
be the same as I have also found to be true of the printing processes.
Notes:
1
Artwork 1 Title: Breakwater Rocks
Artwork 1 Dimensions: 18.4X17.7
Artwork 1 Medium: Drypoint etching
Artwork 1 Commentary: I am very excited by the development of my most recent works, which involve dragging dry
point plates through different places and landscapes to try and capture the effects of movement at a specific
moment in time, in this case I was working in Porthleven on the Cornish coast. My aim with this piece is to create a
minimalist image, which contains a great deal of information having taken an imprint of a moment. This piece holds
the memory of the action made to create it.
Artwork 1 Image:
2
3
Artwork 2 Title: Time in a day
Artwork 2 Dimensions: 147X109
Artwork 2 Medium: Lino print
Artwork 2 Commentary: This work focuses on the current human clock, it depicts a recognisable days worth of time
in a less recognisable form. The aim of this work is to question the nature of the socially constructed clock as well as
the nature of time itself as an infinite line or a cycle. The process itself took an extended amount of time as it was
each line was printed by hand. Each block representing the minute was printed at the exact time which it depicts in
order to properly represent that moment, this is the same with the hours.
Artwork 2 Image:
4
Catalogue2 ID0775
Artist ID: 0775
Artist Name: Beatriz Arteaga

Website: www.puntoartedigital.es
IG: beatrizarteagapitzenbauer
Artist Statement: (digitalmedia, digitalart)
I present a work in which my environment and daily life are the stage for presenting series such as â€œmurmursâ€•,
â€œcellsâ€•, or â€œcracksâ€•... The composition, the lines,
each point or colour become an infinite experience: I work the spontaneous brushstroke or the loose stroke of the
sketch again, that is to say, I take advantage of the â€œdraftâ€• of each idea to compose the new work. It is a search
for artistic expression beyond an instant, or rather, each theme, each work has been worked on for a thousand
instants.
Notes:
1
Artwork 1 Title: Ionela 3 (calm)
Artwork 1 Medium: Ecological mineral pigment inks, FineArt - 100% cotton paper, mounted on 5 mm foam support,
perimeter wooden frame
Artwork 1 Commentary: Ionela belongs to a series of a project that began with a residual piece of news that I
accidentally read and was shocked by it (a Romanian prostitute in Valencia, who lived on the ground floor of a
brothel). The idea was to propose a series that was not sequential, nor chronological of what happened, but to
explain what we don't hear and don't see. The "aura" of a story: Ionela 1 (tragedy) , Ionela 2 (transfiguration), Ionela
3 (calm), Ionela 4 CLUB (memories), Ionela 5 (drowning), Ionela 6 (nothing...).
Artwork 1 Image:
2
Artwork 2 Title: Ionela 1 (tragedy)
Artwork 2 Medium: Ecological mineral pigment inks, FineArt - 100% cotton paper, mounted on 5 mm foam support,
perimeter wooden frame
Artwork 2 Commentary: Ionela belongs to a series of a project that began with a residual piece of news that I
accidentally read and was shocked by it (a Romanian prostitute in Valencia, who lived on the ground floor of a
brothel). The idea was to propose a series that was not sequential, nor chronological of what happened, but to
explain what we don't hear and don't see. The "aura" of a story: Ionela 1 (tragedy), Ionela 2 (transfiguration), Ionela
3 (calm), Ionela 4 CLUB (memories), Ionela 5 (drowning), Ionela 6 (nothing...).
Artwork 2 Image:
3
Catalogue2 ID0776
Artist ID: 0776
Artist Name: Molly Brocklehurst

Website: www.mollybrocklehurst.com
IG: https://www.instagram.com/mollybrocklehurstart/
Artist Statement: The past exists through a continually revised narrative of remembering, that in turn, threatens the
present reality. Everything inevitably finds itself dependant on an always-already existing set of conditions due to
the undeniable histories that we have to live with. Referring to a world forever haunted by its own past, I reconstruct
images of old historic groupings to create new gatherings that are foreshadowed by their predecessors.
My practice emerges from the fascination of the found photograph; each image contains itâ€™s own untold histories
that certify a moment of presence. By painting from these photographs, I am saving the moment into something that
will last longer than an old crumpled photograph. They are turning this moment from the past into a solid present
object, something with fixed dimensions.
By using objects and clothing to signal the entering of new worlds, I want the familiar to seem unfamiliar. I aim to
trigger a feeling of memory within the viewer by using old evocative imagery to cross the boundary between
nostalgia and the anticipation of the unknown. The paintings become strange fictions that blur the boundary
between documentation and storytelling.
Whilst being menaced by a nostalgia for our lost futures, my work brings together a sense of community that we no
longer have. Using a muted pallet and distinct layers of visibility and repetition, my work addresses ideas of time,
loss and hauntology.
Notes:
1
Artwork 1 Title: Salem Walk
Artwork 1 Commentary: It is this sense of a loss of community that I find myself more and more interested in. A
longing for the past, or perhaps a nostalgia for things we haven't lived yet. I have been looking at themes relating to
time, loss and nostalgia. 'Loss' is depictedÂ literally by looking at different layers of visibility. This can be seenÂ in the
ghostlyÂ blocked out figures that reoccur within the painting. I have also looked more closely at the idea of
repetition; looking from the left, the third girl in has been repeated as a follower in the crowd at the back to
portrayÂ this notion of the pastÂ never escapingÂ us.
Artwork 1 Image:
2
3
Artwork 2 Title: May Day
Artwork 2 Commentary: I create strange fictions that focus onÂ loss and hauntology.Â With this painting, it is the
idea of the failure of the future, whilst we live in a world that is constantly haunted by our past. I created this image
as a collage on photoshop using images from the internet before I began painting from it.Â I wanted to create a
feeling of uncertainty ofÂ the dateÂ in which thisÂ painting was set. I spent a lot of time focussing on the people'sÂ
expressionsÂ in this painting andÂ envy is a feeling that comes across in a lot of the faces. I'd invite the viewer to
interpretÂ itÂ as an envious nostalgia forÂ a life never lived.
Artwork 2 Image:
4
Catalogue2 ID0777
Artist ID: 0777
Artist Name: Carly Englander

Website: carlyenglander.com
IG: @carlyenglanderart
Artist Statement: I am interested in human experience that is shaped through the modern day. Primarily working in
video, performance, and installation, my work is heavily informed by my personal life in an effort to reveal
consistencies and inconsistencies within relationships. I seek to familiarize the universal experience of vulnerable
emotion. Through technology, I recognize the methods of interacting are rapidly changing. My work mimics these
changes because it is essential to the process an informs of the structure of the current human condition.
Notes:
See USB Stick for Videos
1
Artwork 1 Title: Spit and Plastic
Artwork 1 Dimensions: 21.0 x 29.7
Artwork 1 Medium: A4 paper
Artwork 1 Commentary:
https://wetransfer.com/downloads/accb3eb9a2f6038ea3bca984dcc7aabf20181125180744/dc42952d08cbe058213
e304739ea566620181125180744/b64323
Spit and Plastic is an audience driven video installation. It exists on the wall as a QR code printed on A4 paper. To
view the work, the viewer must choose to open their smart phone and place their camera over the code. If the
choice is made, the viewer will be confronted on their device. The two-minute video aims for discomfort, using
repeated cuts and edits to mimic the viewerâ€™s feelings when watching someone spit towards the screen. I create
a relationship between myself and the willing participant through technology. The potential reactions are open to
interpretation. Allowing each individual to hold the work in their hands creates endless possibilities for constructing
his or her understanding.
Artwork 1 Image:
2
3
Artwork 2 Title: Both of Us
Artwork 2 Dimensions: 112.6 x 38.1
Artwork 2 Medium: 2, 15:00 video, looped
https://wetransfer.com/downloads/8daa69f8db0ce558267b2524ee0ad50920181125180527/826921c54f2728032bf
0012bfdb67b8420181125180527/8b2bbf
Opening my relationship to the public, I present my daily conversations with my long-distance partner in 2,15
minute-looped videos that interact with the space. For documentation, Iâ€™ve include a link to a 5 minute version
with both videos represented, however, a physical installation would require two, 28-inch monitors to display the
individual films. The installation mimics our routine of FaceTiming, which is the closest we get to physical
communication for the majority of the year. By removing audio, I ask the viewer to focus on the expressions on our
faces as different moments pass by across the screens. While one video highlights our positive experiences, and the
other the negative, the position of the viewer becomes very important as they view these episodes in unison.
Synergy, an important part of relationships, is replicated through the positions of the screens and the navigation of
the viewer through them.
Artwork 2 Image:
4
5
Catalogue2 ID0778
Artist ID: 0778
Artist Name: Sarah Core

Website: https://www.sarahcorearts.com/
IG: https://www.instagram.com/sarahcorearts/
Artist Statement: â€œThere is a preoccupation in my work with the immanence of the feminine and the results, or
lessons, of that experience. Each piece is a meditation on this emergent experience.â€•
Sarah works with high fired vitreous ceramics (fired to stoneware, 1260Â°C). Making functional pottery is, for Sarah,
the making of domestic space, not only hers but in a wider context. Questions regarding the role of women in
domestic space are implicit in the apparently defiant functional ware she creates. The work acts in relation to that
space. In a global culture where women are simultaneously â€ãt workâ€™ and â€ãt homeâ€™ this aspect of her
work touches on themes of craft, care, nurture, work, labour and sustainability.
Sarahâ€™s â€˜gestureâ€™ figures are roughly textured and often boldly formed sculptures. Having suffered major
burn trauma in a gas explosion in her twenties, these injuries continue to be accommodated in her daily life. Making
ceramic from clay is a process that innately references recovery from a major burn. The practice of â€œmaking
firstâ€• allows the work to emerge from a place of not-knowing, beginning to materialise as making continues.
Survival of major trauma is highly relevant today; these experiences are deeply felt. Sarahâ€™s own experience is
that they attract a dialogue that is often desensitised, oversimplified and poorly articulated. Her figurative sculpture
touches on notions of youth, age, loss, healing, knowledge, wisdom, beauty, archetype and survival and seeks to
initiate a dialogue that articulates and integrates the complexity of experience from which it emerges.
Notes:
1
Artwork 1 Title: Up against it
Artwork 1 Medium: Ceramic (stoneware)
Artwork 1 Commentary: This piece explores the complex relationship between feminine beauty, making, work and
feminine power. It works with a figure from my own mythology that emerged as an image in a dream.
It presents an unconventional beauty pressing her breast against a brick wall as she reaches forwards in an
exaggerated gesture. Her boundary is only in front of her; there is no brick wall behind her.
The body of the woman is a solid piece of clay: the brick wall is built around her. Surface decoration is with
contrasting matt and gloss slips and glazes. In particular, the white slip and pink glaze wash on her body accentuate
the texture in her skin as they shrink and crack during firing. Her â€˜makeup and nailsâ€™ are coloured gloss glazes.
These materials all develop when fired to 1260Â°C. She is an object that has emerged from my lived experience but,
more widely, queries boundaries of work within which the feminine operates. A solid form, raw, cracked and
imperfect, fixed in a gesture that reaches forward.
Artwork 1 Image:
2
3
Artwork 2 Title: Wisdom: handle archetypes with care
Artwork 2 Medium: Ceramic (stoneware)
Artwork 2 Commentary: This piece explores the societal expectations that accompany traditions of knowledge and
wisdom.
It presents the archetype of a single man, supporting his head with his dominant hand. The head and the mouth are
hollow vessels, containing and expressing infinite knowledge. The moustache, in the form of a generous blue bow
on an enlarged white glazed mouth, is a symbol of male societal traditions in beauty, age and rank.
The figure emerged through the â€˜making firstâ€™ technique; taking a piece of clay and making without directing
thought or expectation. Surface decoration is with contrasting slips and glazes and are fully developed at 1260Â°C.
In particular, the gloss blue and white of the mouth and moustache speak to the large historical catalogue of blue
and white ceramics.
A man made by a woman is significant: it refers more widely to a movement towards healing and wholeness which
is central to my practice.
Artwork 2 Image:
4
5
Catalogue2 ID0779
Artist ID: 0779
Artist Name: Miles Johnson

Website: http://www.milesrjohnson.com
IG: https://www.instagram.com/starship_7/
Artist Statement: I work with technology at the center of my practice due to its transformational ability.
Reinterpreting objects and experiences using technical methods (oftentimes in conversation with more traditional
processes) allows me to connect with others by creating new lines and forms of communication.
My work is an examination of activism. Empowering people is everything. To do this I ask questions about the
challenges of people confronting the status quo. One such specialism in my work is the exploration of the challenge
of being black in America. My work invites interrogation in the sense that those who view it are prompted to interact
with and reflect upon a story or concept within a broad context. By engaging with the work, the viewer can situate
themselves within it, thus creating space for them to develop their own meaning and a more personalized
understanding of the issues the work seeks to address.
Notes:
Vimeo = https://vimeo.com/252133994 http://www.milesrjohnson.com/portfolio/erics-story/ https://
vimeo.com/261116894
1
Artwork 1 Title: Eric's Story
Artwork 1 Dimensions: Dimensions Variable | min 100cm x 100cm x 100cm
Artwork 1 Medium: Augmented Reality Mobile Application
Artwork 1 Commentary: Ericâ€™s Story is an augmented reality iPad application that tells the story of Eric Garner, an
African American man who was strangled by a New York City police officer in 2014. The application features eight
news clips, organized chronologically, that portray the event from various points of view. It also presents the names
of 29 unarmed African Americans killed by police in the United States since 1999. The goal of this application is to
prompt people to reflect upon the story of Eric Garner in a platform that juxtaposes the events of 2014 against
oneâ€™s everyday life. In so doing, the application underscores the singular tragedy of Garnerâ€™s death while also
illuminating how commonplace events like this have become in the United States. Ericâ€™s Story was chosen to be
presented at University of The Arts Londonâ€™s Xhibit 2018. Please see this link to view a video of the work:
https://vimeo.com/252133994.
Installation Information:
Ericâ€™s Story is an augmented reality application designed and built by me, that presents 8 video clips in a circle
around the participant in 3D space. It runs on an iPad and requires headphones. The interaction is designed to take
place in a 3-5 meter circle (but the video spacing can be calibrated to the space given). I will provide an iPad and a
secure stand for the installation. The device will need to be charged daily. To view more photos of the work in a
gallery setting please visit: http://www.milesrjohnson.com/portfolio/erics-story/.
Artwork 1 Image:
2
3
Artwork 2 Title: Here & Now Protest Posters
Artwork 2 Dimensions: 110cm X 110cm x 10cm
Artwork 2 Medium: Digital Posters
Artwork 2 Commentary: Hear and Now Protest Posters is an interactive insulation that involves 3 posters painted
with conductive ink. The posters are recreations based on images from the 2014 Eric Garner protests in New York
City. Eric Garner was an African American man who was strangled by police, despite being unarmed. Upon touch the
posers play sounds from the protest. The goal of this installation is to give context to the posters. Further, I hope to
present the excitement of standing with like-minded individuals as well as the anger and disillusionment felt by
people at that time. This piece was shown at the 2018 Fringe Arts Bath Festival from May 26 to June 10. Please see
this link to view a video of the work: https:// vimeo.com/261116894.
Installation Information:
The posters used in this installation require power for the circuit board handling the interactions. The work also
requires headphones for visitors to listen to the sounds of the protests. I will provide headphones and all other
installation materials.
Artwork 2 Image:
4
5
Catalogue2 ID0781
Artist ID: 0781
Artist Name: Askild Winkelmann

Website: www.askild-winkelmann.com
IG: https://www.instagram.com/ask1ld/
Artist Statement: Fractal theory and processes that involve infinite repetition changing slightly over time are primary
interests of multimedia artist Askild Winkelmann. This is combined with a fascination for the interconnected
networks of contemporary life, especially concerning digital technology and social media. In Winkelmannâ€™s view
globalisation has provided access to vast knowledge and opportunity but has also served to make the â€˜realâ€™
world a challenging and confusing place in which the imagination can be pushed into the background. By taking a
step back and concentrating on similarities in time, space and structure in her immediate environment (as well as, at
the other extreme, the extraterrestrial), Winkelmann find ideas and visuals she then develops in her work.
Believing that every world can become a mesmerising place, Winkelmann takes footage of her surroundings and
then pulls it apart. She then merges the resultant fragments to create layered projection artworks. A similar process
of layered fragmentation is Winkelmann using to create paintings on transparent perspex and glass. By combining
materials and media- painting, video/light installation- Winkelmann pushes her boundaries in order to find the right
way to embody the illusory effect of a new vibrant sensorial environment. Playing with light effects and chiaroscuro
interests Winkelmann in particular, especially the way in which they can be harmonised to create energetic
atmospheres that do not allow spatial orientation. By carefully directing light onto unpredictable reflective surfaces,
she creates images that continually renew themselves - a process of overlaying dynamic, painterly images that
create the sensation of depth.
Notes:
Vimeo = https://vimeo.com/287528167 https://vimeo.com/287530153
1
Artwork 1 Title: Through the Sphere
Artwork 1 Dimensions: 250cm x 270cm x (Screen depth 5cm)
Artwork 1 Medium: Video Installation
Artwork 1 Commentary: To curate:
Due to the size being max. 275cm x 275cm x 5cm sizes I will have two videos instead of the three shown on the
Photo attached. The two screens will be in a 100-degree angle with a beanbag between to have an immersive
experience. Preferable have the projectors installed far up, so they don't interact with the viewers. These are
suggestions but it will depend on the space, and the work is quite flexible due to the media.
I have all the equipment needed for the Video Installation which includes:
The Beanbags, Framed Canvas as Screens, 2 Projectors and Laptop / USB.
We Transfer Link to the video and one image showing how I would want the viewer to see it:
https://we.tl/t-nkOxszO6Q1
Introduction to the Video Installation:
Through the Sphere, is a video installation that consists of formerly of three videos displayed on three connected
screens.
The balance between the organised, here the symmetry and the uncontrollable, the lucky chance and dynamic
movements is captivated on the screens. The idea is to take up the fractal theory, that everything repeats itself,
especially that patterns and structures have lived, live and will live further is of great importance in these works. The
idea that there is an infinite amount of possibility may be frightening, but as there is continuity within the broad
range, it keeps the sanity intact. Furthermore, that even though death and other things are inevitable knowing that
takes away the pressure and heaviness.
The imagery seen in the videos are distorted by the use of prisms, overlaying of images and one-way mirrors creating
mesmerising reflections. Different approaches were chosen to develop a coexisting world next to the real one.
Furthermore, the idea is to show that the real world, as the footage is used in the video is entirely from actual
events, is as much magical as an imaginary one. The video clips vary from the first laser experiments, over to
bioluminescent jellyfish recorded at varies aquariums, to videos that I have re-filmed.
In the screen that will not be in the exhibition the left video (on the photo) is focusing on the simplicity of the laser
and reflection in regards to the fractal theory. Something small can create something overwhelming big.
The right video is focusing on the light and shadow play of glass and distorting perspectives, hence the roof videos, in
combination with everyday footage hidden.
The centre video is a mixture out of both. Furthermore, it reflects nature as there are traces of plants involved in it
and simplicity in it through settle colours.
Just in case here are the links to the Videos:
To see all three videos:
Artwork 1 Image:
2
3
Artwork 2 Title: Parallels
Artwork 2 Medium: Mixed Media on Perspex Sheets
Artwork 2 Commentary: Parallels is a wall piece that focuses on the depths created by layering.
The artwork consists of two large perspex sheets and smaller ones that are arranged consciously and unconsciously
in between the big ones.
As mentioned in my artist statement the fractal theory has a significant impact on my work. While looking at the
rings of a tree which represent its age, I realised how these layers reflect growth, depth and wisdom such as the
experiences one gain over time. My parents were raised and tried to raise me with Prussian Virtue, meaning
fortitude without pity, not showing weakness is the key to power. These virtues can be of advantage, but
communication gets lost sometimes. By doing abstract art on a surface, I do not have to express my emotions which
is very hard for me verbally but I can use my whole body to speak my mind's language without feeling weak but
somewhat empowered. In general, it is easier to keep the inner quiet and be everybody's cup of tea. Who does not
wants to be loved? By layering using different materials, consistencies allowing drying marks as well as marks
disappearing through new layers I want the reflect growths perhaps my emotional catharsis. Moreover, I made the
first layer still quite visible to represent that there is no need for hiding.
By changing the light, e.g. yellow or ultraviolet light, hitting the art piece, different colours emerge and come to the
foreground whereas other make space. This work is about facing myself and moving parallel with myself as the rings
of a tree are parallel to one another.
It has a ready built hanging system, and I would preferably have to change light bulbs placed, which I can provide, to
highlight the different colours. Depending on the space and the moment it can be hung portrait or landscape. At the
moment it should be landscape.
I have attached some images via Wetransfer if you would like to see details and how the work looks in portrait:
https://we.tl/t-LWTeWQov05
Artwork 2 Image:
4
5
Catalogue2 ID0782
Artist ID: 0782
Artist Name: Jack Coleman

Website: jackcolemanart.com
IG: jackcolemanart
Artist Statement: My artwork explores the character of landscape and how their particular features (visual and
historical) reveal realities beyond just the physical. Landscapes have their own language told through the shapes,
contours and composition of the natural or manmade lines. My observations concentrate on the contrast between
these two forms and looks to translate, through colour and composition, the nature and history of that particular
environment.
The Mediterranean is my main source of visual inspiration because of its rural landscapes, dramatic geographical
features and vivid colours. I portray these extreme forms as patterns and shapes in paintings to express the universal
abstraction of nature.
There have been several artists who influence my work. Many of them, such as Van Gogh, Bomberg and Klimt
emphasise colour and shape over true visual representation. I work in this tradition as a way of distilling the
randomness of nature into forms or shapes that become something appreciated in their own right. Mountains, trees
and fields become monuments to their own characteristics in shape and colour, to voice the language of Nature.
Notes:
1
Artwork 1 Title: Caramy River
Artwork 1 Medium: oil
Artwork 1 Commentary: I painted this piece after visiting a secluded gorge in the Var region of France early one
morning. The light and colours produced by the low sun created a tapestry like effect on the water, rocks and foliage
of this river. The style is inspired by the water paintings of John Singer Sargent.
Artwork 1 Image:
2
Artwork 2 Title: Umbrian Fields
Artwork 2 Medium: acrylic and coloured pencil
Artwork 2 Commentary: This is an example of how I emphasise colour and shape over perspective. I wanted to
portray the vivid culture of the Italian countryside with unusual colour choices and shapes that look more like
abstraction than nature.
Artwork 2 Image:
3
Catalogue2 ID0783
Artist ID: 0783
Artist Name: Megan Preston Elliott

Website: www.meganprestonelliott.com
IG: https://www.instagram.com/meganprestonart/
Artist Statement: My practice engages with several mediums including installation, performance, sculpture, video
and audio. Investigating the multiple realities of the contemporary word, my work draws on research into the
interactions between the self and technology. Within this, I consider the role that fictional narratives play in
influencing, reflecting and confusing our understanding of reality. I am chiefly interested in narratives surrounding
the body, particularly womenâ€™s bodies, drawing on my own personal experience to produce playful, tactile and
psychologically charged work.
The absurd environments I construct seek to induce an in-between state by blurring dichotomies, such as interior
and exterior space, desire and repulsion, the masked and the revealed. My ideas for installations often evolve from
the creation of sculptures and my interest in the contrast between physical and digital media. Within the
environments that I create, I juxtapose the physicality and tactility of the handmade against smooth, seductive
screens and surfaces, replicating our lived experience.
Notes:
See USB Stick for Video
1
Artwork 1 Title: Hand Tree #1 (Can't See the Wood for the Trees)
Artwork 1 Medium: MDF, reconstituted foam, synthetic fibre dye, digital print on vinyl
Artwork 1 Commentary: The work explores the notion of being distracted in a digital world, focusing on small details,
unable to see the bigger picture. The hands have been designed to appear as someone else's hands; if you were to
look down at your own hands, the thumbs would be on the outside. In doing so, I explore the symbol of the hand as
at tool for distraction. The hands reference illusion - it is the body part that we use to disguise things (in magic, or by
physically placing our hands in front of something to hide it). The hands command attention, much like the hands of
a magician. I am interested in exploring what is going on behind the surface and behind the illusion.
The construction of the hand tree references stage sets in theatre. This is made obvious to the viewer, as their
construction is evident; the viewer can walk behind them and see the stand and the wood, which has been left bare.
My interest in theatre stems from Wolfram Lotzâ€™s idea that theatre is the place where reality and fiction meet;
the collision between the supposedly â€˜realâ€™ and â€˜fakeâ€™ and the illusory experience of theatre permeates
my practice
This artwork is part of a set of four hand-trees, which can be seen here:
https://www.meganprestonelliott.com/selected-works
Artwork 1 Image:
2
3
Artwork 2 Title: Wish Away
Artwork 2 Medium: Wire mesh, plaster, acrylic paint, two-channel stereo, digital HD video, 32-inch LED screen, ply
wood, wood shavings, pine cones
Artwork 2 Commentary: â€˜Wish Awayâ€™ is a bodily, well-like construction with a screen and speakers embedded
at the bottom, playing a film of coins dropping into water. It explores the idea that we exist in a world in which we
can eliminate, or ignore, problems by merely desiring or pretending that they do not exist. On social media, we can
construct our own perfect â€˜realitiesâ€™ and we become disengaged with the physical world. Not only do we
ignore our own personal problems, but these fictional narratives created online skew our view of the world at large,
veiling deeper political and social issues.
The work seeks to bring the viewer back to the physical world, using video and audio to challenge the senses and
engage the viewers body, stimulating an active participation with the work. The screen with water and coins in
contrast with the tactility and physicality of the well itself highlights our interactions with the digital world and the
illusory nature of space within a screen.
New Media Award:
I would like this work to be considered for the New Media Award. I can supply the screen and speakers as part of the
work. Due to the nature of the work, there needs to be no direct light above the piece, as this spoils the viewing of
the screen at the bottom of the well. It needs to be near plug sockets - a corner of a room or next to a wall would be
most suitable.
I am happy to supply a We-Transfer link of the film that is embedded at the bottom of the well.
Artwork 2 Image:
4
5
Catalogue2 ID0784
Artist ID: 0784
Artist Name: Helen Withington

Website: behance.net/helenwithington
IG: helenwithington
Artist Statement: The narrative of night-time
I love the bold effect of chiaroscuro in both day and night because it creates gorgeous shards of contrasting colour.
Night-time is intriguing for its mystery and calmness. Shadows come to life and moonlight creates a peaceful feeling.
Previously shortlisted for the Art Gemini Prize 2018, The Other Insomniac is a good example of this mystery and
calmness with the combination of artificial street light, house light and night sky.
My 'hot blue sky' paintings are often compared to David Hockney's - the themes are certainly similar.
Wherever I go I find inspiration. London never lets me down! Houses in Chelsea, restaurants lit with colourful lights
and alive with people. Itâ€™s a feast for the eyes and inspiration for more artwork. Wherever I travel, each country
has its uniqueness which is planted like a footprint in my mind for a future painting, drawing or idea.
My process begins with an idea
It could be the shape of something, the colour or the contrast that inspires me to want to draw it. I might do a super
quick sketch of it first to get the layout and colours right. I stick my reference to my drawing board so I can see it
easily. I draw outlines in pencil, rubbing out any unwanted marks. Usually, I canâ€™t wait to get stuck into the final
piece while the inspirationâ€™s fresh!
Notes:
1
Artwork 1 Title: The Other Insomniac
Artwork 1 Dimensions: 29.8x20x0.5
Artwork 1 Medium: acrylics on dibond
Artwork 1 Commentary: From a series of paintings of Chelsea houses, The Other Insomniac portrays what an
insomniac sees when going out at night when most others are asleep. In this painting, they see another insomniac.
Limited use of colour helps create a calm stillness you get at the dead of night, when no-one else is up and about.
Painting onto dibond gives a smooth result which adds to the calmness.
The insomniac's point of view:
"Someoneâ€™s wide awake in that house. Maybe they have insomnia too. Iâ€™m taking a walk because I canâ€™t
sleep, no matter what I try. Walking at night is peaceful, you get to see things you wouldnâ€™t normally see."
Artwork 1 Image:
2
3
Artwork 2 Title: The Early Bird
Artwork 2 Dimensions: 61x45.7x3.5
Artwork 2 Medium: acrylics on canvas
Artwork 2 Commentary: Early morning at the pool, before anyone else arrives. Patterned tiles, sunbeds each with
their own sunshades, and beautiful silhouettes against a rich hot sky; it can only be Sorrento.
Blue and orange make a good team for a warm, summer scene. Early morning sun creates shards of shadow which
make strong contrasts between the wall, scenery and the tiles.
Painting onto canvas as opposed to dibond means there's more texture. However, the more paint layers you apply,
the smoother the canvas becomes, as you can see in the sky.
Artwork 2 Image:
4
5
Catalogue2 ID0785
Artist ID: 0785
Artist Name: Hassan Vawda

Website: www.hassanvawda.com
IG: @hassanvawda
Artist Statement: A multi-disciplinary artist who works with mediums of paint, film/sound installation and 'public
interventions'. I have
exhibited and delivered programming across the UK, in formal creative spaces but also creating artwork that
activates â€ñon traditionallyâ€™ art spaces, such as libraries, community centres and faith buildings.
Notes:
1
Artwork 1 Title: in functional absolutes, 2018
Artwork 1 Medium: acrylic & pen on canvas
Artwork 1 Commentary: a figure, without gender, ethereal in gods clothing - definable not naked. the figure for me is
muslim and for you?
in the colour shadow on colour shadows of formal expression, a history of western art linage where they have been
ignored (culture), misrepresented (race) or evicted (faith).
Artwork 1 Image:
2
3
Artwork 2 Title: in illogical processes of consideration, 2018
Artwork 2 Medium: acrylic and pen on canvas
Artwork 2 Commentary: a figure, without gender, ethereal in gods clothing - definable not naked. the figure for me is
muslim and for you?
sat on a stool of invisible scripture, contemplating the illogical processes of religious ritual - the illogical divine, the
illogical sense of doing something for another.
Artwork 2 Image:
4
Catalogue2 ID0787
Artist ID: 0787
Artist Name: Christina Marshall

Website: https://www.flickr.com/photos/92913979@N08/
IG: https://www.instagram.com
Artist Statement: I'm a local artist within Walthamstow. I create both paintings and graphic design pieces. The local
landmarks with ice rinks because the magical feel that ice rinks provide within a public attraction intrigues me. By
using landmarks that interest me such as, the Walthamstow Town Hall, William Morris Gallery, the London Eye and
many other interesting landmarks that I have on display here. This has allowed me to show the public how it feels to
be in a new environment that they may or may not expect an ice rink to be and see how it works well within the area
it is placed. Also by creating intriguing graphic design pieces it has improved my confidence..
Notes:
1
Artwork 1 Title: The Carnival Of Inspiration
Artwork 1 Dimensions: 21.0 x 29.7cm
Artwork 1 Medium: graphic design print
Artwork 1 Commentary: I love doing graphic design pieces and chose to create this piece because I love working with
vibrant colours and seeing how the colours correspond with one another. Calling this piece the carnival of inspiration
it allowed me to see a carnival in a different perspective.
Artwork 1 Image:
2
Artwork 2 Title: The Carnival Of Dreams
Artwork 2 Medium: graphic design print
Artwork 2 Commentary: I chose to call this piece the carnival of dreams because the carnival is an exciting and fun
event and I wanted to show people that you can dream about the carnival in so many different ways. For instance
within a graphic design print, a painting, a sculpture etc.
Artwork 2 Image:
3
Catalogue2 ID0789
Artist ID: 0789
Artist Name: Adam Razvi

Website: adamrazvi.com
IG: @adam.razvi
Artist Statement: I am a documentary photographer challenging perceptions of truth and reality, formed by the
stories we are told and tell. As a person of mixed-heritage I have become increasingly conscious of a sense of
belonging and place, raising a number of internal questions, often without clear resolutions. At the core of this
questioning, visual perceptions, including the image of how British I look and feel, and how this impacts everyday
interactions and my roles in society. My work aims to build understanding of how culture, nationality and the past
inform notions of identity. Photography as a tool for seeing, and for being seen, provides the creative framework to
address complex issues in a playful way, to question the histories we learn and the stories we inherit, with an aim to
celebrate our differences.
Notes:
1
Artwork 1 Title: In the Name of Deliverance â€“ Fragment 1 Generation 2
Artwork 1 Medium: Photographic Darkroom Print
Artwork 1 Commentary: From MY MAY YOUR MAY
â€“ full series available to view at adamrazvi.com
â€˜â€¦the shadows of reality, so to speak, emerge out of nothing on the exposed paper, as memories do in the
middle of the night...â€™ - W.G. Sebald
The work addresses the relationship between photography and memory like untrustworthy twins. Reflecting on past
events in Zurich and Athens encountered by two individuals, (who now live together as a couple in London); the
protagonists return to reclaim fragments of memories, four years removed from critical experiences, which
happened simultaneously in May 2014.
Artwork 1 Image:
2
3
Artwork 2 Title: Dal Lake, Kashmir. August 2018
Artwork 2 Dimensions: print size is variable
Artwork 2 Medium: 35mm Colour Photograph
Artwork 2 Commentary: From ETIC EMPIRE
â€“ more images from the project are available to view at adamrazvi.com
ETIC
adjective
: of, relating to, or involving analysis of cultural phenomena from the perspective of one who does not participate in
the culture being studied
On 15th August 1947 the British Empire divided India as a settlement for granting her independence. Without the
monumental chaos and atrocities that pursued, it is unlikely my grandparents would have left their home in
Hyderabad in search of a safer and more economically prosperous life elsewhere. I returned to India in 2018 with my
historical advisor - the last Viceroy of India, Louis The Earl Mountbatten of Burma, who was assassinated in 1979.
Our conversations are presented in a book alongside a series of documentary photographs, interviews and artefacts.
The work addresses intricate issues of belonging, and disputes the rose-tinted nostalgia still commonly associated
with the British Empire.
Artwork 2 Image:
4
5
Catalogue2 ID0790
Artist ID: 0790
Artist Name: Isaac Nugent

Website: http://isaacnugent.info/
IG: isaac.nugent
Artist Statement: My paintings are constructed from the fabric of the places that I visit. First, I record the motifs that
I discover wherever I happen to find myself: London, Naples or Lisbon. The pattern or a manhole cover might draw
my interest, or a painted tile, or a polychrome statue in a church. Then, returning to the studio, I combine what I
have collected in paint, intending to spark the interest of my viewer through contrasts of visual language and colour.
I often juxtapose different motifs in my paintings. Hands are positioned at odd angles or relation to one another or
figurative elements are put next to bursts of calligraphy. I am interested in how different languages of
representation relate when put together and what the effect of this contrast is.
The painting process is a matter of trial and error, with no definite plan. The final image, which I arrive at once I have
found a sense of balance between the constituent elements of the painting, sits on top of many layers of paint. I like
to think of my paintings as like the places that inspire them, arriving out of a process of being built up and knocked
down. I see myself as an archaeologist, peeling back the layers of a culture to discover its history.
Notes:
1
Artwork 1 Title: Modern Art or Mr Bounderby's Hands
Artwork 1 Commentary: Here, heads and hands taken from Old Master paintings and sculptures are combined in a
haphazard manner. The title, â€˜Modern Artâ€™, alludes to the way in which, in the early 20th century, avant-garde
art movements dismantled traditional modes of representation, before putting them back together, but not
necessarily in the order that they had originally been in. The alternative title, â€˜Mr Bounderbyâ€™s Handsâ€™,
comes from Dickensâ€™s â€˜Hard Timesâ€™, where factory workers are dehumanised to the extent that they are
described as merely â€˜handsâ€™.
Artwork 1 Image:
2
3
Artwork 2 Title: Arezzo
Artwork 2 Commentary: This painting was constructed from motifs gathered whilst walking through Italian towns
over several summers. A decorative pattern resembling a flower fights for attention with praying hands and three
letters from an alphabet. My intention was to capture a sense of what it means to move through the world through
combining fragments of text, image and pattern.
Artwork 2 Image:
4
Catalogue2 ID0791
Artist ID: 0791
Artist Name: Myles Mansfield

Website: www.mylesmansfieldartist.co.uk
IG: https://www.instagram.com/mansfieldmyles/?hl=en
Artist Statement: Myles is fascinated by the way that we view the historical buildings that we inhabit. They are
almost reduced to a utilitarian existence, and yet, when we look upwards at their architectural features, we can see
the history and people that built them. It is obvious by looking at their design that a lot of pride and care have gone
into their construction. To Myles these buildings are the last remaining vestiges of a long dead generation's hopes,
dreams and ambitions.
When painting a contemporary street scene Myles adds sections of masterpieces portraying mythical characters,
heroes and gods from famous artists, such as Titian and Rubens. This is an attempt to pose the question "where are
our myths and legends?". It appears to him that while we have stories and legends in contemporary culture, we do
not believe in these characters, science and technology have stolen our beliefs, and left an empty world for us to
inhabit.
Notes:
1
Artwork 1 Title: Rubens Sky
Artwork 1 Medium: watercolour and collage on paper
Artwork 1 Commentary: The dull grey contemporary urban existence becomes more monochromatic when
juxtaposed with Peter Paul Rubens's painting of myths, gods and magic.
Artwork 1 Image:
2
Artwork 2 Title: Peroni Apollo
Artwork 2 Dimensions: 25x20x20 approx
Artwork 2 Medium: Acrylic and collage on carboard beer bottle box
Artwork 2 Commentary: This beer bottle box is a disposable artifact, it has advertising on the back and beneath the
painting that is selling the idea of Italian design heritage in a bottle. I have painted a contemporary scene on it and
collaged Boucher's painting "Apollo Revealing his Divinity to the Shepherdess Isse" into the sky. the box was rubbish
before i painted on it, it already had artwork on it, has my artwork made it any less disposable? which artwork has
greater validity? the advertising? the Collaged painting? or my acrylic Street Scene? this also echoes the disposability
of the image in our click click click society, where every image lasts for five seconds.
Artwork 2 Image:
3
4
Catalogue2 ID0792
Artist ID: 0792
Artist Name: Victor Vimbert

Website: Www.victorvimbert@gmail.com
IG: @victor.vimbert
Artist Statement: What is the future of painting ?

How does reality looks like in 2019?
It is those questions that I am trying to solve in my project. Using new technologies as a medium of expression, I
search for the unseen, the sparkle of light deep down the abyss of the unconscious.
Recreating a reality that is mine, in which I mix the contradictions that live within myself : agressivity and
sensitiveness, homosexuality and heterosexuality, feminine and masculine ; in a ever changing visual system that
aims to reveal the unseen, and on a deeper level, convey messages of hope, self acceptance and love to the viewer.
Thank you for considering my application.
Victor Vimbert
Notes:
1
Artwork 1 Title: Meta - moteur
Artwork 1 Medium: Digital mixed media
Artwork 1 Commentary: Meta motor lying on a bed of flowers. The entity that seems to levitate out of the motor
conveys poems, and a deep cry for help,
Artwork 1 Image:
2
Artwork 2 Title: Screening the truth
Artwork 2 Medium: 0
Artwork 2 Commentary: Screening the truth is a metaphor used to convey the idea that with the growing impact of
social medias on our lives, we tend to search for our identities deep within the platforms. We are used to direct
responses, and develop an Â«Â Instagram syndromeÂ Â» where we base our self esteem upon the results we obtain
on the platform : a highly followed person will be able to navigate in the world more easily than an unknown one, all
this making absolutely no sense knowing that everyone is equal. But, it seems that we doesnâ€™t take this into
account, and the integration can be harder for people who donâ€™t belong to any category.
Artwork 2 Image:
3
Catalogue2 ID0793
Artist ID: 0793
Artist Name: Celia Hay

Website: www.celiahay.fr
IG: celiahay_
Artist Statement: CÃ©lia Hayâ€™s work questions image production with a highly physical approach to photography.
She sets up some performative processes of shooting, considering the production of an image as the starting point of
an interaction. Hay is indeed deeply interested in what happens between individuals during the shooting. The
interaction of their bodies, how they establish a deep and yet ephemeral connection at this very moment, in silence,
the role and the nature of the mental projections they have on each other by this time, the mix of trust and tension,
et cetera. She orchestrates thus relations, where the body is central. Her use of video halfway between fiction and
document is a way to extend in time the moment of these meetings. There is a notion of fragile balance inherent to
CÃ©lia Hayâ€™s work. The shooting is used as a frame she sets up and during which something will be able to occur,
perhaps an accident, in the manner of some mysterious rituals. Her images depict people spacing out, during some
moments of waiting or wandering. She looks for something that slips from them and cannot be totally grasped, an
inner experience.
Notes:
1
Artwork 1 Title: Obake
Artwork 1 Medium: photography
Artwork 1 Commentary: Obake (â€œghostâ€• in Japanese) is photographic series which aims to transcribe the act of
walking as a performative process of creating images. The series of instant film photographs shows silhouettes
fading in the dark, the fragile fleeting traces of apparitions met during long nocturnal walks in the Kansai region of
Japan. The word â€˜ghostâ€™, in Japanese, can be translated as Obake or Bakemono, which means Â« the things
that change Â». As part of this project, I considered ghosts as some shapes or events that gradually change as we
look for them or stare at them rather than a myth strictly speaking.
Every night during two weeks, I shot pictures during systematic walks. I could be alone or accompanied, I would
either way decide where I would go or simply walk randomly ; the only rule was to walk all night long and every
night. Here, the research of â€˜ghostsâ€™ was rather a pretext to experiment with the wandering of my body (and
the people who accompanied me) in the city. I used walking as a process. I was indeed extremely curious to see what
could possibly emerge from an obstinate and obsessional search for nothing. I see Obake as a quest without end nor
search for a meaning but the experience as the only goal. By dint of wandering searching for intangible things I
noticed a shift in my fellow travellersâ€™ attitude, in the manner of some fit of sweet madness caused by this quest
for nothingness. Thus, the act of taking a picture becomes a moving collective experience which we could compare
to a trip. The instant film camera was suitable to this experience because of the uniqueness of the result (as I think of
these photographs as traces of elusive apparitions), the fragility of the prints (just as the â€œghostsâ€• I met, they
start to perish as soon as the images appear on the film) and the immediacy of the experience.
With this physical and mental journey through deserted landscapes, I establish the act of wandering as an active way
of creating images.
Artwork 1 Image:
2
3
Artwork 2 Title: Obake
Artwork 2 Medium: photography
Artwork 2 Commentary: Obake (â€œghostâ€• in Japanese) is photographic series which aims to transcribe the act of
walking as a performative process of creating images. The series of instant film photographs shows silhouettes
fading in the dark, the fragile fleeting traces of apparitions met during long nocturnal walks in the Kansai region of
Japan. The word â€˜ghostâ€™, in Japanese, can be translated as Obake or Bakemono, which means Â« the things
that change Â». As part of this project, I considered ghosts as some shapes or events that gradually change as we
look for them or stare at them rather than a myth strictly speaking.
Every night during two weeks, I shot pictures during systematic walks. I could be alone or accompanied, I would
either way decide where I would go or simply walk randomly ; the only rule was to walk all night long and every
night. Here, the research of â€˜ghostsâ€™ was rather a pretext to experiment with the wandering of my body (and
the people who accompanied me) in the city. I used walking as a process. I was indeed extremely curious to see what
could possibly emerge from an obstinate and obsessional search for nothing. I see Obake as a quest without end nor
search for a meaning but the experience as the only goal. By dint of wandering searching for intangible things I
noticed a shift in my fellow travellersâ€™ attitude, in the manner of some fit of sweet madness caused by this quest
for nothingness. Thus, the act of taking a picture becomes a moving collective experience which we could compare
to a trip. The instant film camera was suitable to this experience because of the uniqueness of the result (as I think of
these photographs as traces of elusive apparitions), the fragility of the prints (just as the â€œghostsâ€• I met, they
start to perish as soon as the images appear on the film) and the immediacy of the experience.
With this physical and mental journey through deserted landscapes, I establish the act of wandering as an active way
of creating images.
Artwork 2 Image:
4
5
Catalogue2 ID0794
Artist ID: 0794
Artist Name: Bekky May

Website: www.bekkymay.com
IG: https://www.instagram.com/bekkymayceramics/
Artist Statement: Bekky May is a ceramic artist who designs and creates wall-based installations. She works with the
slip casting technique to create one-off contemporary sculptures, pushing the boundaries of materiality to fit a new
approach to her creative practice.
She creates two-piece plaster moulds and produces collections of different coloured ceramic pieces. Threading these
together to build sequences of many small parts, they are hung on the wall or board to create structures reminiscent
of plants or flower stems.
The larger-scale installations form a relationship with the space in which they are installed, such as public areas in
hospitals and hotels. The smaller versions of her work are mounted on boards and are intentionally more versatile to
suit spaces such as galleries and private homes.
She is influenced by the â€œBiophilia Effectâ€•, which is our intrinsic connection with the natural world. This
addresses her innate need for nature and wilderness. Aiming to bring the soothing spirit of nature into manmade
spaces, her work aspires to emphasise how sculptural contemporary ceramics can, and should be, integrated more
thoughtfully into public and private spaces. She recognises the fundamental role that nature and, as well as
simulated and art-based nature, play in our individual health as well as our collective wellbeing.
Notes:
1
Artwork 1 Title: Botanical Series Installation
Artwork 1 Dimensions: 250cm H x 90cm W x 10cm D
Artwork 1 Medium: Porcelain ceramic and steel wire
Artwork 1 Commentary: Installation made of many small hollow (light weight) slip-cast porcelain ceramic forms.
Bringing sequences of many small part together to form a whole. This work is to be hung on the wall in 40cm long
segments, giving the feel of a plant climbing the wall.
The ceramic forms are tactile and stone-like due to the porcelain clay, which is also chosen for its high-firing strength
and durability.
Artwork 1 Image:
2
Artwork 2 Title: Botanical Series II - Blue
Artwork 2 Dimensions: 40cm H x 30cm W 10cm D
Artwork 2 Medium: Porcelain ceramics, steel wire and ply board
Artwork 2 Commentary: Small installation made of small hollowslip-cast porcelain ceramic forms in a variety of blue
tones. This work is securely fixed onto a white 1.2cm thick ply board with steel wire. The piece is ready for hanging
like a picture frame on a wall. The organic nature of this piece brings a natural element into the space in which it is
hung. Here again, this piece is tactile and stone-like due to the porcelain clay, which is also chosen for its high-firing
strength and durability.
Artwork 2 Image:
3
Catalogue2 ID0795
Artist ID: 0795
Artist Name: Nigel Dawes

Website: www.nigeldawesart.com
IG: www.instagram.com/nigeldawesart/
Artist Statement: I have been working with found objects throughout my artistic career, more recently with found
plastic objects and fragments. I love the versatility, the intensity of colour, industrial neutrality, and most of all, the
way they record their histories over time and space.
An interest in collecting and exploring the landscape eventually merged into multiples and site specific art
installations.
I collect and manipulate discarded plastics of all kinds to create sculptures using adhesives, rivets, cutting and
slotting together. Sources of materials include beaches, the countryside, cities, any place where discarded plastic
objects are dumped or reappear.
The hidden histories of objects, sometimes secret journeys of identical objects towards inevitable individualism
fascinate me. Though the sea for example identical objects transform into unique pieces, distinguished now by
colour, texture, age. Or perhaps a random experience finding a series of items on a walk through the streets
produces an almost surreal motive for a piece.
I invent rules for processes as I walk and collect. I record and manipulate the objects I am drawn to work with as I am
collecting them, keeping my choices of making processes open to influence from both my thoughts and the
landscape they occupy; Often a coincidence will lead to a strong narrative guide for a piece. A found object may
reference something historical, political, geographic by its form, its location, its condition.
Notes:
1
Artwork 1 Title: Seabeast
Artwork 1 Medium: Found plastics, perspex, aluminium & mdf
Artwork 1 Commentary: Created: 20141115
Source: SharkhamPointâ‹…Devonâ‹…Englandâ‹…UK
Collected: 2012-2014
The seabeast is one of an ongoing series of works using material sourced from the fishing industry.
The idea was to recreate a beast of wonder from the waste materials used to catch sea creatures, using some of the
considerable amount of discarded material that scatters the coastline, and is extremely hazardous to marine and
coastal life.
The orange plastic pieces are washed up fragments on the floats used on the edges of trawler nets to keep them
buoyant. When the floats come away from the nets they are eventually smashed against the rocky South Devon
coast and deposited in various coves and beaches, some better than others, my beach one of the most consistent
over the years.
This piece utilises actual fishing net waste too, with a curved scaling reference to crustations of the sea, and lit up
like the luminous creatures of the deep ocean.
Artwork 1 Image:
2
3
Artwork 2 Title: Shipwreck
Artwork 2 Medium: Found plastics
Artwork 2 Commentary: Created: 20160809
Source: LidoDiClasseâ‹…EmiliaRomagnaâ‹…Italia
Collected: 20160801
'Shipwreck' was collected in the summer of 2016 from Lido Di Classe on the north eastern coast of Italy, a favourite
beach for finding a wide range of plastic objects. The geography of the beach is particularly interesting as the beach
tapers into sand dunes and pine forest typical of this area. The dunes are very good at trapping debris from winter
storm surges and preserving the contents in piles among the sand and vegetation. There is also a large hollow on the
beach filled with driftwood, that fills with seawater in wintertime to reveal a secret subterranean plastic collection.
This is where the 'Shipwreck'' piece came from, washed up wreckage reformed into another wreck.
Artwork 2 Image:
4
5
Catalogue2 ID0798
Artist ID: 0798
Artist Name: Rosco Brittin

Website: roscobrittin.com
IG: Rosco Brittin Artist
Artist Statement: Born & bred in a video shop in Kings Cross during the 80â€™s and later cutting his young proverbial
art teeth working with the likes of Sokari Douglas Camp CBE, Roscoâ€™s early experience in the creative circle was
uniquely strange at best.
Leaving the illustration world in 2015 to work on his own art full time, his style which he calls 'Cosmical' explores the
universe of natural and unnatural camouflage dipped heavily in a light fantastic.
Working with screen printing and street art techniques Rosco's work has been described as 'When special F/X and
paper first meet".
Notes:
1
Artwork 1 Title: Cover Me Like the Night
Artwork 1 Dimensions: 84 x 59cm
Artwork 1 Medium: CMYK screen print
Artwork 1 Commentary: Space but seen as a day and a night from the top to the underside of this beautiful creature.
A unique print that looks at nature's ability to distort & recreate its own body in order to survive. Which is something
that the human race is always doing to achieve its ultimate goal, regardless of the consequences. Each print is
originally drawn and then 'Cosmic skin' is painstakingly created digitally using 133 real images of space to resemble
the Octopuses camouflage. And finally screen printed using CMYK printing techniques.
Artwork 1 Image:
2
3
Artwork 2 Title: In The Deep Calm Garden
Artwork 2 Dimensions: 59x42 cm A2
Artwork 2 Medium: Digital Print on German etching
Artwork 2 Commentary: My latest piece and very much exclusive.
'In the Deep Calm Garden' I've done away with pencil and ink lines to create shape and left it entirely to the
camouflage.
Inspired by the Japanese and Australian Seahorse Dragon, I've used 204 painted images of flowers, buds and stems
hand painted by me and my computer to create not just any camouflage but a living breathing one.
Artwork 2 Image:
4
Catalogue2 ID0799
Artist ID: 0799
Artist Name: Unaiza Ismail

Website: https://www.behance.net/iunaiza
IG: https://www.instagram.com/unaizauno/?hl=en
Artist Statement: My work revolves around reaction towards social norms and values within society. I wish to
challenge the established status-quo regarding women and the expectations of society about behavior of women.
The underlying narrative depicts the shyness in growing reality of a young girl. Being erotic, gallant and subtle at the
same time generates the guilt factor and lack of acceptance in society by exaggerated and manipulated visuals.
Notes:
1
Artwork 1 Title: You are welcome
Artwork 1 Dimensions: 152.40 x 60.96 x 60.96 cm
Artwork 1 Medium: Bubble Wrap and air balloons
Artwork 1 Commentary: There are certain states through which a person has to suffer and canâ€™t talk about it
because of social norms and restrictions. Itâ€™s considered non-ethical to speak about it which adds to frustration.
Vulnerable work series central around what I believe to be reaction towards social norms and values within
misogynistic society . I wish to highlight the way in which women are suppressed and the expectations of society
about behavior of women. Representing the characteristics to let the audience experience the highlighted situations
within society which generates a debate in mind about their personal experiences and reaction towards them.Its a
bubble wrap sofa filled with air balloons to criticize its functionality.
Artwork 1 Image:
2
3
Artwork 2 Title: Fleeting Memory
Artwork 2 Dimensions: 29.7 x42 cm
Artwork 2 Medium: Rotring ink on Clairefontaine paper
Artwork 2 Commentary: Drawing has an expression of Hedonistic happiness, one could just as easily speculate that
the lovers are strangers and passion makes them familiar to each other. Ambiguity of hybrid drawings can be the life
blood of eroticism. Each one is unique. Peaceful simplicity. Slow looking. Radiating stillness. These are delicate and
deceptively simple drawings on quality artist's paper
Artwork 2 Image:
4
Catalogue2 ID0800
Artist ID: 0800
Artist Name: Nicola Vevey

Website: https://nvartuk.com/
IG: _nvart_
Artist Statement: Current focus is painting, informed by photography, because of a love of the materiality of paint on
canvas. Creating paintings which connect the unseen, without losing form.
First degree in Psychology (BSc Hons 2:1), 4 A levels â€“ one in Art. Second degree, FdA Applied Art and Design.
Early career in Clinical Psychology, Psychological Medicine and Health Psychology. Studied art at night classes â€“
painting, ceramics and silver-smithing.
Lived in Japan 10 years. Studied Woodblock Carving and Printmaking, Nihon Ga (traditional painting), Shodo (brush
calligraphy), Ceramics, Paper Doll Making and Sumi e (ink brush painting).
Back in UK, I did Printmaking course at college. Then the degree in Applied Art and Design. Studied Ceramics,
Sculpture, Photography, Film, Photoshop, Drawing, Painting, Printmaking, Textiles, Art History and Business.
Organised and ran group exhibitions (in London and other places). Course focus was Conceptual and Fine Art. Final
pieces were in film and photography, exploring the Elements of Eastern Philosophy in an Urban context. I also
incorporated painting in my exploration.
Between this, I trained for 3 years on a professional shiatsu practitioner diploma course and then did a PGCE
(Primary), which I almost completed (withdrew due to family circumstances). I passed assignments at masters level.
I am now concentrating on painting and work in my garden studio. Iâ€™ve also been training in Buddhism for over
20 years and this informs my practice, along with life experience and observation of life around me.
Notes:
1
Artwork 1 Title: Second Chance
Artwork 1 Dimensions: 70cm x 50cm x 3.8cm
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: Same as sent prior. For horse painting.
Artwork 1 Image:
2
Artwork 2 Title: Study of Broken Eggs
Artwork 2 Commentary: I was baking and decided to paint a study of the eggs I had used. I focus on connecting the
seen with the unseen. The painting is representing the fragility and cyclical nature of life.
Artwork 2 Image:
3
Catalogue2 ID0802
Artist ID: 0802
Artist Name: Anthony Jennison

Website: www.anthonyjennisonarts.com
IG: @anthonyjennisonarts
Artist Statement: Anthony, a sculptural performer and disrupter addresses indefinite questions on; materiality, truth
and illusion through universal environments and autobiographical narratives. Narratives that are repurposed as self-
reflective memory and utilitarian sources of information, for others to use as they see fit. The gesture of making is a
coping mechanism that transcribes through sculptural choreography. The remains of a timeline that examines
disruptive forces, mentally and spiritually through loss and grief. The work is not intended to be â€œprettyâ€•. Pink
only being reflective matter from the world around him. The work cements the past in the present and the future
being an existential â€˜thingâ€™. It is an instinctive submission to the workings of the human experience and how
one deals with reality.
Anthony completed his Bachelors degree at Coventry University (2015-18) in â€˜Fine Art & Illustrationâ€™. He is
currently studying his MA in 'Information Experience Designâ€™ at the Royal College of Art.
Notes:
1
Artwork 1 Title: Biotic Tenancy
Artwork 1 Dimensions: 118.9 x 84.1 cm
Artwork 1 Medium: Digital print. (Sculpture (Plaster of Paris, clay, wax, metal wire, screws & enamel acrylic.))
Artwork 1 Commentary: One considers the Spectral aspect of â€˜the cityâ€™ as a situation where non-physical
â€˜energiesâ€™ infect or co-exist within â€˜environmentsâ€™. â€˜Environmentsâ€™ being the tarnished Living
room and landscape we have built for ourselves. A â€˜Living Roomâ€™ is more than a literal meaning of the word,
but rather an exploration of biotic elements and how they interact with man-made â€˜systemsâ€™. He is interested
by the opposites. How one canâ€™t live without the other. Co-habiting whether they like it or not and imprinting
episodes of the past, present and future, wherever that may be. The digital print is part of the series 'Biotic Tenancy'
that was shot at an abandoned quarry in Anthony's hometown of Pickering. The abandonment, vandalism and
decomposition of memory transforms the environments into an apocalyptic neighbourhood, where only 'memories'
and their paraphenalia remain to claim precedence over the land.
Artwork 1 Image:
2
3
Artwork 2 Title: Biotic Tenancy
Artwork 2 Medium: Digital print. (Sculpture (Plaster of Paris, clay, wax, metal wire, screws & enamel acrylic.))
Artwork 2 Commentary: One considers the Spectral aspect of â€˜the cityâ€™ as a situation where non-physical
â€˜energiesâ€™ infect or co-exist within â€˜environmentsâ€™. â€˜Environmentsâ€™ being the tarnished Living
room and landscape we have built for ourselves. A â€˜Living Roomâ€™ is more than a literal meaning of the word,
but rather an exploration of biotic elements and how they interact with man-made â€˜systemsâ€™. He is interested
by the opposites. How one canâ€™t live without the other. Co-habiting whether they like it or not and imprinting
episodes of the past, present and future, wherever that may be. The digital print is part of the series 'Biotic Tenancy'
that was shot at an abandoned quarry in Anthony's hometown of Pickering. The abandonment, vandalism and
decomposition of memory transforms the environments into an apocalyptic neighbourhood, where only 'memories'
and their paraphenalia remain to claim precedence over the land.
Artwork 2 Image:
4
5
Catalogue2 ID0803
Artist ID: 0803
Artist Name: Dex Hannon

Website: https://dexhannon.co.uk
IG: https://www.instagram.com/brokentoycompany/
Artist Statement: I go where the idea takes me. The idea drives the choice of medium. I paint. I make and use
sounds. I take photos, I also shape sentences into interesting stories.
My work is influenced by the music I listen to as I work as well as artists Mark Rothko and Gerhard Richter. My work
is best described as abstract expressionism, although I also works with digital and sound, the choice of medium is
influenced by the message I am trying to convey.
Predominantly using contrast, through mixing of styles, techniques and bold choices I creates a battle of foreground
and background and attempt to distort and disrupt the status quo.
My current works are created â€ãlla primaâ€™ mixing the oils or acrylics directly on the canvas surface, working
fast in rapid strokes, letting the freedom of the moment and sounds influence movements of the brush, interlocking
raw strokes repeating to form distance and illusion of space, connections and disconnections. This style of working is
intense, and always filled with danger.
One stroke too far and the painting is lost.
Notes:
1
Artwork 1 Title: Sugar Pop Dream Factory
Artwork 1 Commentary: A beautiful blissed out ending to fraught year encapsulated in sugar pop dreams. Marrying
hard interlocking, overlapping sharp edged strokes with a soft harmony of colours give a sense of being trapped, but
comfortable with it.
We are unpicking our journey through life and as long as the scenery is blissful. We can make it.
Artwork 1 Image:
2
Artwork 2 Title: I clipped my own wings and fell through the earth.
Artwork 2 Commentary: This painting is based on a poem with the same name by Dexuality Valentino. The
inevitability of mortality of humanity. We all suffer, we all have battles to face. None of us are innocent and none of
us are evil. We shaped and sculpted by the world we inhabit. The painting attempts to capture these words.
I clipped my own wings and fell through the earthÂ
Standing still, the butterflies have flownÂ

Feeling nothing no more,Â Â Â
Iâ€™m undoing my dreamsÂ
Frittering away the tatters of lifeÂ

Iâ€™m a shaking quaking half dead corpseÂ
My thoughts once thrusting for the breezeÂ
Lie shattered and crushed upon the tilesÂ
I clipped my own wings and fell through the earthÂ
Nothing to catch me,

and no-one to save meÂ
I was the lost before I beganÂ Â
I have less than when I arrivedÂ
My wings are as dust at my feetÂ
and my face is covered with shameÂ
my body is battered,Â bruised and tornÂ
Iâ€™m the last, unprepared repentant foolÂ
Rooted to this mortal coil

Fixed upon the ground
Just like you.Â
Artwork 2 Image:
3
4
Catalogue2 ID0805
Artist ID: 0805
Artist Name: Nana Wolke

Website: www.nanawolke.com
IG: @nanawolkestudio
Artist Statement: My work combines imagery from intimate environment with the feeling of discomfort that is
triggered by the awareness of losing memory and altering identity. This is a result of either time passing or someone
taking over the narrative. I am often combining techniques or materials that possess a fairly short history or
â€œmemoryâ€• with ones that have a long tradition, which carries variety of meanings and connotations. This
allows me to create new dialogues and displacements within contexts these materials employ, as best demonstrated
in my project â€œSignora Maggi,â€• further described in my application. I investigate the interconnection of power
and fragility, grotesque and enchanting, as well as perverted and banal. My work is often realized in form of a
sculpture or drawing.
Notes:
1
Artwork 1 Title: Signora Maggi
Artwork 1 Dimensions: 50 x 63.5 cm
Artwork 1 Medium: Skin safe silicone and wood frame
Artwork 1 Commentary: Named after the character from Pier Paolo Pasolini's notorious film adaptation of Marquis
De Sade's novel The 120 Days of Sodom, "Signora Maggi" is the first in the series of works made out of the skin safe
silicone, commercially used for sex toys. I casted the bottom part of a 1920s scaling weight used in construction, a
very heavy object made out of metal. Transformation and partial reduction of the same shape into black silicone
reduced its serious, almost bullet-like appearance into a shape of a female breast or a nipple. Yet this work is not
only dealing with multiplication and eroticization of the original object, but also through the process of casting in a
new, light material takes away the metaphorical and literal weight of the object, that can be compared to analogy of
taking a real rifle and turning it into a water gun-a process I would describe as banalization of the original object.
Artwork 1 Image:
2
3
Artwork 2 Title: Woman with Horse Head and Foal II
Artwork 2 Dimensions: 60 x 83.5 cm
Artwork 2 Medium: Archival Ink on Paper, wood frame
Artwork 2 Commentary: Ongoing series of drawings "Women with Horse Head" depicts physically and
psychologically obese women isolated from their environment. I am playing with the idea of reversed Minotaur and
bodies of historical Veneras - cherished for their fertility, erotic beauty and sexual desire. I am questioning the
problematic representation of women through their assigned femininity, as well as perception and position of
women as political and private bodies.
The series started in 2013 sparked by the interest for different female bodies, since drawing courses in Slovenia were
mostly hiring "anatomically interesting," often muscular and fit models.
Artwork 2 Image:
4
5
Catalogue2 ID0806
Artist ID: 0806
Artist Name: James Tarry

Website: www.jamestarryphotography.com
IG: JT___Photography
Artist Statement: The Blue# series is a continuation of my Mind State Project. It explores my mental health using
photograhic techniques. In this series the Blue deal with my anxiety, while the nature in the scene represents how
my mind feels overcrowded.
Blue#7 series was shot using a Polaroid, it was then turned blue and printed 45inchs x 45inches on Fine Art Rag
Paper
Notes:
1
Artwork 1 Title: Blue#4
Artwork 1 Dimensions: 45in x 45in
Artwork 1 Commentary: The Blue# series is a continuation of my Mind State Project. It explores my mental health
using photograhic techniques. In this series the Blue deal with my anxiety, while the nature in the scene represents
how my mind feels overcrowded.
Paper
Artwork 1 Image:
2
Artwork 2 Title: Blue#1
Artwork 2 Dimensions: 45in x 45in
Artwork 2 Commentary: The Blue# series is a continuation of my Mind State Project. It explores my mental health
using photograhic techniques. In this series the Blue deal with my anxiety, while the nature in the scene represents
how my mind feels overcrowded.
Paper
Artwork 2 Image:
3
Catalogue2 ID0807
Artist ID: 0807
Artist Name: Andrea Kim Valdez

Website: www.kimvaldez.co.uk
IG: https://www.instagram.com/kimvaldez5601/
Artist Statement: Still life involves a long look at the everyday objects that surround us. It focuses on what is here,
now. It is also about the artistâ€™s choice. Whilst a landscape is a reaction to something external, a still life is
composed, objects are chosen and their relationship explored from the very start. Like re-arranging the furniture,
still life focuses on things small or everyday, We see things as new, live more fully in the present moment.
The processes of drawing on an Ipad parallel the process of composing a still life. Objects can be drawn in colour
from the beginning, imported from other drawings, re-sized, turned, moved around the canvas, undergo colour
changes, until they arrive a satisfyingly new relationship.
Notes:
1
Artwork 1 Title: Crazy Zebra Milk Jug
Artwork 1 Dimensions: 53*43
Artwork 1 Medium: Archival Print of Ipad Drawing
Artwork 1 Commentary: â€˜Crazy Zebra Milk Jugâ€™ is a slightly anomalous work from a series of Ipad drawings
â€˜Room for Wildlifeâ€™ which place endangered animals drawn at London Zoo into an unnatural domestic
environment. In the case of â€˜Crazy Zebra Milk Jugâ€™ the zebra had already been objectified and suborned into
domestic life.
Artwork 1 Image:
2
Artwork 2 Title: Cat on a Purple Chair
Artwork 2 Dimensions: 63*52
Artwork 2 Medium: Archival Print of Ipad drawing
Artwork 2 Commentary: The cat chooses her place to sit. The artist chooses how to situate the cat.
Artwork 2 Image:
3
Catalogue2 ID0808
Artist ID: 0808
Artist Name: Ellie Bright

Website: https://www.elliebright.com/
IG: https://www.instagram.com/ellie.bright.art/
Artist Statement: I think itâ€™s crucial to take risks, and with that in mind, I willingly experiment when painting. I
work in a range of mediums including oil, acrylic, watercolour, pastel and charcoal. Using different mediums helps
me remain open-minded and free thinking. Loose and bold strokes are therefore, quintessential features in my art.
For me those brushstrokes are the most exciting contribution to the composition subsequently, to truly appreciate
these spontaneous marks I subtly layer colours which are made to fit accordingly.
I try to approach each painting with my initial thoughts about the subject Iâ€™m working on. As I believe that when
solely observing the subject, first impressions are the most genuine. Specifically, I look for the unique qualities that
each fleeting moment brings, for example, an accidental gesture or movement of light. Knowing the basics of
anatomy when working on figures naturally guides my initial drawing, which allows me to further explore the
movement of the paint.
I am convinced that an artist should constantly be searching for new direction. Therefore, I do not create rules but
allow my intuition to inspire form. I value how this abstract approach allows the onlooker to fully immerse in the
subject without linking ties to the artist. This is a vital aspect for me, as it is the only way I believe the viewer will
emotionally connect with my painting.
Notes:
1
Artwork 1 Title: Solitude as a meditation
Artwork 1 Commentary: My main subject is the female body. Being a woman myself, I try to reflect on my thoughts
and feelings when painting different people. My models include friends, family and professionals.
I try to explore how the body affects our psychological state. For the way a woman feels is harmoniously linked with
the actions of her body.
Our well-being depends on numerous factors, including how we perceive our body. Mass media (The fashion
industry, TV, and music videos) unintentionally, imposes the concepts of an ideal beauty. Currently, the ideal is
having a fit and elegantly slim figure. I am studying how women perceive their bodies and why many women still
possess an inferiority complex. Therefore, Iâ€™ve decided to explore powerful and curvy body types, as a response
to this trend.
As an artist I see beauty in all body types, this not only works for my benefit, but also for the modelsâ€™, as my
paintings depict confident and powerful compositions. At the same time, nudity stresses female vulnerability, as the
models look directly in to the viewer. I believe this instigates a dialogue between the onlooker and the painting, for
the onlooker can fully immerse oneself in the meaning behind the painting.
Artwork 1 Image:
2
3
Artwork 2 Title: Vulnerable power
Artwork 2 Commentary: My main subject is the female body. Being a woman myself, I try to reflect on my thoughts
and feelings when painting different people. My models include friends, family and professionals.
I try to explore how the body affects our psychological state. For the way a woman feels is harmoniously linked with
the actions of her body.
Our well-being depends on numerous factors, including how we perceive our body. Mass media (The fashion
industry, TV, and music videos) unintentionally, imposes the concepts of an ideal beauty. Currently, the ideal is
having a fit and elegantly slim figure. I am studying how women perceive their bodies and why many women still
possess an inferiority complex. Therefore, Iâ€™ve decided to explore powerful and curvy body types, as a response
to this trend.
As an artist I see beauty in all body types, this not only works for my benefit, but also for the modelsâ€™, as my
paintings depict confident and powerful compositions. At the same time, nudity stresses female vulnerability, as the
models look directly in to the viewer. I believe this instigates a dialogue between the onlooker and the painting, for
the onlooker can fully immerse oneself in the meaning behind the painting.
Artwork 2 Image:
4
5
Catalogue2 ID0809
Artist ID: 0809
Artist Name: Annabel Ossel

Website: www.iconos.co.uk
IG: annossart
Artist Statement: For me, painting is controlled play. Colour is central to my practice and abstraction allows me to
freely juxtapose different coloured shapes. I am interested in the way shapes can be autonomous but simultaneously
interact with others to create tension and energy.
Although my work is not usually thematic, it can be driven by the unconscious expression of inner emotions as well
as reactions to outside stimuli. Inspiration comes from various sources but it is often my own work that sparks
further ideas. A detail from one painting may lead to a completely new work, with no apparent connection between
them. Or a motif in one work can be repeated in a later work.
Acrylics are my preferred painting medium but I also use oils, pastels and watercolour, separately or in combination.
I also create collages with pieces of paper daubed with excess paint used for paintings. Collages can sometimes
inform paintings and vice-versa. Lately, I have experimented with different printing techniques, using my painting
and collage as starting points.
My artistic journey began with a Foundation Year at Byam Shaw School of Art and Drawing, followed by a history of
art degree. I hope to continue with an MA in Fine Art this year. Before starting to paint seriously around 15 years
ago, I was a picture researcher, working in book publishing and other media. I am based in Bedfordshire and have
been exhibiting regularly in The Eagle Gallery in Bedford, for the past 7 years.
Notes:
1
Artwork 1 Title: Breaking Free
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: The genesis of this painting was a detail from another work. The combination of colours first
attracted me and after turning the detail 180 degrees the painting began to evolve.
The title refers to the pink, yellow and green string-like motifs. They unravel and spread out over the painting,
breaking free of their constraints. They are rather like toys in a toyshop left to their own devices.
Breaking Free is also about how shapes can metamorphose on a single plane from straight to curved and layers can
be superimposed on other layers from which negative shapes emerge.
Artwork 1 Image:
2
3
Artwork 2 Title: The Moment I Woke Up
Artwork 2 Commentary: Abstract titles can be misleading or revealing, or even have more than one meaning as this
one does. The composition of this painting was inspired by one of my collages and occurred to me one morning as I
woke up - hence the title. But it was also the title (except for the change of tense from wake to woke) of a song by
Diane Warwick, who had recently died.
Each shape is self-contained and although there is some overlapping, they do not merge with each other. The mark
making in several shapes give each one a different dynamic but together they create a unified whole from the sum of
their parts.
Artwork 2 Image:
4
5
Catalogue2 ID0810
Artist ID: 0810
Artist Name: Ferenc Cseh

Website: cfrart.com
IG: @cfrart
Artist Statement: Ferenc Cseh, CfrArt is a Cambridge (UK) based experienced visual artist whose artistic style is
rooted in his architectural and fine art trainings. Ferenc enjoys working with geometrical forms present in our built
environment and exploring the interaction between humans and these shapes. He uses acrylic paint for his latest
creations as this enables him to capture his fast-evolving ideas.
Notes:
1
Artwork 1 Title: Emergence
Artwork 1 Commentary: The simplicity of the colour choice lets us focus on and explore the shapes, their connection
to each other and the emerging new form.
Artwork 1 Image:
2
Artwork 2 Title: Collision
Artwork 2 Commentary: This piece explores the relationship between networks and individuals. It seeks to
understand how this interaction can be explored using space as container.
Artwork 2 Image:
3
Catalogue2 ID0811
Artist ID: 0811
Artist Name: Ramona Galardi

Website: www.ramonagalardi.com
IG: ramona_galardi / ramonagalardi_jewellery_callig
Artist Statement: I put my life experiences into the expressions of my art. I am a spiritual person by nature where
introspection, meditation and healing play important roles. I am an artist and a therapist and the 2 worlds combine,
collide in unexpected ways.
I work intuitively as my inner world becomes my outer expression. Some work has an expansive cosmic exploration;
another reflects existentialist questioning. In all cases the works are reflections of my inner canvas, presenting a
deeply personal series of works.
I use a variety of techniques including printmaking, collage and mixed media. I have also created small format artist
books.
I have created series of works on themes such as Identity and the masks we wear; environmental degradation
brought about by our negligent behaviours towards the delicate balance of the earth, our toxic habits. Another
series was Meditative Calligraphy, a very zen series of calligraphy-inspired art works incorporating the written word,
to bring a peaceful calming sate of mind.
I am acutely aware of my inner self and my outer environment and how vital it is for us to live in balance of the two.
Notes:
1
Artwork 1 Title: Trinity
Artwork 1 Medium: gicle print
Artwork 1 Commentary: Meditative Calligraphy series of artworks are calligraphies combined with the written word.
They are a source to still the mind, to bring peace in our very hectic days and stressful lives.
They have a very positive effect on the mind, the breath and the body.
Artwork 1 Image:
2
Artwork 2 Title: L'Ouverture
Artwork 2 Medium: gicle print
Artwork 2 Commentary: Meditative Calligraphy series of artworks are calligraphies combined with the written word.
They are a source to still the mind, to bring peace in our very hectic days and stressful lives.
They have a very positive effect on the mind, the breath and the body.
This particular one is excellent for focus and meditation.

Artwork 2 Image:
3
Catalogue2 ID0816
Artist ID: 0816
Artist Name: Elise Mendelle

Website: impressionsbyelise.co.uk
IG: https://www.instagram.com/impressionsbyelise/
Artist Statement: Art for me is about capturing a moment in time and expanding that moment; by looking beyond
the painting, I try to capture a thought, feeling or emotion so the viewer can explore and anticipate what comes
next. Through recent commissions, I have allowed people to see their family in a different way through enhancing
their memories while still retaining them in a pure and creative form.
I am continuously progressing and achieving more and more with my art. I have recently attempted a new style of
portraits, with a looser and more experimental expressive nature. I use oils on canvas; I love the way the paints
blend into each other and I am working on developing my brush strokes and conveying a lot on the canvas with less
paint. I am also trying different coloured backgrounds to make an impact on the overall painting.
Notes:
1
Artwork 1 Title: The Weight of the World
Artwork 1 Medium: Oil on canvas (acrylic wash)
Artwork 1 Commentary: When it could all come crashing down at any point.
When you can literally feel the heaviness in your hands.
When itâ€™s all too much.
This painting bears the weight of emotion and asks the viewer, can you feel it?
Artwork 1 Image:
2
3
Artwork 2 Title: A Sleight of Hand
Artwork 2 Medium: Oil on canvas (acrylic wash)
Artwork 2 Commentary: This painting presents a trick to the eye; or is what you see what you are actually looking at?
With mystery and intrigue, there's more here than meets the eye.
Artwork 2 Image:
4
Catalogue2 ID0817
Artist ID: 0817
Artist Name: Mahlia Amatina

Website: www.mahliaamatina.com
IG: www.instagram.com/mahliaamatina
Artist Statement: Visionary artist Mahlia Amatina invites you into a multi-sensory experience of colour, line, shape,
and form through tactile art that explores the creative side of neurodiversity. Drawing inspiration from the varied
landscapes and rich flavours of her international roots, Amatinaâ€™s visual vocabulary creates a narrative through
abstraction. Acrylic paint, oil sticks, India ink, and mixed media combine on canvas and paper in order to push the
traditional boundaries of style and purpose.
After being diagnosed with Aspergerâ€™s Syndrome in 2015, Amatina was inspired to share the unique sensory
experiences of life on the autism spectrum through her art. Working around the theme of neurodiversity, Amatina
has transformed her signature style of abstract colourism into a unique, interactive, multi-sensory experience that
invites viewers to engage on a level that works for them.
For Amatina, art heals and transforms, and expands the experience of living. Her mission includes creating
communities through the combination of art and advocacy around the globe. She has volunteered with childrenâ€™s
arts organizations, served residencies, and had her works displayed in both fine art and community venues in seven
countries, and has been awarded Arts Council of England funding twice.
â€œMy vision is colour. My heartbeat is rhyme. My mind expands with bursts of line, shape, and form. Art imbues
each moment of our lives, every cell of our beings. My hands tell my stories as I connect with humanity and explore
meaning through creativity and art. The voyage continues.â€•
Notes:
1
Artwork 1 Title: Autismo 25 (I)
Artwork 1 Dimensions: 41.5 x 29.5 x 0.1 cm (unframed)
Artwork 1 Medium: Mixed Media on Paper (Framed)
Artwork 1 Commentary: â€Ãutismo 25â€™ is a new body of mixed media works on paper. The work is a
continuation of the â€Õn a Spectrum â€“ an exploration of Aspergerâ€™s syndromeâ€™ collection and highlights
my continued reflections and journaling of my Aspergerâ€™s diagnosis and perceptions around this.
The collection uses the Spanish word for autism; â€ãutismoâ€™ as it was created while taking part in Hannacc artist
residency in Spain, but also acts as a reminder that autism is a global condition and something that affects people
regardless of where we are in the world.
Artwork 1 Image:
2
3
Artwork 2 Title: Autismo 25 (II)
Artwork 2 Dimensions: 41.5 x 29.5 x 0.1 cm (unframed)
Artwork 2 Medium: Mixed Media on Paper (Framed)
Artwork 2 Commentary: â€Ãutismo 25â€™ is a new body of mixed media works on paper. The work is a
continuation of the â€Õn a Spectrum â€“ an exploration of Aspergerâ€™s syndromeâ€™ collection and highlights
my continued reflections and journaling of my Aspergerâ€™s diagnosis and perceptions around this.
The collection uses the Spanish word for autism; â€ãutismoâ€™ as it was created while taking part in Hannacc artist
residency in Spain, but also acts as a reminder that autism is a global condition and something that affects people
regardless of where we are in the world.
Artwork 2 Image:
4
5
Catalogue2 ID0820
Artist ID: 0820
Artist Name: Cathy Butcher

Website: www.cathybutcher.com
IG: @crbutcher
Artist Statement: My work is inspired by pareidolia; seeing recognisable images (in my case animals) in otherwise
random and unrelated objects and patterns.
I aim to capture the essence of an animal, exploring how an abstract form can be more evocative than a literal
representation.
My work also celebrates the act of making, as a ritual and journey of discovery.
I use a single sheet of clay, draped like a skin over a newspaper core. It is a risky and addictive technique; many
pieces end up in the clay bin so a successful piece is a huge high.
When embarking on a sculpture I avoid reference material or preparatory sketches. This letting go of pre-
conceptions means that I can respond intuitively to the material and embrace chance.
As the animal emerges I am careful not to overwork the clay as its elasticity is easily lost and the work can become
too contrived.
Colour and pattern are held within the clay body, like natural markings in animals. More vibrant geometric designs
are inspired by childhood memories of combing patterns into horses coats before a show and a nerdy interest in
Jockey silks.
Other pieces are raku or smoke fired, which are exciting and unpredictable events.
My favourite sculptures continue to surprise me long after they are fired, perhaps due to the happy accidents within
them.
Notes:
1
Artwork 1 Title: Stripes
Artwork 1 Dimensions: H40cmxW30cmD25cm
Artwork 1 Medium: Coloured earthenware
Artwork 1 Commentary: This Zebra head is formed from a single sheet of clay stripes.
It appears to be floating in space, ready to morph back to it's original form.
It might also be seen as a fragile mask displayed on the wall.
I would like to incorporate the cloth I roll the clay on as it retains an impression of the stripes. It could make an
interesting backdrop reminiscent of dazzle camouflage.
Artwork 1 Image:
2
Artwork 2 Title: Smoke
Artwork 2 Dimensions: H45xW25xD65cm
Artwork 2 Medium: Sawdust-fired earthenware
Artwork 2 Commentary: This piece was fired in a bin of sawdust.
I think of it as a spirit animal.
The velvet quality of the clay and the smoke markings invite the viewer to touch it but it also looks as though it might
disappear.
Seen here photographed in situ, the fireplace framing the sculpture and providing an atmospheric setting.
Artwork 2 Image:
3
Catalogue2 ID0821
Artist ID: 0821
Artist Name: Grady Zeeman

Website: www.gradyzart.co.za
IG: Gradyzart
Artist Statement: I see creating as a very personal process and therefore it is only natural that my paintings express
my innermost feelings and my journey. By mostly using photos of myself as a basis to work from, it forces me to look
at myself with utmost honesty â€“ both my physical body and the effect age has on me, as well as my emotional
state and how I experience life.
I am fascinated by human psychology, religion and energy, always studying others and myself. I believe in continual
growth as a person and therefore in my art as well. Whether I do nudes or portraits, the continual theme of my
work is Female empowerment. Since childhood, I have always passionately believed in gender equality. Being a wife
and mother, it is essential to acknowledge myself as the powerful woman I am. More and more I prefer using mixed
media in my work, as it expresses my personality and emotions best. The thinner and thicker areas portray the multi-
faceted person I am.
I not only continually strive to learn new techniques in my work, but also enhance my knowledge of art and the art
world by doing online courses . I see my artistic talent as a divine gift and my true purpose in life.
Notes:
1
Artwork 1 Title: You know me so well
Artwork 1 Medium: Mixed Media
Artwork 1 Commentary: It feels like a woman, however accomplished she may be, loses her identity when she
marries and becomes a housewife.
Artwork 1 Image:
2
Artwork 2 Title: You are the head of the house
Artwork 2 Commentary: Though gender equality have come a long way, spousal abuse, whether physical or
emotional is still very much alive.
Artwork 2 Image:
3
Catalogue2 ID0822
Artist ID: 0822
Artist Name: Pascal Ungerer

Website: www.pascalungerer.com
IG: pascal.ungerer
Artist Statement: I am a London based artist originally from Cork, Ireland. I recently completed an MFA in Fine Art at
Goldsmiths University London (2018). I have an inter-disciplinary practice with a focus on lens based media. I work
primarily with photography, digital collage, sound and video. My practice is primarily concerned with spatial cultures
in the context of peripherality, contested space, social history and geo-politics. I have a particular interest in
marginal habitats, which are obsolete or dysfunctional and donâ€™t fit into conventional socio-geographic norms. I
often construct digitised fictional landscapes that form an intersection between time, narrative and place, and use
them as a means of recontextualizing liminal and peripheral topographies. I use these marginal environments as a
metaphorical space within my work to address socio-political, historical and ecological concerns.
I have exhibited and screened my work through out Europe, most recently at Roman Road Gallery London, GESTE
2018 Paris, and LOOP Barcelona 2018.
I have won and been shortlisted for many awards most recently for the Bloomberg New Contemporaries 2018, and
was a finalist at the The Solo Award in 2017.
Notes:
1
Artwork 1 Title: Broken Ground 01
Artwork 1 Medium: Digitally Altered Photographic Image presented as Giclee Print
Artwork 1 Commentary: This image is from an ongoing project called â€˜Broken Groundâ€™. This work looks at
obsolete industrial mining infrastructure across Europe. Much of the work uses experimental analogue and digital
techniques partially destroying or altering the imagery to expose the fractured and degraded landscape this
infrastructure often inhabits.
Artwork 1 Image:
2
Artwork 2 Title: Broken Ground 02
Artwork 2 Medium: Digitally Altered Photographic Image presented as Giclee Print
Artwork 2 Commentary: This image is from an ongoing project called â€˜Broken Groundâ€™. This work looks at
obsolete industrial mining infrastructure across Europe. Much of the work uses experimental analogue and digital
techniques partially destroying or altering the imagery to expose the fractured and degraded landscape this
infrastructure often inhabits.
Artwork 2 Image:
3
Catalogue2 ID0823
Artist ID: 0823
Artist Name: Cheryl Rodgers

Website: www.cherylrodgersartist.weebly.com
IG: @cherylrodgersartist
Artist Statement: My work draws on many different inspirations in which the shapes and patterns and pure shots of
colour in Nature are primary impulses. I gather these influences over time - typically visually and also through
photography - often developing â€˜colour studies' as part of the process. Ultimately all these stimuli re-emerge from
my hand to the canvas in a myriad of amalgamated ways. Music is a significant contextual energy and often
surrounds me as I work.
Different materials and tools inspire and develop the impetus for my paintings and I work predominantly in acrylics
on canvas using a variety of methods to create texture in my work, lifting the surface in order to create depth and
light plays in the shadows. I tend to work at some scale in order to find that which I am seeking to express. My work
moves increasingly towards the abstract as this gives scope for the resonance of the image to fully play out in the
viewerâ€™s own terms.
Notes:
1
Artwork 1 Title: Sojourn
Artwork 1 Dimensions: 76cm x102cm x2cm
Artwork 1 Commentary: A beautiful painting with a slightly mysterious air drawing directly from Nature and taking
the viewer into a Sojourn of their own.
Artwork 1 Image:
2
Artwork 2 Title: Adventure & A Little Magic
Artwork 2 Dimensions: 102cmx76cmx2cm
Artwork 2 Commentary: An abstract painting with contrast and texture using multiple techniques to create
adventure with the ambience of a little magic.
Artwork 2 Image:
3
Catalogue2 ID0824
Artist ID: 0824
Artist Name: Tom Waugh

Website: www.tomwaugh.com
IG: tomwaughsculptor
Artist Statement: In my work I seek to blur the boundary between contemporary and classical art and question pre-
conceived ideas about material value. I use salvaged pieces of stone and marble to carve hyper-realistic depictions
of waste and rubbish, highlighting modern concerns about our environment using the traditional materials and
techniques of stone sculpture. I draw on a diverse range of influences from Baroque and classical sculpture to Urban
art, Pop Art and â€Õbjet Trouveâ€™.
In my sculptures Echoes of the veiled and draped figures of classical statuary provide contrast to the modern
materials that the works depict. On the surface of these artworks I document the minute imprints of human use.
Plastic bags, cardboard boxes and tin cans are squashed, crushed and wrinkled whilst still displaying the traces of
mass production. The objects represented are made from the modern materials that define the
â€Ãnthropoceneâ€™. This is the current geological era marked by the mankindâ€™s negative influence on the
Earth's geology and ecosystems. These discarded vessels, frozen in time and rendered in stone could be seen to
represent the fossils of the future but ultimately the work seeks to make people look again at the objects that we
take for granted.
Notes:
1
Artwork 1 Title: 'Bag For Life'
Artwork 1 Medium: Carrera marble. aluminium hook.
Artwork 1 Commentary: This work is carved from a single piece of Italian Carrera marble. It is wall mounted and
appears to be hanging from an aluminium hook but it is, in fact, fixed to the wall by two hidden screws and the hook
is attached to the sculpture.
The piece is intended to bring to mind the drapery of classical and Baroque Statuary. This is in conflict with the fact
that it depicts a throwaway plastic bag and raisies questions about how we perceive material value. The title 'Bag
for Lifeâ€™ a comical on one level but it is also a comment on the transience of human life in contrast to the
permanence of what we leave behind.
Artwork 1 Image:
2
3
Artwork 2 Title: Takeaway.
Artwork 2 Medium: Caen Limestone.
Artwork 2 Commentary: This piece is carved from French Caen Limestone. It depicts a crumpled takeaway bag
containing the remnants of someoneâ€™s takeaway lunch. This is a familiar sight on the streets of our towns and
cities and something people don't really like to see. Carefully studied and re-produced in stone there is something
satisfying and appealing in the forms of this piece which belies the un-appealing subject matter and, again, raises
questions about material value and the environment.
Artwork 2 Image:
4
Catalogue2 ID0825
Artist ID: 0825
Artist Name: Anne Von Freyburg

Website: http://annevonfreyburg.com
IG: @annevonfreyburg
Artist Statement: Through my work I am exploring the perceptions and hierarchies regarding female methods in
painting, crafts and ornament. I see them as signifiers with a celebrating message in which female imagery and craft
techniques are put to aesthetic use. By applying sanding techniques and thick layers of crystals and tapestries onto
large-scale canvases, I aim to revalue tangible beauty in contemporary painting. These canvases symbolize the ever-
present interaction between dominant paradigms and marginal developments in art history. Whether it concerns
the exile of the female body or the prevailing anti-crafts orthodoxy; centuries of art history in which manual and
traditional techniques were rampant, have given way to an art climate where concepts predominate. The
condescending attitude towards craftsmanship and man-hours were a grateful premise to once again rethink the
autonomous value of an artwork. Itâ€™s fascinating how the prevailing anti-crafts orthodoxy exclusively allows
artists to be ideas-men, rather than the skilled artisans that they were in the past. Inherent in this perception is the
fact that over centuries manual techniques have acquired a symbolic value of being feminine, tactile and applied.
The work can be seen as a search for a renewed significance and meaning of the physical presence of crafted
materials. The embroidery techniques offer me the possibility to provide the work with a nurturing form of
expression. Traditional aesthetics take shape in physical layers of manually applied needlework, tufting techniques
and tapestries. The canvases contain organic textures of embroidery, textiles and crystals combined with abstract
and figurative techniques. Traits are endlessly sanded until parts of the canvas are completely lapsed. Sections are
adapted further, re-coated and frequently modified. By flipping ideas of feminine versus masculine and applied arts
versus Fine arts, I am investigating the inscrutability of aesthetics in order to complement and transcend the endless
medium of painting.
Anne von Freyburg
Notes:
1
Artwork 1 Title: cocoon
Artwork 1 Dimensions: 90 x 215 x 3,5 cm
Artwork 1 Medium: Sanding, acrylic ink, mohair, cotton, silk and hand-embroidery on canvas
Artwork 1 Commentary: The basis of work is a classical female nude figure that is overlaid by painted organic
structures which are machine sanded until wholes appeared. The wholes are repaired by hand stitching. On top of
the painting a moss like structure is hand-embroidered with mohair wool and silk and cotton thread. The intricate
and relief part of the work is better to be viewed in the flesh.
Artwork 1 Image:
2
Artwork 2 Title: Lightness Of Being
Artwork 2 Dimensions: 90 x 180 x 3,5 cm
Artwork 2 Medium: Sanding, acrylic ink, mohair, upholstery tapestry, crystal/glass beads and hand-embroidery on
canvas
Artwork 2 Commentary: The basis of the work are two declining nudes that are overlaid by painted organic
structures.
Part of the work is machine sanded until wholes appeared. The wholes are repaired by hand stitching. On top of the
painting crystal like structures are hand-embroidered by mohair and glass beads.
The intricate and relief part of the work is better to be viewed in the flesh.
Artwork 2 Image:
3
Catalogue2 ID0826
Artist ID: 0826
Artist Name: Jan Cylwik

Website: www.jancylwik.art
IG: @jan_cylwik
Artist Statement: I provoked myself with a telegraphic thought: CHALLENGE YOUR NATIONALIST NOSTALGIA STOP. I
loved the iconic nationalist figures on old coins but remained suspicious of populist regression to their utopian
visions. To the naked eye, Britannia, Saint George, Republique Francaise, Liberty, King George V amongst others
seemed perfect, exquisite, endearing and enduring. Iâ€™m still in awe of how powerfully these figures once
promoted nationalism when they each circulated on over 1000 million coins. I probed for the truth about
nationalism by producing hugely magnified chiaroscuro images of those figures, layering RGB coloured images from
different coins into the final image. There the figures float in space as ghostly negative forms materialising onto the
fabric of their own imperfections, the scratches, dents and wear accreted as time passed. Their red, blue and green
layers mixed to render the figures in pure chromogenic colours, a recognition of their magical utopian symbolism.
Even in this state the figures still exerted a hold on me. While looking at the figures, I could only free myself by
focusing on the reality of the raw metal in gaps left by the engraver. This liberated viewpoint became the basis of my
latest works, windows into the real world.
Notes:
1
Artwork 1 Title: Lost Futures: King George V
Artwork 1 Medium: GiclÃ©e print from 3 three monochrome digital macro-photographs combined into an RBG
composite and mounted on Dibond.
Artwork 1 Commentary: I succumbed to a feeling of nationalism after seeing this head of king George V on a silver
half crown. Without his regalia I related to him as a man. His thinning hair, puffy sagging eye, long ear lobe, and
lavish moustache with goatee beard contributed to a wizen look. From his prominent brow and sharp nose, I
perceived a strength of character and intellect. Into that expressionless face I read a fatherly benevolence. I felt
trust in him as king and felt proud of the then British Empire. I imagined the scale of nationalism a century ago when
his head had been stamped onto 2500 million coins.
In the artwork I challenge my own feelings of nationalism. My search for truth is alluded to by a microscopic
investigation. I made magnified monochrome chiaroscuro images of three half crowns. The heads of George V were
cropped out, coloured (red, blue or green) and superimposed. Had I done this a century ago when the coins were
new and identical these would have combined into a black and white image. A nationalist would hope my image
came out like that with the present identical to the glorious past.
Artwork 1 Image:
2
3
Artwork 2 Title: Emanations: Paris 1970
Artwork 2 Medium: GiclÃ©e print from 3 three monochrome digital macrophotographs combined into an RBG
composite and mounted on Dibond.
Artwork 2 Commentary: I searched for a flaw in nationalism. On a bronze coloured 20 centime coin I saw the face of
Liberty with the wind of freedom blowing her hair and the shawl over her shoulder. She was the very symbol of
French nationalism for three decades, stamped onto 14,000 million coins. Just as starlight travels for years through
space, I imagined this coin to be a signal from the Paris mint in 1970 travelling through time to reach me. Because
the colour of light from each star is shifted depending on its journey through space, I photographed three coins in
monochrome and shifted their colour to red, green or blue to suggest their separate journeys through history. I
found the flaw in the shawl, small gap left by the engraver in the nationalist figure, which exposed the materiality of
the raw metal alloy. That flaw on each coin was photographed to produce highly magnified chiaroscuro images
which were then coloured and superimposed. The resulting image shows traces of previously unseen microscopic
surface damage and metallic crystalline structure. But for me it evokes the continuous genesis of our cosmos which
cannot sustain the illusion of the permanent utopian order sought by nationalists.
Artwork 2 Image:
4
5
Catalogue2 ID0827
Artist ID: 0827
Artist Name: Elizabeth Power

Website: http://www.elizabeth-power.com/
IG: https://www.instagram.com/elizabethpowerart/
Artist Statement: Elizabeth graduated from the University of the Arts London in 2010 but has long since explored an
expressive use of bold colour with thick brush strokes. Elizabeth uses abstract mark-making full of colour to capture
the movement and compelling beauty of flowers and plants. The daughter of an art therapist, Elizabeth adopts a fast
and impulsive approach to painting which captures her mood. Having worked in the arts for many years in various
trades, Elizabeth now focuses on producing her own work, inspired by the likes of Cy Twombly, Joan Mitchell, Willem
de Kooning, Frank Auerbach, Paul Cezanne and Claude Monet.
Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA
for use on posters and gift cards. She is exhibiting at various London art fairs in 2019.
Notes:
1
Artwork 1 Title: Pink Panther
Artwork 1 Medium: Acrylic and oil pastel on canvas
Artwork 1 Commentary: This is a recent painting painted in Jan 2019 focusing on the cheese plant as a subject. I have
also made a limited print edition of 50 from this painting which is soon to be released.
Artwork 1 Image:
2
Artwork 2 Title: Lenu
Artwork 2 Commentary: Another recent painting from 2019, I really enjoyed working in a fast and abstract way to
create this piece.
Artwork 2 Image:
3
Catalogue2 ID0828
Artist ID: 0828
Artist Name: Jinya Zhao

Website: www.jinyazhao.com
IG: https://www.instagram.com/jinyaglass/
Artist Statement: Born and raised in China, I discovered my love for glass whilst living in Hangzhou, undertaking my
BA at the China Academy of Art (2013-2017). I am currently continuing my practice at The Royal College of Art and
will finalise my MA in 2019. I have been working with glass for about six years using it as a medium to explore
themes of environment, emotion and personal experiences.
Aesthetic language communication is different from other communication methods. Accordingly, I am seeking to
explore how art affects people; especially, how glass as a material creates an emotional response among its
audience. I always seek to find inspiration in everyday life. In previous collections, I have exploited the differing
qualities of glass and through this approach have endeavoured to allow space for the viewer to reflect on their own
lives. For instance, the artwork created during my study at RCA utilises a smoky glass to deliberately obscure the
interior, thereby allowing for scope for interpretation. I do, however, maintain a recognisable aesthetic which has
been described as â€ñon-existent existenceâ€™.
Being accustomed to working methodically, I pride myself on being able to pre-plan everything in order. This
advantage shall benefit me in my PhD endeavours. To further technical and creative ideas, I always strive to reflect
on my previous projects in order to improve my creative thinking and problem-solving abilities.
Notes:
1
Artwork 1 Title: FOGGY
Artwork 1 Dimensions: Ï†40cm;Ï†30cm;Ï†20cm
Artwork 1 Medium: GLASS
Artwork 1 Commentary: In the numerous fog group after the rotation, the final role in the centrifugal force, the light
composition of the formation of "days", the heavy component of the decline of "ground" - heaven and earth so
come.
But also because of the Foggy has a strong, diffuse meaning, in this work will be China's landmark cities: Beijing,
Shanghai, Guangzhou and haze relatively serious city Xingtai, Anyang and other places to abstract reorganization and
deconstruction, expressed in China's cities The more common haze phenomenon and people's emotional distress.
Therefore, my work Foggy refers to the beginning of heaven and earth, but also the crux of the city. With the
combination of glass blowing and cold working technique to express the seemingly calm city behind the problem,
refining the city's properties, the expression of the complex relationship between the city and the environment, the
existence of thinking.
Artwork 1 Image:
2
3
Artwork 2 Title: And Watch the Sun Go Down
Artwork 2 Medium: GLASS
Artwork 2 Commentary: I decided to create a series of works, concise form, using an opaque glass colour called
â€˜Salmonâ€™. This glass has the capacity to change colour from salmon-pink to a pale white when parts of the
glass are re-heated. And thinking about why I made these glass in this â€˜Salmonâ€™ colour is because I want to use
it to express a warm picture in my mind: sitting outside in the evening and drink red wine and maybe smoke
cigarettes and see the sunset. So I named it And Watch The Sun Go Down. Every time when I do my pieces, I often
start from my personal feelings and emotions and then transfer it into the form and especially colour of the glass I
made.
Artwork 2 Image:
4
5
Catalogue2 ID0829
Artist ID: 0829
Artist Name: Ashleigh Trim

Website: www.ashleightrim.co.uk
IG: www.instagram.com/ashleighet
Artist Statement: I paint landscapes as a personal diary, places Iâ€™ve been, memories I have, and I try to convey
those captured moments to the viewer, using enhanced colour and altered perspectives. I become fascinated with
movement, the shift of an object or the distortion of a reflective surface. I focus on empty space, how this can be
used to create form. I paint with mostly oil on canvas, enjoying the fluidity of the marks I can gain from the
paintbrush. I can use the paint to manipulate my ideas, working in multiple layers and adding or changing elements
as the painting unfolds. My current obsession relies heavily on night imagery, the moon, the bright city lights.
Unstable, drifting, shimmering shadows and reflections. I rework images over and over to depict the daily repetition I
am feeling, the same view, the same routine, and trying to notice the small differences each day.
Notes:
1
Artwork 1 Title: Tomorrow night, Last summer
Artwork 1 Medium: Oil and oil pastel on canvas
Artwork 1 Commentary: A blurry phone photograph of a festival held in a friends back garden. Reworked and
collaged into a painting of the glittering lights shining between the trees. An image of a good memory and an
imaginary place all at once.
Artwork 1 Image:
2
Artwork 2 Title: Sammy's Balcony
Artwork 2 Commentary: A blurry phone photograph of a friend leaning out of an upstairs window. He is lost behind
the thick leaves and the sparkly fairy lights. The deep blue of the (almost) night sky shines the loudest.
Artwork 2 Image:
3
Catalogue2 ID0831
Artist ID: 0831
Artist Name: Jonathan Farningham

Website: www.jonathanfarningham.co.uk
IG: jfarningham
Artist Statement: I am an oil painter and I typically paint people. I am by compelled to capture people in paint and I
hope to create portraits which show an individual and represent not only an outward appearance but a true
observation. I believe that light ultimately presents the most important information and so my painting attempts to
replicate what my eyes observe in order to question the boundaries between reality and representation. When
painting a self-portrait, I try to see beyond my own perceptions and confront myself as if seeing for the first time.
Notes:
1
Artwork 1 Title: Scrape on, Pile off
Artwork 1 Commentary: When we paint we all have certain signatures which we cannot throw off, the marks we
make and the way we lay down the paint are unique to ourselves. Whilst painting this I was pursuing a new
approach, which defies the whole and emphasies each moment that is seen.
Artwork 1 Image:
2
Artwork 2 Title: Self portrait in solitude
Artwork 2 Commentary: I created this in response to a growing fascination with light and contrast. I was examining
how light defines space and volume and is the most necessary ingredient to create form. My goal is simply to paint
what light truly reveals.
Artwork 2 Image:
3
Catalogue2 ID0832
Artist ID: 0832
Artist Name: Dawid Stroyny

Website: dawid-stroyny.co.uk
IG: dawidstroyny
Artist Statement: Dawid grew up in Poland in the 1980s. Determined to find his own unique creative expression,
Dawid drew inspiration from the art, design and architecture of a Poland in transition, turning away from Eastern
and orienting itself towards the West.
Working with diverse forms, materials and finishes in order to have the widest possible vocabulary to express his
ideas, Dawid has found himself returning time and again to the subject of the individualâ€™s struggle for freedom
from oppression. He identifies as an â€œoutsiderâ€•, and his art aims to make a connection with an audience which
may have its own experience of being on the periphery of society.
Dawid's work concerns itself with themes of sexuality, death, religion, body, and the correlation and relationship
between all of them. The majority of his pieces are inspired by autobiographical memories.
Dawid works mainly with the cast glass technique. He completed his BA (Hons) in Glass and Ceramics in 2017, with
the MA following in 2018. His work has been exhibited nationally and internationally in museums and galleries
including: National Liberty Museum (Philadelphia), Centre for Contemporary Art (Prague), National Glass Centre
(Sunderland) and Business Design Centre (London).
Notes:
1
Artwork 1 Title: Keeping Counsel
Artwork 1 Medium: Concrete, uranium glass
Artwork 1 Commentary: "Keeping Counsel" mixes concrete and uranium glass to express the fortitude and enigma of
the human mind.
Artwork 1 Image:
2
Artwork 2 Title: "Survivor"
Artwork 2 Medium: Glass
Artwork 2 Commentary: "Survivor" traces the human spirit's flexibility along the gentle arcs, curves and falls of its
form and its entrancing colour, which changes according to the light through a spectrum from cool blue to warm
hyacinth to deep blue.
Artwork 2 Image:
3
Catalogue2 ID0836
Artist ID: 0836
Artist Name: Dominic Till

Website: www.dominictill.com
IG: https://www.instagram.com/dominictill/?hl=en
Artist Statement: Dominic Till (b. 1990, UK) is an artist whose practice has at its root a preoccupation with language,
and observations of everyday life in an emotive and socio-political context. With this in mind, Till deals with the use
of language in and amongst power structures, oscillating between how that is used by those wielding influence, and
the effect it has on those without. His work predominately follows a sculptural process of layering, which unfolds
across a variety of mediums, including sound, sculpture and text. Till is a graduate of the MA Photography
programme at the Royal College of Art, London (2017) and was most recently an artist-in-residence at Unit 1 Gallery
| Workshop, London. Having shown both nationally and internationally, Till has shown work as part of Peckham 24
at Copeland Gallery, London, as well as working collaboratively with Open Eye Gallery, Liverpool. In 2016 he was
included in the XL Catlin Art Guide, as well as being a nominee for the Magnum Graduate Photographers Award in
the same year.
Notes:
1
Artwork 1 Title: We Could Turn The Tides
Artwork 1 Medium: Installation
Artwork 1 Commentary: Using an idiom that is coupled with a suggestive framework in We Could Turn The Tides, Till
looks at how language is used to orchestrate power and the limits of language in the contemporary. Till thinks of
idioms as a sign of impotence towards subject matter as they are used both frequently and flippantly by both the
media and political class alike. The piece is designed to be paradoxical in nature by using neon, a typically
commercial product, to both highlight and deprecate the offhandedness in which phrases are used. The words that
are on display emphasise a desire for change but also emulate a struggle for that.
Artwork 1 Image:
2
Artwork 2 Title: Fâ€¦ Tâ€¦ F/Pâ€¦ .doc
Artwork 2 Medium: Installation
Artwork 2 Commentary: In Fâ€¦ Tâ€¦ F/P... .doc, Till looks at the intertwined nature of language in corporate and
political spheres. The work uses repetitive language and attempts to embed itself into the mind of the observer.
Using the words â€˜fear these faces, fear these phrasesâ€™, reworked and reconfigured to form a text piece that is
activated as an object, questions surrounding the voice and authority arise. Till reverses the text, a marketing
strategy effectively used by the likes of YouTube, to comment on the power of words and how they are used from a
corporatocratic perspective.
Artwork 2 Image:
3
Catalogue2 ID0837
Artist ID: 0837
Artist Name: Sydney Clare Checkland

Website: sydneyclare.co.uk
IG: sydneyclareimages
Artist Statement: What I photograph is secret. I explore views invisible to the naked eye. These tiny worlds have
incredible beauty, resonate with the more visible world and yet are untouchable. The work is not what it seems,
landscapes are not real, â€˜dawnâ€™ is not dawn.
Inspired by memories of my daughterâ€™s absorption as a child examining objects in her hands for ages I took to
looking closer and closer at objects close to hand. Am delighted by my creation of mysterious, luminous images of
the rejected, the damaged, the aged and overlooked.
The objects photographed, although sometimes mundane, are mine and are kept safe from outside influence or
damage.
I am interested in the confusion created by the concept of turning things the size of a fingernail into the size of a
window. All images are abstract: much pleasure is taken from interpretations of my work.
Self taught, images taken in natural light at home with little manipulation apart from cropping. Printed onto
aluminium using a dye sublimation process which adds luminosity and depth.
Notes:
1
Artwork 1 Title: homage 1
Artwork 1 Medium: dye sublimation on aluminium
Artwork 1 Commentary: homage 1 and homage 2 are studies of the uncertainty gripping the UK at the moment.
They are images taken of the same object looking at it slightly differently and they have evoked very different
emotions in the viewer from revulsion to comfort. I am thrilled that my pieces can attract such responses.
The fact that they are printed using a dye sublimation process gives them a very receptive quality to changes in light
and position of the viewer. The reflections the viewer sees adds to the the experience.
Artwork 1 Image:
2
Artwork 2 Title: homage 2
Artwork 2 Medium: dye sublimation on aluminium
Artwork 2 Commentary: The pair to homage 1, but with a very different appeal. It's been interesting to observe the
ways in which homage 1 and 2 compliment or contradict each other. It has opened up my eyes to things I had taken
for granted.
Artwork 2 Image:
3
Catalogue2 ID0838
Artist ID: 0838
Artist Name: Nicola Thompson

Website: www.total-art.co.uk
IG: nicolamgthompson
Artist Statement: My sculptures are representations of my own personal journey I embarked on across the world,
away from home and all that is familiar: meeting face to face, culture, politics, animals and mythical beings.
From the beginning it is a fluid dynamic and evolving process with an artefact in a museum, a photograph, a
sketching then the recognition of the potential for growth in mind, body and spirit that finds the bag of clay and the
block of stone, that clears the studio and brings fresh light in.
To enter into the experience there is the relationship with the materials and ideas grows out of a feeling; like life my
art is multi faceted and dependant upon each other. Always searching within myself the days have a rhythm that
expresses itself as an outward form and an inner question.
The skills and practices I have developed so far and the experimentation have become an integral and essential part
of my artistic expression. Particular forms, cultural influences and the aesthetic value of the finished sculpture are in
balance with the choice of materials.
I completed a BA (2001) and an MA in Design (2012), working with glass, ceramics and later stone; the heart of my
creative endeavours are bound in knowledge, truth and the joy of making.
I create space and time for people to discover art when I open our woodland gardens with the NGS each year, where
4000 (2018) visitors engage in nature, art and meditation.
Notes:
1
Artwork 1 Title: Juno
Artwork 1 Medium: Bronze
Artwork 1 Commentary: He lived on a boat in Vietnam he was attending a funeral on the water in Ha Long Bay
Vietnam as we passed amongst the mourners we discovered each other. All meetings are grown again and again
from these moments in clay, stone and bronze. From all this there came a figure it was hiding in the clay waiting for
me to settle into a rhythm, no ego, to pound the clay on the work surface trusting in the knowledge that spirituality
exists in everyday life and in the making of art.
The result: no arms, only one fish can be caught at any one time. This sculpture represents the state of the oceans I
have sailed across and seeing poverty for the first time. Food is simple, caught or grown, in short supply and in the
face of adversity we become courageous, determined, joyous or we die.
The principal subject of my sculptures has always been the human figure with a variety of form and expression.
Inspiration is drawn from life drawings I have made and photographs I have taken whilst travelling around the world
and the study of devotional images and statues. Building also on the understanding of artists and craft persons of
today and those long dead, there seems to be no separation from daily actions of baking, meditating planting
vegetables collecting fruit and exploring the texture, temperature the earth qualities of what there is around me.
Mixed with the mind the hands just bring into being new forms.
There is no one way to satisfy all my senses I cannot stay with one material, like life my art is multi faceted and all
dependant on the other. Entering into the experience the relationship with the materials and ideas grows out of a
feeling of resonance at a number of levels. I am searching for the answer to so many questions, with different
materials clay, bronze, stone and glass. The work of art is the external form of the search for knowledge but the
inner is spiritual.
Artwork 1 Image:
2
3
Artwork 2 Title: Austin (Ancestors)
Artwork 2 Medium: Bronze and Powder coated steel
Artwork 2 Commentary: Derived from a clay piece observed in the British Museum. Austin formed in clay, a figure
from the distant past first created by another. Finding pieces in a museum long hidden from the world, connecting
with ancestors, other cultures, ancient ways is one of the best ways to spend a day. Then to discover a new existence
for it is the delight and challenge. The figure in bronze is changeless and robust,
the swinging element brings harmony, a new narrative, a natural rhythm with permanence through stability and
weightiness, securely moving back and forth through time.
The principal subject of my sculptures has always been the human figure with a variety of form and expression.
Inspiration is drawn from life drawings I have made and photographs I have taken whilst travelling around the world
and the study of devotional images and statues. Building also on the understanding of artists and craft persons of
today and those long dead, there seems to be no separation from daily actions of baking, meditating planting
vegetables collecting fruit and exploring the texture, temperature the earth qualities of what there is around me.
Mixed with the mind the hands just bring into being new forms.
There is no one way to satisfy all my senses I cannot stay with one material, like life my art is multi faceted and all
dependant on the other. Entering into the experience the relationship with the materials and ideas grows out of a
feeling of resonance at a number of levels. I am searching for the answer to so many questions, with different
materials clay, bronze, stone and glass. The work of art is the external form of the search for knowledge but the
inner is spiritual.
Artwork 2 Image:
4
5
Catalogue2 ID0839
Artist ID: 0839
Artist Name: Paul Brown

Website: www.riseart.com/artist/paul-brown
IG: @paulbrownart
Artist Statement: I grew up in the North of England in Yorkshire, attaining a degree in Graphic Design from Liverpool
Polytechnic before moving to London to study for a post-graduate diploma in Illustration at St. Martin's College of
Art.
After a successful career working as a freelance Illustrator for magazine and book publishers was cut short through
illness, I began to focus on my own personal abstract work.
A love of colour, drawn line and the relationships formed through layering them up and adjusting their interactions
within the picture space, offers endless new and vibrant possibilities for the work. Reacting to what's already laid
down and drawing upon a subconscious library of gathered reference and inspiration, guiding the evolution of the
image in progress.
Notes:
1
Artwork 1 Title: Gone
Artwork 1 Medium: Digital Giclee print on 300g.s.m. paper
Artwork 1 Commentary: An image that came about through the death of my long term partner after a 2 year fight
against cancer. There's a darkness that's weighing heavily, a pressure of emotion. Fighting for sanity in the centre
like the blazing firebox of a steam engine, trying to drag that dead weight of steel forwards. A contrast of emotional
exhaustion and the frantic attempt to rationalise and come to terms with what life has thrown at me.
Artwork 1 Image:
2
Artwork 2 Title: Inside Unseen
Artwork 2 Medium: Digital Giclee Print on 300g.s.m. paper
Artwork 2 Commentary: Following the death of my partner and trying to come to terms with events both
emotionally and practically it's become apparent the impression of calmness I seem to convey to others whist
struggling inside. There's an emotional turmoil, not helped by the presence of a long standing brain injury, that
people I come into contact aren't very aware of. The sense of loss, the profound change to your daily life and outlook
for the future and the constant reminders of the time you shared with someone so special to you.
Artwork 2 Image:
3
Catalogue2 ID0840
Artist ID: 0840
Artist Name: Silvia De Giorgi

Website: https://www.silvia-degiorgi.com/
IG: https://www.instagram.com/silvia.de.giorgi
Artist Statement: My practice is an exploration of the relationship between people and landscapes.
I frequently work with photographs, drawings and maps to unravel and analyse the many-layered connections
people establish to the environment. The pieces I create are strongly influenced by theories and approaches from
natural history, landscape archaeology and anthropology.
As an artist who works in and from the landscape,

my practice is motivated by personal environmental concerns and depends on my interaction with the natural
surrounding. I frequently work with objects gathered on walks and journeys on foot and in many cases my pieces
contain references to personal memories connected to my native landscape in the Italian Alps.
Recently my work has come to include collaborations with individual peoples and groups in form of interviews and
collaborative/performative projects exploring different ideas of landscape.
In my practice I combine and experiment with a variety of media, and analogue photographic processes in particular,
to create pieces that investigate and question perceptions of ecology.
Notes:
1
Artwork 1 Title: Organ I
Artwork 1 Dimensions: 36 x 44 cm
Artwork 1 Medium: silver-gelatin print on expired photographic paper
Artwork 1 Commentary: This work explores the impermanence and changeability of the natural environment. It
commemorates the slow, natural processes of erosion and deterioration of landscapes, as opposed to the fast,
purpose-led changes humans make to the natural environment in an age dominated by technological process and
profit based interaction with the land. Organ I can also be read as commentary on the classification of the world
between â€œhumanâ€• and â€œnaturalâ€• components, blurring the line between the two spheres, and
referencing our animal, biological link to the environment.
Artwork 1 Image:
2
Artwork 2 Title: The Smallest Pieces
Artwork 2 Medium: silver-gelatin print on expired photographic paper
Artwork 2 Commentary: The Smallest Pieces is part of the same series as Organ I and references similar issues and
ideas. This work is linked to the traditional idea of the natural world being separated into animal, vegetable or
mineral components. The Smallest Pieces relates to organisms and life forms beyond these classifications and the
intersections between these â€œrealmsâ€•. It is a piece that, again, alludes to the dynamic, human quest for
knowledge as opposed to the slow-paced processes of changing, building and breaking down that take place in the
natural world.
Artwork 2 Image:
3
Catalogue2 ID0842
Artist ID: 0842
Artist Name: Ian Wolter

Website: www.ianwolter.com
IG: https://www.instagram.com/ianwolter/
Artist Statement: My practice is mainly concerned with the abuse of power in society. Iâ€™m agnostic in terms of
media and technique, partly because I think these choices can powerfully carry meaning, can be a hook; but also
because I canâ€™t imagine putting any media off limits.
I love the process of figurative sculpture too and this forms a significant part of my approach. In the business school
which was next door to my art school there was a larger than life bronze bust of Lord Ashcroft which fascinated me
and which in some ways has become my muse. I've made a number of pieces which consider how many business
leadersâ€™ mistakenly believe that their success has been the result of just their own capability, ignoring both their
own advantages and othersâ€™ disadvantages. As white middle aged men, they are first amongst unequals. Some,
like Ashcroft, seek to augment and immortalise themselves by having their likeness captured in bronze. Fascinating.
I want my art to be accessible and to foster debate, to be easily argued over. Iâ€™m also fascinated by Jacques
RanciÃ¨reâ€™s idea that the power of political art doesnâ€™t lie in the tension between the art and its inherent
politics, it lies in the tension between it being simultaneously art and non-art: a hundred years after the idea that
anything could be art, that art may be infected with non-art and become both more powerful and less valuable.
Notes:
1
Artwork 1 Title: Meritocracy
Artwork 1 Medium: Polyurethane Foam, paint, fishing wire
Artwork 1 Commentary: Considering white, middle aged, male leaders who think they succeed on their own merits
while ignoring their advantages and otherâ€™s disadvantages. Someone always has a bigger yacht.
Artwork 1 Image:
2
Artwork 2 Title: The Children of Calais
Artwork 2 Medium: Plaster
Artwork 2 Commentary: The Children of Calais is a life-sized sculpture of six children in poses echoing The Burghers
of Calais by Auguste Rodin, but dressed in contemporary clothing. One of the figures holds a lifejacket in place of the
city key held in Rodinâ€™s original. I made this piece in response to an argument with my MP about the children
caught up in the current refugee crisis.
The Burghers of Calais was commissioned to memorialise a moment during the Hundred Yearsâ€™ War when Calais
was under siege by the English for over a year. King Edward offered to spare the people of the city on condition that
six of its burghers would surrender themselves. Although they expected to be executed, the burghersâ€™ lives were
eventually spared by the intervention of the English queen.
Artwork 2 Image:
3
4
Catalogue2 ID0843
Artist ID: 0843
Artist Name: Gail Davis

Website: artgaildavis.com
IG: gail davis.theartstudio
Artist Statement: Gail has now been a professional artist for 9 years and in that time has been in the fortunate
position to have had a full order book of commissions.Â However, in the last year, she has begun to feel the creative
need to start producing more of her own work again in order to create a private collection with a view to exhibiting
in galleries.Â Over the years Gail has submitted her pieces for competition and was in the final 10 at Barcelona
Global Art Awards in 2016 and is currently a finalist in the Global Arts Awards in Dubai.Â Gail currently exhibits
through Open Studio West Berkshire and North Hampshire.
Â
â€œI will never fully give up my commission work, as I find the relationships I make so life-enhancing but my
imagination needs a challenge and I want to push myself into the wider world to be critiqued by my artistic peers
and heroes.â€•
Notes:
1
Artwork 1 Title: Criminal - psychologist
Artwork 1 Medium: Oil
Artwork 1 Commentary: What can you see?
Or maybe we should be asking what has she seen?
Artwork 1 Image:
2
Artwork 2 Title: Never alone
Artwork 2 Medium: Acrylic and Oil
Artwork 2 Commentary: Freedom from grief. A true belief in a tomorrow - no longer afraid of the dark.
This came during my self-reflection collection, 'Unleashed' (My Own Medicine) it was the final painting and my
concluding statement.
Artwork 2 Image:
3
Catalogue2 ID0845
Artist ID: 0845
Artist Name: Lily Castaã±O

Website: latinacaravanapartnership.com
IG: Lily_castanoartist
Artist Statement:
I am a conceptual artist who is adopted from Colombia and has lived in the UK since 1977.
Through my work, I have developed a deeper connection to my Latina roots and my works are in response to
fragmented childhood memories, stories of identity and transcultural heritage which woven together create a series
of narratives.
In an attempt to salvage the past, recollections are played out through the use of motifs such as the hunter and
hunted, and through my alter ego NINA d.
I use a selection of sculpture, installation and mixed media mediums to represent these themes.
As a British/Latin American Artist living in Britain, I wish to return to the land of my birth to explore my roots which
will allow me to deepen, expand and develop my artistic practice, whilst strengthening my relationship with
Colombian history, heritage, culture, and language.
BogotÃ¡â€™s International Art fair ArtBo, in October of every year offers opportunities to see works of national and
international artists in a range of different formats and media.
I currently show works in a small pop up gallery- The Rosa Conceptual Gallery in Appleby.
Notes:
1
Artwork 1 Title: Sense of ourselves/ Sentido de nosotros mismos,
Artwork 1 Medium: Mannequins
Artwork 1 Commentary: Sense of ourselves is a dialogue between conflicting fractured selves..in an attemp5 to
reconcile myself with herself.
Artwork 1 Image:
2
Artwork 2 Title: Commodity/mercancia
Artwork 2 Medium: Square box, Dolls house pram, bricks and spray paint
Artwork 2 Commentary: Commodity is representative of the exploitation of adoption as a means of exchange.
Artwork 2 Image:
3
Catalogue2 ID0846
Artist ID: 0846
Artist Name: Donnamaria Woods Woods

Website: https://www.dmariawoods.com
IG: Instagram.com/dmariawoods
Artist Statement: I am a California artist with a free spirit. I love to travel emotionally and figuratively, exploring
color, space, and texture. Watercolor can be very emotional or very refined, depending on the mood of the creator.
I abhor being defined by one medium, so I embrace all water medium, and three-dimensional art as well. One day I
will cross the pond.
Notes:
1
Artwork 1 Title: Orange Poppies
Artwork 1 Dimensions: H12" x W9"
Artwork 1 Medium: watercolor on paper
Artwork 1 Commentary: The flower is vibrant and fragile, and I tend to think that many beautiful things are.
This work is scheduled to become a limited edition (1-10, H24" x @18") printed on metal,
Artwork 1 Image:
2
Artwork 2 Title: Fruit Blossom
Artwork 2 Dimensions: H10" x W7 1/8"
Artwork 2 Medium: watercolor on paper
Artwork 2 Commentary: Spring brings new life, and a blossoming fruit tree ignites anticipation of ripe rewards at the
cycles end.
This work is scheduled to become a limited edition (1-10, H24" x @18") printed on metal,
Artwork 2 Image:
3
Catalogue2 ID0847
Artist ID: 0847
Artist Name: Timothy P Gatenby

Website: www.timothygatenby.com
IG: @therealtimgatenby
Artist Statement: Timothy GatenbyÂ (b. 1987) is aÂ British figurativeÂ artist whose work focuses on the subjects ofÂ
nostalgia, dreamsÂ and memory.Â WorkingÂ predominantlyÂ in oil paint there is a certain reverence to classical
painting acknowledged in Gatenbyâ€™s work but evidently subverted.
Through his limited palette and the ghostly distortion of imagery a sense of foreboding lurks behind the softly
executed painting surface in Gatenbyâ€™s dystopian world. Childhood memories of fantastical icons from popular
culture come to the fore as characters from Gatenbyâ€™s youth are humorously reinterpreted with both a sense of
nostalgia and wistful charm. The paintings subversively reflect a homage to the memory of more innocent times
whilst being tainted by the loss of these years.
The appeal of a childhood nostalgia of 90s culture where people embody characters like Mr Blobby in bizarre
costumes have a strange relevance today. Much like youth itself the 90s seem like a time of digital freedom in a pre-
internet world. Looking back almost hyper-nostalgically Gatenby playfully subverts the memories of these more
innocent times as well as investigating their social impacts 20 years later.
Notes:
1
Artwork 1 Title: Blobby TV
Artwork 1 Medium: oil and spray paint on canvas
Artwork 1 Commentary: TV Test Card from a live & kicking sketch.
Artwork 1 Image:
2
Artwork 2 Title: Man in Pink Suit with Yellow Spots
Artwork 2 Medium: oil and spray on canvas
Artwork 2 Commentary: Original Blobby outfit
Artwork 2 Image:
3
Catalogue2 ID0849
Artist ID: 0849
Artist Name: Fernando Arahuetes

Website: www.arahuetes.com
IG: @fernandoarahuetes
Artist Statement: I am currently working the limestone sculpture as a painting vacation.

A new pictorial project is being born to work from 2019 ...
After working in the studio for some years, now, it is time to show it.
That is why the exhibition "Artifact Heart" 2018, was the compilation of ten years of abstract painting work.
Notes:
1
Artwork 1 Title: ANTROPOPLASTIA - I
Artwork 1 Medium: OIL ON CANVAS
Artwork 1 Commentary: We carry the traumas and the pleasures of being alive inscribed in us. Traces in our spiritual
genetics show us how plastic our so-called human species is by ourselves. If we can define ourselves, as we will not
be able to direct ourselves, to mold ourselves. The work of a creator, creating himself.
Anthropoplastic process.
Artwork 1 Image:
2
Artwork 2 Title: ANTROPOPLASTIA - II
Artwork 2 Commentary: Every fact lived, every moment, is recorded on the map of our soul. Like steam, the traces of
so many identities are mixed and our actions show us the mixture that defines us.
Showing our face, we show the traces, the path followed since antiquity.
We are only the carriers of a vapor mixture
Artwork 2 Image:
3
Catalogue2 ID0850
Artist ID: 0850
Artist Name: Won Young Chang

Website: https://wonyoungchang.com
IG: https://www.instagram.com/wonyoung_chang/
Artist Statement: I create, ruining. Everything is the ruin of previous existence.
When I draw, I start with a specific scene which contains the nuance of destruction from my memory and
imagination. It can be an image of demolished buildings, abandoned sites or natural disasters. In the process of
painting I imagine, crushing, blurring and exploding the scene. As I continue to draw, the light and shade are created,
showing the instant, raw and genuine moment of my mind: like photos with flash on. The moment is captured and
reconstructed by my marks using diverse materials including oil, acrylic, gouache and watercolour.
Notes:
1
Artwork 1 Title: Sleeping
Artwork 1 Dimensions: 29.6x21cm
Artwork 1 Medium: watercolour, gouache and acrylic on paper
Artwork 1 Commentary: In this painting, tree-like shapes lie down horizontally. They indicate rest or death. The
various use of paints including watercolour, gouache and acrylic makes the surface complex and unstable.
Artwork 1 Image:
2
Artwork 2 Title: Wet Paint
Artwork 2 Dimensions: 29.6x21cm
Artwork 2 Medium: watercolour and gouache on paper
Artwork 2 Commentary: My work is in between abstract and figurative painting. Ambiguity is the key to my work.
Spilled and smudged paints flow on the surface with and without my intention. All the stains make the atmosphere
of the specific scenery.
Wet Paint was inspired by the solitude landscape of Setubal, a suburb of Lisbon, Portugal. From many abandoned
buildings and properties, I tried to depict the desolate mood around the area.
Artwork 2 Image:
3
Catalogue2 ID0851
Artist ID: 0851
Artist Name: Oxana Kostromina

Website: https://www.kostromina.com/
IG: https://www.instagram.com/oxanaart/
Artist Statement: I let myself go. I'm a self-taught artist constantly looking for the beauty in obvious things. I have
neither rules nor methods, but I'm trying to let my 3rd hand do the painting.
Notes:
1
Artwork 1 Title: Anatomy of love. Your heart.
Artwork 1 Commentary: Series of artwork about love. Love as it is with its beauty; flame and power; with its magic,
soul and physicality; with it's vivid and bright side as well as with the strong connection to death and darkness.
https://www.behance.net/gallery/76084921/Anatomy-of-Love
Artwork 1 Image:
2
Artwork 2 Title: Anatomy of love. Inside you.
Artwork 2 Medium: Oil on canvas, gold leaf
Artwork 2 Commentary: Love is always there, it's always live in your heart, you can breathe it in and breathe it out;
you can touch it; but you can also close your heart and eyes and pretend it doesn't exist.
Artwork 2 Image:
3
Catalogue2 ID0853
Artist ID: 0853
Artist Name: Rachel Redfern

Website: www.rachelredfern.com
IG: https://www.instagram.com/rachel_redfern/
Artist Statement: I have a fascination with what you cannot see, as much as what you can see, in the places and
people we encounter. Capturing the essence and spirit of things is important to how I live, work and paint.
Painting â€˜en-plein airâ€™ allows me to connect not only with myself but the landscape around me. Time alone
with my paints creates a sense of belonging and freedom that creates spontaneous small pieces-a quiet observation
of where I find myself on that given day.
For my larger works I use observation and memory as a framework to pursue scale in the studio. Working from
simple sketches made in the landscape I create an emotional, gestural and instinctive response to the subject.
Repeatedly painting the same scene, sometime 30 times in varying sizes, I test that memory to the limit creating a
sense of being on the fringe of observation and memory.
No matter what I paint each line, drawn like a tidal mark, can easily shift. It is whilst in this moment that accidental
things occur, chances that take on their own meaning, where the finished piece and those final marks says as much
about me as the work. The two are inseparable.
Rachel Redfern, MA Fine Art (Merit), FDAD
Notes:
1
Artwork 1 Title: Cloud watching with paint #11
Artwork 1 Commentary: After years of painting indoors surrounded by all things familiar I took my paints outdoors in
the heat of the Summer 2018. Painting â€˜en-plein airâ€™ gave me the much needed fresh air, rising at dawn to
catch the cool of the day. It allowed me to reconnect not only with myself but the landscape around me. Time alone
in an unfamiliar setting created a sense of belonging and freedom that created spontaneous small pieces-a quiet
observation of where I found myself on that given day. I discovered something in painting small that I had missed in
the studio with my larger scale paintings. Cloud watching is my passion-it gives me hope as I look up away from
earthly worries. 'Cloud Watching with paint' is a reminder to keep searching for that hope.
Artwork 1 Image:
2
3
Artwork 2 Title: Summer Fields #4
Artwork 2 Commentary: After years of painting indoors surrounded by all things familiar I took my paints outdoors in
the heat of the Summer 2018. Painting â€˜en-plein airâ€™ gave me the much needed fresh air, rising at dawn to
catch the cool of the day. It allowed me to reconnect not only with myself but the landscape around me. Time alone
in an unfamiliar setting created a sense of belonging and freedom that created spontaneous small pieces-a quiet
observation of where I found myself on that given day. I found something in painting small that I had missed in the
studio with my larger scale paintings. Summer of 2018 gave us extraordinary weather, the light on the scorched corn
fields in West Sussex was breathtaking. Those Summer Fields still sit in my minds eye as we weather the winter
winds and rain.
Artwork 2 Image:
4
5
Catalogue2 ID0857
Artist ID: 0857
Artist Name: Stephanie Draper

Website: www.stephaniedraperartist.com
IG: @stephaniedraperartist
Artist Statement: I was brought up wandering the woods and holidaying in the English countryside. My strong sense
of nature and place has developed further as I travel the world designing big change projects that address social and
environmental issues. My art draws on my scientific background and interest in patterns of change.
I combine painting and print making - using oil, acrylic,intaglio and etching to depict the connections and
contradictions between the wildness of landscapes and the formality and function of the maps we use to represent
them. Together they provide the foundations, energy, disruption and pattern to drive us forward. My prints explore
the areas that I paint. The paintings that follow look at a wild place as landscape, map, aerial view and discover new
perspectives in the detail. The palette connects the paintings and brings out my emotional response to a place.
I am currently fascinated with the way big global concerns manifest in specific places. River Piracy, for example, is
impacting the water courses of the Yukon. As a glacier shrinks it can change the way rivers flow which starves a
landscape of vital water sources, impacting the communities that draw on them.
My examination of these places through my art deepens my understanding and I hope brings insight and beauty to
social change.
Notes:
1
Artwork 1 Title: Love in Aleppi Backwaters
Artwork 1 Medium: Acrylic and Oil on canvas
Artwork 1 Commentary: This large and colourful canvas is a part of my painting practice of capturing the essence of a
wild places through painting a large map of the Aleppi backwaters in Kerala India. This particular map captures the
emotion of a couples experience of the place where they got engaged and also reflects the colours of their wedding
that followed. So it is at once wild and ceremonial. Combining the formality of a map with the wilderness of place
and also a bit of the craziness of love.
Artwork 1 Image:
2
Artwork 2 Title: Harding Icefield Map #1 (Lupins)
Artwork 2 Medium: Oil, acrylic and ink on board
Artwork 2 Commentary: I combine being an artist with working on big social and environmental change projects. My
paintings reflect my fascination with wild landscapes, alongside a recognition of the human impact on nature. I do
this by adding our formal maps to interpretations of wild places. A couple of years ago I was lucky enough to do a
road trip through Alaska - the wildest place I have ever been. This painting in oils, inks and acrylic shows the
landscape we hiked through up to the melting Harding Icefield. The mountains were covered with lupins and willow.
The map of the area is then incorporated to create a new abstract image.
Artwork 2 Image:
3
Catalogue2 ID0858
Artist ID: 0858
Artist Name: Jason Ewing

Website: www.jasonewingportraits.com
IG: www.instagram.com/jasonewing_art
Artist Statement: Jason Ewing is a pencil portrait artist located in the United States. He specializes in photo realism
using graphite and charcoal. As a self taught artist he it truly engulfed himself into learning every aspect of his craft.
He is interested in growing commercial and gallery works.
Notes:
1
Artwork 1 Title: Blinded
Artwork 1 Dimensions: 46x34 (hot press watercolor paper)
Artwork 1 Medium: Graphite and Charcoal
Artwork 1 Commentary: I am always challenging myself to grow as an artist. This piece was intriguing due to the high
contrast between the glare of the bulb and the darkness of the background yet the smooth contours of the models
face.
Artwork 1 Image:
2
Artwork 2 Title: Rain Zen
Artwork 2 Dimensions: 42.5x32 (hot press watercolor paper)
Artwork 2 Medium: Graphite and Charcoal
Artwork 2 Commentary: I enjoyed the complexity of this piece. Highlighting the difference in skin texture to the
water flowing down the face. The shine in the wet hair on the black background creates a beautiful contrast.
Artwork 2 Image:
3
Catalogue2 ID0859
Artist ID: 0859
Artist Name: Agata Bara

Website: https://www.agatabara.com
IG: agata_bara
Artist Statement: My main interest lies in exploring the entangled nature of reality as I perceive it through
painting/installation. The work is strongly founded both in personal experience and in research, reading and writing.
My formative childhood experience was that of being an immigrant from Poland to Germany, and the working class
context we were in. I use welded metal shapes for the installations as my father was a welder. At the same time,
since I have started thinking consciously, I have been interested in philosophical questions about the nature of
knowledge and reality. I always perceived a stark contrast between these questions and my everyday
life/sociopolitical situation, and yet I also had the feeling that these spheres are intertwined in a deeper sense I could
not articulate. This interrelation of essentially all forms of knowledge and experience deeply puzzles me. Also a
dichotomy I perceive in human nature: on the one hand the ability to ponder the most abstract and metaphysical
things and to conduct scientific research, and on the other hand to be caught up in everyday life and all that it
encompasses. I find it strange that we as humans have evolved so much and at the same time still seem to know so
little. There are obvious limitations to our knowledge of ourselves and the world. The preoccupation with the
strangeness of being a living and conscious thing -embodied as something that falls into the category "human"- is at
the core of the work.
Notes:
1
Artwork 1 Title: Budding Memory (fig.1)
Artwork 1 Dimensions: 180cm x 230cm x 3,5cm
Artwork 1 Medium: Oil on canvas, Acrylic on canvas, welded stainless steel, metal chains
Artwork 1 Commentary: Recently I have started using old photographs of my family to adress my past and history,
which up to this day is entangled with my present and future. Also, I do not see my past as purely subjective, in a
way that me and my family were caught up in a sociopolitical situation which forced us to immigrate to Germany in
the 80ies. My double identity -or the lack thereof, as I neither feel Polish nor German- has always made me feel
estranged in a way, which is maybe why I developed an interest in philosophy and very existential questions at an
early age.
Trying to work through the historic and scientific narratives of the past is an attempt to understand the subtle
entanglements of the different spheres of knowledge that rule our lives and shape our identities and actions in the
present and future.
Artwork 1 Image:
2
3
Artwork 2 Title: Budding Memory (fig.2)
Artwork 2 Dimensions: 140cm x 250cm x 3,5cm
Artwork 2 Medium: Oil on canvas, welded stainless steel
Artwork 2 Commentary: This installation belongs to the same series as the first submitted artwork and speaks about
the same things. The scientifically inspired patterns appearing in the painting point towards an unseen reality which
is present all the time nontheless. Our senses can perceive so little directly and we can never know the world as it
really is. How can we treat our limitations in an responsible way, step back from the anthropocentrism which has
ruled Western thought for so long and find new and more humble models of self-understanding and self-positioning
in the future? How can painting and sculpture, which are congealed action and energy, meet the fluidity of this
world? A bracketed part of the title (fig. 2) alludes to science/organized systems of knowledge and the attempt to
grasp complex processes of consciousness, mind and subjective identity.
Artwork 2 Image:
4
5
Catalogue2 ID0860
Artist ID: 0860
Artist Name: Nadine Mahoney

Website: Www.nadinemahoney.com
IG: Nadine_mahoney
Artist Statement: My paintings are abstracted portraits, a series of faces hiding in plain sight. The history of
portraiture is a key artistic interest, with references taken from lockets and coins, to modernist painting, death
masks and instagram selfies. They are subjective portraits that investigate the politics of interpretation within
abstraction, how a gesture, colour and materiality can evoke specific yet varied responses from the viewer. The
works are emotive, exploring a fascination with the human condition.
Notes:
1
Artwork 1 Title: Hard ground
Artwork 1 Medium: Oil, Pigment, acrylic emulsion on aluminium
Artwork 1 Commentary: Part of a series of paintings taking inspiration from social media pics, ability to zoom and
feel very present in peoples lives. I have a love hate relationships with SM, and the dialogue between surface and
image reflects this dilemma.
Artwork 1 Image:
2
Artwork 2 Title: Hush
Artwork 2 Medium: Oi, pigment, acrylic emulsion on canvas
Artwork 2 Commentary: Motherhood has has a large influence on my practice and this piece was inspired by
watching my children sleeping, I wanted to convey the intimacy of holding someone whilst they slept, the warmth,
the beauty, and overwhelming responsibility of it all.
Artwork 2 Image:
3
Catalogue2 ID0862
Artist ID: 0862
Artist Name: Jenna Fox

Website: https://jjfoxartist.weebly.com/
IG: https://www.instagram.com/jennafoxartist
Artist Statement: â€‹My work explores the home as a metaphor for self and challenges childhood, memory and
dwelling with a nod to the absurd and how our childhood homes influence the phenomenological space we reside
within as adults. Michel Foucault states "that the self is not given to us ... we have to create ourselves as a work of
art". I explore how our homes are the art that mirrors our psyche.
My creative practice:
I create sculptures that are layered using made and found objects to create complex collage pieces. Using
ornaments found in many homes across the country I adapt and change their form using construction materials such
as clay, building adhesive and filler to compliment my work, home as self. For me, the joy while creating a sculpture
is by combining many pieces they create new forms and I never know when I start what form this Gestalt will take.
Notes:
1
Artwork 1 Title: Safe House
Artwork 1 Medium: Clay and terracotta
Artwork 1 Commentary: Exploring the theme of home as self and how our child hood homes affect who we are as
adults, this pieces uses the human form and houses to create one form, It touches on memory and desire for the
comfort our homes bring, yet as the parts merge it reveals, sometimes our homes are not the safe haven we desire
but a darker place ,
Artwork 1 Image:
2
Artwork 2 Title: 822
Artwork 2 Dimensions: 38 x 24 x24
Artwork 2 Medium: Plastic and clay.
Artwork 2 Commentary: In such uncertain times we sometimes need a hand to hold, to feel safe and not alone. 822
hands are reaching out seeking comfort. I wanted to create a piece that when first seen looks like an organic form,
this could almost be a cactus, but on closer inspection the hands are visible. Together they form a new structure, a
community, reaching out.
Artwork 2 Image:
3
Catalogue2 ID0866
Artist ID: 0866
Artist Name: Katherine Gilmartin

Website: https://klgilmartin.com/painting/
IG: https://www.instagram.com/findingavoice/
Artist Statement: Visual language was my first mode of honest communication. Age 10 I drew explicitly how I felt,
dark, left it on the stairs for my mother to see. No response. Had a baby at 21, wrung out the art school education
for every drop of time I could to be around those who could see and tell me what I was feeling. 7 years, one
inappropriate marriage, divorce, a colossal crisis and a year of PTSD therapy later, I still visually communicate first
but I have the words for the emotions. I no longer need you to tell me how I feel. Since doing Finding a Voice 2017
exhibition I have taken keynote roles at Mental Health Conferences and used my lived experience and paintings to
teach part of the Domestic Abuse unit for the 3rd Year Clinical Psychology Students, UEA. Finding a Voice 2018,
#FAV18 took place in October 2018, Anteros, Norwich.
Notes:
1
Artwork 1 Title: Seeing & Holding Her 2018
Artwork 1 Commentary: Extract from blog post after living with this painting for a while-
"The figure is strange but kind, a goddess or a saint perhaps, who else could cradle a wave thatâ€™s a bit off, not a
satisfying elegant curve. We can, I can, people can. I won over anger, stopped being afraid of exposing others
darkness and learnt to nurture myself and those around me, courageously, wholeheartedly. I will get it wrong from
time to time but is fully present and I wouldnâ€™t ever want to go back, feeling is awesome, even when it hurts.
Dissociation has its perks, but this, now, recovered, is glorious."
Artwork 1 Image:
2
Artwork 2 Title: Snakes with Tits 2018 Triptych
Artwork 2 Dimensions: 60x30x4 each
Artwork 2 Medium: Oil on Cannvas
Artwork 2 Commentary: This piece is an ongoing argument with myself about what I see, hear and feel now and
what I refused to see in the past. An ongoing investigation about power of and in vulnerability.
Artwork 2 Image:
3
Catalogue2 ID0867
Artist ID: 0867
Artist Name: Melanie Eckl-Kerber

Website: www.ecklkerber.at
IG: #ecklkerber
Artist Statement: Melanie Eckl-Kerber is an emerging artist based in Lower Austria.

Born in 1981 she has been painting since early childhood. Starting with various courses in watercolor painting at the
age of 14 and later charcoal drawing, she focusses now on abstract and figurative painting with acrylic painting and
mixed media.
Using bright colours, circular lines and forms, Eckl-Kerber creates rhythmic, appealing abstract paintings. She is
mainly attracted to abstract ast because she feels it frees up her creativity and opens up her mind.
When experiencing with different materials and mediums, Eckl-Kerber developed a technique of mixed media that
make her figurative paintings appear even more plastic. Some of those animals and figures, that only use black and
white als colours, could also be used as tattoos â€“ that is why she calls it â€žtattoo styleâ€œ.
Melanie Eckl-Kerber thinks of her artistic process as an expedition, a journey where she learns and grows as an artist
in every painting.
Notes:
1
Artwork 1 Title: London
Artwork 1 Medium: acrylic painting
Artwork 1 Commentary: This is the first painting of my new series "META - the world seen from above", it Shows
London by night
Artwork 1 Image:
2
Artwork 2 Title: Amazonas
Artwork 2 Medium: acrylic painting
Artwork 2 Commentary: The second piece of the "META"-series
Artwork 2 Image:
3
Catalogue2 ID0868
Artist ID: 0868
Artist Name: Jessie Yates

Website: www.jessiejewyatespainter.com
IG: @jessiejyates
Artist Statement:
These works are rigorous and complex in their exploration of themselves, and painting as a long standing vehicle for
communication, they develop their own language. Discussing not only materiality and edge, but my own language of
painting as a woman. Building up momentum as they are thrown about and reworked, they become the
embodiment of my own personal femininity. The raw edges of the canvas with their rough texture create a new
surface, a new interruption to the flow of my paintings, a new layer. I find myself painting around the edges they
create with a curiosity I have not felt before. I paint like I am framing each section of canvas, focusing on the edge of
each mark. The vibrant, acidic colours sing, thrive, and vibrate, as if moving. The intuitive colours flow and build up
momentum and direction, flooding into and around one another with a gentle, yet purposeful touch.
These paintings wholeheartedly reflect my life, layering and layering, building and building, while still remaining
fresh and free.
Notes:
1
Artwork 1 Title: Been Climbing (1)
Artwork 1 Dimensions: 150cmx150cm
Artwork 1 Medium: Painting, Oil paint on stitched and glued canvas.
Artwork 1 Commentary: This painting has been thown about and reworked for months. It has had many versions,
many failed remakes, for me this is what gives a painting personal emotion and tention. It's sensitive painting style
and tentative joinary in its actual construction, make it fragile.
Artwork 1 Image:
2
Artwork 2 Title: Untitled (2)
Artwork 2 Medium: Painting, Oil on stitched and glued canvas.
Artwork 2 Commentary: Rough in it's creation, this work is bold and reflects frustration. It does not feel tentative,
although like my other paintings, it is fragile in the way its made, it does not reflect this. Elements of this painting
allow us to see its beginnings, this doesn't last long, its new version slaps us in the face.
Artwork 2 Image:
3
Catalogue2 ID0870
Artist ID: 0870
Artist Name: Helena Edwardson

Website: www.artninetwo.com
IG: pencilling_the_journey
Artist Statement: An amateur artist all my adult life, I find art in the everyday, art is my way of unwinding and it
makes me happy, particularly when my art makes others happy when they view it.
I draw every day, even if it's a doodle in a sketchbook for five minutes because I find it grounding.
I work in most mediums but of late I have found myself migrating to charcoal due to its versatility and immediacy.
Notes:
1
Artwork 1 Title: Stan
Artwork 1 Dimensions: A3 (42cm x 29.7cm)
Artwork 1 Medium: Charcoal
Artwork 1 Commentary: Stan came into my life 27 years ago. He retired early and enrolled as a mature student. We
met and hit it of immediately and stayed in touch even when we left college.
Although not my father he has been a father figure to me for all these years and whilst sat in his conservatory
looking out over the hills, he looked down to a magazine because he wanted to show me something and I
immediately knew I wanted to capture that moment in time; Stan, deep in thought.
Artwork 1 Image:
2
Artwork 2 Title: Sunrise in Toronto
Artwork 2 Dimensions: A3 (42cm x 29.7cm)
Artwork 2 Medium: charcoal
Artwork 2 Commentary: I visited Canada (Toronto) for the first time last year, and as a runner I always run when I'm
on holiday. The first morning I was there I ran to the waterfront just before the sun rose, it wasn't deliberate but
what I saw was breathtaking. I immediately took a series of photographs and had to capture it as soon as I returned
from holiday.
Artwork 2 Image:
3
Catalogue2 ID0871
Artist ID: 0871
Artist Name: Roz Hall

Website: https://rozhall.com/
IG: https://www.instagram.com/rozhall/
Artist Statement: How would you describe yourself to a stranger, where would you start, on what would you focus?
My artwork examines the multiple layers we use for self identity; physical appearance, gender, religion, sexuality,
political ethos... These two portraits are focusing on our physical selves, the mass of carbon we adopt to represent
ourselves throughout life, produced in the most basic of carbon mediums, charcoal.
Notes:
1
Artwork 1 Title: Self portrait in charcoal (2019)
Artwork 1 Medium: Charcoal on paper
Artwork 1 Commentary: Self portrait in charcoal (2019) is a small study closely examining the often unfamiliar lumps
and bumps lingering under an otherwise familiar face. The sitter has his eyes closed, allowing the viewer to observe
closely and at peace without being confronted by a direct gaze.
Artwork 1 Image:
2
Artwork 2 Title: Portrait of MC (2019)
Artwork 2 Medium: Charcoal on paper
Artwork 2 Commentary: Portrait of MC (2019) is a detailed study of a young woman's face. The high-contrast lighting
highlights the detail of the skin and complexity of the hair. The sitters eyes are closed, inviting the viewer to closely
observe without confrontation
Artwork 2 Image:
3
Catalogue2 ID0874
Artist ID: 0874
Artist Name: Sarah Beck Mather

Website: sarahbeckmather.com
IG: @sarahbeckmather
Artist Statement: I live and work in London as a self-supporting Artist. Whilst I trained as an actor at The Central
School of Speech and Drama, I have maintained my artistic practice throughout, and my interaction and involvement
with painting has continued to grow and deepen over time. I specialise in abstract paintings, employing mixed
mediaâ€”and she makes personal and intuitive work focusing on my own relationship to nature and the present
moment. My work is atmospheric and suffused with allusions to landscape; it is emotionally charged, and the
experience of being a working actor is something that gives it a purpose and presence. For me, the painted image
continues to be an important focus for the world of feeling and perception, and is seen as an important aspect of
being alive.
Notes:
1
Artwork 1 Title: The Wood Where Staves are Got
Artwork 1 Commentary: These two pieces are based on the juxtaposition between nature and industry, with
particular focus on the small towns in the North of England. Iâ€™ve spent the last year visiting these forgotten and
financially stagnant places (with a lot of family history steeped into the sandstone) and have been investigating the
impact of the industrial revolution, the mechanisation of the cotton industry and how this has affected these towns
today.
These pieces are my response to these once pretty little towns, the rise and fall of industry and the disheartening
impact of the political landscape today.
Artwork 1 Image:
2
3
Artwork 2 Title: River Tyne
Artwork 2 Medium: Acrylic On Canvas
Artwork 2 Commentary: These two pieces are based on the juxtaposition between nature and industry, with
particular focus on the small towns in the North of England. Iâ€™ve spent the last year visiting these forgotten and
financially stagnant places (with a lot of family history steeped into the sandstone) and have been investigating the
impact of the industrial revolution, the mechanisation of the cotton industry and how this has affected these towns
today.
These pieces are my response to these once pretty little towns, the rise and fall of industry and the disheartening
impact of the political landscape today.
Artwork 2 Image:
4
5
Catalogue2 ID0876
Artist ID: 0876
Artist Name: Martin O'Keefe

Website: www.martinokeefe.ie
IG: martin_okeefe
Artist Statement: ARTISTS STATEMENT
MARTIN Oâ€™KEEFE SCULPTOR
A sculptors job, to engage, inspire and provoke, wouldnâ€™t that be great certainly aspirational.
In reality the forms and shapes of my sculptures are a glimpse into how I see and perceive my world. A fantasy of
polished stainless and rusted mild steel.
Distorted and polished stainless steel reflects and absorbs colour and shapes from its surroundings making its
environment an important and intrical part of a piece. Producing small twisted and contorted glimpses creating
scenes within scenes.
I like my art to speak for itself to be open to interpretation; I feel my narrative is of little importance it is for the
viewer to use their imagination and not to be robbed of it by my meanderings.
By the time the dirty work is done and the piece is wheeled out it may only be a shadow of what was first imagined.
For me the process of making is as important as the final outcome.

By adopting a flexible approach, not sticking rigidly to a design while still embracing the concept the piece is allowed
to evolve and grow to take on a personality and identity.
Steel if allowed has an uncanny knack of leading you down a path you hadnâ€™t considered.
The process of creating is intoxicating, addictive and as crucial to me as its end goal.
So on I go.
Notes:
1
Artwork 1 Title: SKYWARD
Artwork 1 Dimensions: 250 X 47 X 47
Artwork 1 Medium: Stainless steel.
Artwork 1 Commentary: Skyward is a freestanding hand made cold-formed TIG welded mirror polished and part
painted stainless steel sculpture. The side and top panels have been run on an English wheel creating convex
compound curves. All welds have been cut down and finished giving a smooth and invisible welded look.
This piece is designed to be at home indoors or out.
Skyward is organic and reflective it absorbs colour and light from its surroundings twisting and distorting it. The tip of
the piece is painted blue fading to white encouraging the viewer to follow its curves up along its slender body off the
tip and into the skies.
This piece was inspired by observing how so many are capable of holding their head high in adversity and to
encourage others to pick themselves up, look forward and consider the possibilities.
Artwork 1 Image:
2
3
Artwork 2 Title: DEBS
Artwork 2 Dimensions: 210 X 60 X 40
Artwork 2 Medium: Stainless steel
Artwork 2 Commentary: Debs is a freestanding, hand made, cold formed and invisible TIG welded, part polished
stainless steel sculpture. It has been designed to be at home indoors or out.
The open tubular centre sections in the head of the piece allows the viewer snap shots of the background while the
smooth protruding curved, angled and polished top portions reflect and distort the side, top and foreground of its
environment.
The smooth polished slender mid section starts to flair outwards three quarter ways down to form the brushed
surface finished base.
Inspired by my daughter and her friends dressed up for their debutante ball, all standing in the garden sun at their
backs flooding through curled and tied up hair, their slender midriffs accentuated by extra high heels covered by
their long flowing dresses. As they raised their champagne glasses to their lips it created the effect of shiny reflective
cylinders.
Artwork 2 Image:
4
5
Catalogue2 ID0877
Artist ID: 0877
Artist Name: Olga Lomaka

Website: www.olgalomaka.com
IG: lomakaart
Artist Statement: Olga Lomaka is exhibiting worldwide with regular participation in global art-fairs and biennales.
Earlier this year her new series titled â€˜Pink Magicâ€™ was included in Grayson Perry-curated Royal Academy
Summer Exhibition featuring in The Sunday Times and The Guardian.
â€˜Pink Magicâ€™ editions is being released by notorious print studio Jealous London, earmarked for Basel Miami.
In October 2016, Lomaka presented a new series dedicated to the 90th birthday of Queen Elizabeth II in her solo
show â€œArtefactsâ€• at the Saatchi Gallery, London.
Olgaâ€™s remarkable personal style is instantly recognisable, enticing the viewer in with the concrete and the
abstract, the familiar and the unknown. The work brings light to issues that concern us all â€” of the world order, the
flaws of modernity and the psychology of human consciousness. By viewing them through the prism of pop-art,
fascinating parallels and insights are brought into a visual form, unveiling their symbolic and broader meaning.
The artistâ€™s primary features are to play with recognisable images and products of consumerism, pooling
together contrasting beliefs, which give a second meaning to hidden symbols and use unusual colour pallets.
Lomakaâ€™s sophisticated eye for the unordinary in everyday life allows her to truly reveal spiritual and social
themes and concerns. Threads of what we consider reality, along with hidden dimensions of consciousness and
possibility, weave their way through.
The artist is constantly experimenting with new techniques, carving and aerography, mixing traditional materials and
modern media. Her interests are not limited to painting alone and include installations, relief sculpture and free
standing sculpture.
In 2002, Lomaka completed a painting course at Loyola University Chicago (USA). A decade later, she continued her
education in Fine Art at Central Saint Martins. In 2015, Lomaka graduated with BA in Painting from Camberwell
College of Arts.
Notes:
1
Artwork 1 Title: Fashion Guru
Artwork 1 Medium: Wood, aerography
Artwork 1 Commentary: "Fashion Guru" is a part of series of artworks â€œArtefactsâ€•, a number of Buddha images
carved on wooden panels in a simple woodcarving manner. Such primitive sculptures of the Buddha might have
been created by unknown rural masters not only today, but also during all those thousands of years when Buddhism
was being established as a world religion. Its main symbol, the Buddha, became an artistic symbol, incorporating the
experience of generations and the environment of values expressed in a simplified and understandable image â€” an
artefact of the Eastern culture.
In this project, the infallible and imperturbable image of the Buddha has other additional significance. The Buddha is
â€œenrichedâ€• with unexpected additions â€” seemingly inappropriate, provocative symbols of modern cultural
and information world of consumerism in the form of shiny aluminum signs: recognizable brands and logos; idols of
the fashion industry; fictional characters of the Western society; new attributes of beauty; and the inalienable
symbols of social networks, which affect all areas of modern life. These objects are artefacts with new content that
have the value of a different type. The symbols of modern times overlap the classic image and slowly integrate into
its meaning. This cultural diffusion is global; every new generation still carries experience and spiritual wealth of
ancestors, but constant social and global phenomena force them to adapt and find their own path of development,
evolve mentally rather than physically and change their perception of the world. The change of consciousness and
mindset pushes us to seek the best balance between the traditional spiritual values â€‹â€‹and cultural symbols of
postmodernism.
Artwork 1 Image:
2
3
Artwork 2 Title: Miss Universe
Artwork 2 Medium: Wood, aerography
Artwork 2 Commentary: "Miss Universe" is a part of series of artworks â€œArtefactsâ€•, a number of Buddha
images carved on wooden panels in a simple woodcarving manner. Such primitive sculptures of the Buddha might
have been created by unknown rural masters not only today, but also during all those thousands of years when
Buddhism was being established as a world religion. Its main symbol, the Buddha, became an artistic symbol,
incorporating the experience of generations and the environment of values expressed in a simplified and
understandable image â€” an artefact of the Eastern culture.
In this project, the infallible and imperturbable image of the Buddha has other additional significance. The Buddha is
â€œenrichedâ€• with unexpected additions â€” seemingly inappropriate, provocative symbols of modern cultural
and information world of consumerism in the form of shiny aluminum signs: recognizable brands and logos; idols of
the fashion industry; fictional characters of the Western society; new attributes of beauty; and the inalienable
symbols of social networks, which affect all areas of modern life. These objects are artefacts with new content that
have the value of a different type. The symbols of modern times overlap the classic image and slowly integrate into
its meaning. This cultural diffusion is global; every new generation still carries experience and spiritual wealth of
ancestors, but constant social and global phenomena force them to adapt and find their own path of development,
evolve mentally rather than physically and change their perception of the world. The change of consciousness and
mindset pushes us to seek the best balance between the traditional spiritual values â€‹â€‹and cultural symbols of
postmodernism.
Artwork 2 Image:
4
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Catalogue2 ID0880
Artist ID: 0880
Artist Name: Amber Arifeen

Website: www.amberarifeen.com
IG: https://www.instagram.com/amber_arifeen/?hl=en
Artist Statement: The self is a construct. It is an amalgamation of all the things in the environment that have
influenced it. A space is also a construct. If unused, it does not hold any meaning. Only when occupied does it change
and come to life. As such, the relationship between space and the self is one of reciprocity. We bring to an
environment all the meaning that we have derived from it. In a way, we are blended in the place and the place is
blended with in us.
With the world becoming more complicated, our relationship with our surroundings has begun to contort.
Technological transformations, migration, climate change, globalization, and capitalism have led us into to a world
that is rapidly changing. We are now juggling multiple identities that inform our interactions with a place.
Amberâ€™s work explores and problematizes this dynamic.
For Amber, layering and blending in portraits is a process of deconstruction and reconstruction. Inspired by imagery,
objects, and patterns present in spaces, she uses these techniques to juxtapose, enhance, and retract elements that
allude to a narrative about the female protagonist and her stories of a space.
This kind of illustration stems from Amberâ€™s desire to understand people â€“ not as individuals but as products of
environments and a dynamic force in flux. While it is introspective, it is also extrospective. In that, it challenges our
notions about the self and our environments and begs the question of whether there can ever be complete harmony
between the two.
Notes:
1
Artwork 1 Title: The Flight Attendant
Artwork 1 Medium: Acrylics, Oils, Charcoal, and image transfer on Canvas
Artwork 1 Commentary: Identity, in todayâ€™s context, no longer follows singularity. Instead, identities are more
fragmented than ever in the face of fast changing globalization and unresolved histories. This portrait of a PIA
(Pakistan International Airlines) flight attendant alludes to a number of differing and contradicting identities that she
carries within her. The bright colored pattern is commonly used in Sindh and represents her ethnic heritage. The
black and white image of two women in the center is a PIA poster ad from the 1960s, when PIA was considered at
the forefront of airlines. The uniforms worn were designed by French designer Pierre Cardin. To be associated with
PIA was a matter of pride and honor. Since this time PIA has consistently declined in quality, is fraught with
corruption, and is considered a dying organization. Consequently, she identifies with a glorified past and a disgraced
present. This analogy also represents her relationship with her country Pakistan, which was once a part of a glorious
Muslim empire but has in recent history been stripped off that and been left with a tormented and disintegrated
present. The picture on the bottom right is symbolic of this constant reminderâ€“ one that is not blatantly present
but always lurking on the sidelines. It was taken by Margaret Bourke White, who documented the subcontinent
Partition in 1947. The bride to the right represents her female identity, her desire to be married, and aspirations of
prosperity. However, what this also means is perpetuation of a patriarchal future as marriage for many women in
Pakistan is a double-edged sword. The poem, Aurat aur Namak, written by Sara Shagufta, describes just that. Sara
was a liberal and free-spirited poet who was shunned by the South Asian literati for being too provocative and
subsequently killed herself at the age of 29.
Artwork 1 Image:
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Artwork 2 Title: A House
Artwork 2 Medium: Acrylic, Oils, and Image Transfer on Wood Panel
Artwork 2 Commentary: Identity, in todayâ€™s context, no longer follows singularity. Instead, identities are more
fragmented than ever in the face of fast changing globalization and unresolved histories. This portrait of a British
Pakistani woman explores her contradictory notions about a "home" or "house". The iconic London red door and the
checkered pathway represents the quintessential idea of a home - open and secure. However, the different patterns
in and around the door symbolize the opposite. They represent fences, barbed wire, high walls, and gates that are
common to homes in Pakistan owing to security issues. She identifies with both. How she carries these opposing
ideas within her is also an analogy for how she views herself as a Pakistani and a British, which at times can be
contradictory owing to their history.
Artwork 2 Image:
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Catalogue2 ID0881
Artist ID: 0881
Artist Name: Leticia Silva Dos Santos

Website: https://www.warblerart.co.uk
IG: https://www.instagram.com/warbler_art/
Artist Statement: I am a London-based Brazilian artist recently graduated from Bath Spa University with a BA in
Contemporary Arts. As a nature artist I am drawn to wildlife, birds in particular, and the symbolism humans build on
them. People's relationship with the world around them fascinates me, so seeing what they overlooked became
important. It became evident birds were a particular blind spot, depending on where you go, there are native birds
that are perceived as boring and even dirty, but to a visitor might be very exciting to see.Â One of my favourite
authors, Helen Macdonald, brought to my attention Franz Boas notion of aÂ Kulturbrille,Â the 'invisible mental lens
your own culture gives you through which you see the world' (from her bookÂ The Falcon,Â 2016) and how it is
impossible separate birds from the human perceptions which are superimposed on their existence. This works, of
course, with any animal, but birds are particularly affected.
I believe being blind to the nature at your feet and how it fits around your existence as a human is dangerous; it is
easy to forget how much life has to accommodate you. With this in mind, I set about bringing attention to wildlife
with my art, drawing on themes of poaching, deforestation and sanctuaries.
I am now establishing my practice with a focus on sustainability and accessibility, making a point to give back to the
beings that so inspire me so they canÂ continue to inspire others. Very often the materials used in my work are
reclaimed and salvaged from skips and scrap bins, which means the surfaces i paint on have history. In the past I
have repurposed materials such as mahogany beams from house renovations, bamboo lids from old jars, and even
the seat of a broken wooden chair.
Notes:
1
Artwork 1 Title: Jack!Jack!
Artwork 1 Medium: Ink on paper
Artwork 1 Commentary: This painting evokes feelings of isolation. A Jackdaw is coming in to land in empty space,
boxed in to a square of nothingness by a heavy frame. This monochromatic scene is an emblem of the encroachment
of industrialisation into the habitats of Britainâ€™s native species.
Artwork 1 Image:
2
Artwork 2 Title: From a Window
Artwork 2 Dimensions: 41x33.4x4
Artwork 2 Medium: Acrylic on reclaimed perspex
Artwork 2 Commentary: This piece also uses isolation in its composition; the goldfinch is perched on a cherry
blossom twig in a circular window, surrounded by an expanse of negative space. The support offered by the tiny twig
represents the pockets of wildlife which exist in urban areas; habitats are separated from one another by human
activities and structures, hindering the movement of wildlife. This creates competition for occupation of these small
oases.
The transparency of the perspex also allows the piece to integrate with any environment it is set against, as nature
must to humanityâ€™s presence.
Artwork 2 Image:
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Catalogue2 ID0883
Artist ID: 0883
Artist Name: Alison Aye

Website: https://www.alisonaye.com
IG: https://www.instagram.com/alisonaye/
Artist Statement: I make hand-stitched collage from discarded papers and fabrics.
Mostly in a mobile studio, aka Londonâ€™s public transport system, where I also gather materials. I sew the actual
newspapers, not newly printed copies.
Each piece is a one-off, never to be reproduced or printed for money. Partly out of respect for the 'sitters' and
photographers involved, but also because I donâ€™t add new stuff to the world, but use what is already here.
I make every effort to name the people in my work, and credit the photographers. The quest is ongoing. My work is
not finished until everyone is named and all credit is given.
Notes:
1
Artwork 1 Title: Two Little Boys
Artwork 1 Dimensions: 63 x 46 x 0.02cms
Artwork 1 Medium: Hand-stitched paper to tea towel.
Artwork 1 Commentary: Boy 1: Prince George on his first day at school. Photograph by Richard Pohle. Cut from the
London Evening Standard, 7.9.17.
With the legs and right arm of his great grandmother, then Princess Elizabeth, and her dog, Jane. Studio Lisa, 1936.
His left arm belongs to his father, Prince William. It was part of a painting by Nicky Philipps, 2009.
The cat, at his feet is illustrationed by Mary Kendal Lee, 1948.
His hat belonged to King Henry VIII, c1520. Unknown artist. NPG.
Boy 2: Prince Charles, grandfather of Boy 1. He is wearing his favourite ski suit, pale blue with a pattern of dancing
sailors and battleships. 1950. Photographer uncredited.
His crown was taken from his motherâ€™s coronation portrait by Cecil Beaton, 1953.
The collection tin was held outside Worthing Town Hall in 1951, a year after the photo of Charles was taken, during a
royal visit. The tin shaker and photographer are uncredited. His shoulder jewellery was taken from the same portrait
as Boy 1â€™s hat.
He is standing on the Whitechapel Fatberg. Cut from the London Evening Standard, 14.9.17. Sam Fishwick, who
wrote the article, tells me the red-gloved hand belongs to Ronnie Floodwater. The photographer is Matt Writtle.
Artwork 1 Image:
2
3
Artwork 2 Title: Rift
Artwork 2 Dimensions: 32.5 x 120 x 0.01cms
Artwork 2 Medium: Paper, hand-stitched to magazine article.
Artwork 2 Commentary: â€Ñewspaperâ€™ people, with writing on their clothes, hand-stitched to Quadruple Rift by
Richard Serra, 2017. Taken from Gagosian Quarterly (Spring 2018. Editor: Alison McDonald). Text by Neil Cox,
photographs by Aad Hoogendoorn.
1. Unnamed demonstrator, â€˜waving flares during a march in Dublin for more liberal abortion rights across
Ireland.â€™ Guardian 6.3.18. Article by Harriet Sherwood. Photograph by Clodagh Kilcoyne/ Reuters.
2. Debbie Harry. Observer 17.9.17. Article by Pauline Black. Getty Images.
3. Unnamed protester â€ãt Portcullis House in London shows anger over the alleged spreading of fake news and
misuse of data by Facebook.â€™ Guardian 27.4.18. Article by Jim Waterson. Photograph by Facundo Arrizabalaga/
EPA.
4. Unnamed demonstrator, Tunis. Guardian 25.1.18. Article by Emma Graham-Harrison. Photograph by Youssef
Boudlal. â€Ãnger is growing over the legal process against those responsible for the killings in 2011.â€™
5. Ariane Grande. Evening Standard 9.3.18. Article by Joanna Bourke. Getty Images.
6. Unnamed supporter of Goodluck Jonathan, Nigeria. Guardian 22.3.18. Article by Carole Cadwalladr. Photograph by
Afolabi Sotunde/ Reuters.
Artwork 2 Image:
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Catalogue2 ID0884
Artist ID: 0884
Artist Name: Sam Burke

Website: samfburke.com
IG: @samfburke
Artist Statement: I am a North London based painter recently graduated in BA Fine art from Leeds College of art. My
practice is primarily focused on portraiture and heavily influenced by the Photorealists of the 1960s, Figurative
painters of the 1990s and early 2000s and western European painting from the late and post renaissance period. My
practice seeks to appropriate elements from all of these influences in order to reflect on contemporary issues.
The series titled Men at arms continues on from my work as a student in which the CEOs of major defence
corporations are placed within military history paintings. The result is a surreal amalgamation of the past and
present encouraging the viewer to acknowledge the actions of today within a more historical context. A parallel
series I am working on borrows the same concept but instead focuses on the more light hearted world of stand up
comedy.
Notes:
1
Artwork 1 Title: C'est la mort du petit cheval
Artwork 1 Commentary: From my series Men at arms this painting depicts Patrice Caine (CEO of Thales group) as a
napoleonic cavalryman as a tongue in cheek reference to the expansion of french arms sales. France ranks 4th
globally in the sales of arms and defence technology, Thales group makes a sizeable contribution to such a ranking.
the likes of mr Caine profit greatly from such industriousness and are rarely seen in the public eye.
Artwork 1 Image:
2
Artwork 2 Title: The Show
Artwork 2 Commentary: This painting is from my Currently untitled comedy series and features renowned US
comedian Dave Chappelle. Jan Matejko's StaÅ„czyk (on which this painting is modelled) has many parallel themes
which can be applied to entertainers of today. stand up comedy being most apparent.
Artwork 2 Image:
3
Catalogue2 ID0885
Artist ID: 0885
Artist Name: Madelynn Green

Website: www.madelynngreen.com
IG: @madelynnmaegreen
Artist Statement: My work pulls deeply personal images out of obscurity and reinterprets video and photo reference
material through the material language of painting. My figurative paintings of marginalised narratives explore
themes of memory, family, and domesticity. I aim to capture emotional forces such as tenderness, nostalgia, and
loss. Before painting, I reference my own familyâ€™s photographs and videos, stage my own domestic scenarios, or
research archival footage. I then distort color, scale, and composition to create alternative versions of reality. Far
from photorealistic, my paintings appear clearly fabricated; paint drips, forms are ambiguous, and details are
omitted.
During my studies at Central Saint Martins, I have determined that subject is secondary to form in my practice.
I am mostly drawn to the aesthetic of pre-digital images, specifically the forces of nostalgia and time that they
engender. I try to communicate these forces in my paintings in order to foster an emotive exchange between the
painting and viewer. To accomplish this, I have experimented with diverse materials and surfaces such as wallpaper,
fabric, and cotton.
Despite maintaining a figurative practice, I am inspired by Conceptual and Abstract ideas. Encountering Gilles
Deleuzeâ€™s assertion that â€œno art is figurativeâ€• was a pivotal point in my practice. I realised precise
representation is ultimately futile. Now, I try to emphasise the â€œconstructednessâ€• of images, even leaving
mistakes in my paintings, to exaggerate their materiality and identities as reconstructions of source material.
Constructing my own narratives exposes the endless interpretations of memory.
Notes:
1
Artwork 1 Title: Petting Smokey
Artwork 1 Dimensions: 61 x 76 x 1.8 cm
Artwork 1 Commentary: This painting depicts twin girls reaching through a screen door to interact with a dog. The
twins are myself and my sister. This piece is based on a photograph taken by my great-grandmother at her home in
Mississippi. I distorted the color, scale and composition to create an alternate version of reality. The original image
was much larger, but I cropped it to focus on the expressions on the girlsâ€™ faces and their tender interaction with
the dog. I painted this after moving to the UK in order to bring a remnant of home to London.
Themes of domesticity, family and memory are evident in this work which, through its color contrast, shows a
delicate balance between innocence and danger. I also intentionally made the painting appear unfinished; most
notably in the wallpaper and the right girlâ€™s arm where paint drips. Evidence of its creation is clear on this
painting. I used fast-drying acrylic paint instead of more traditional oil paint to create the effect of swift construction.
This stylistic tool represents how memories are fabricated.
Artwork 1 Image:
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Artwork 2 Title: Meridian
Artwork 2 Commentary: To create this work I searched through a file of my family's old photos. This image was taken
in Mississippi in the late 1990's by my great-grandmother. A passionate photo-taker, her hundreds of tender family
photos deeply inspire my work.
Originally a larger photograph of my great-grandfather and my younger brother, I cropped the image to focus on the
elder's expression. My great-grandfather would die from cancer in 2005, but lived for over a decade with the illness
while undergoing chemotherapy.
This ambiguous portrait highlights the banality of suffering. Pain from long-term illness is plainly exhausting, with the
uncertainty of your own mortality reason for pause.
Artwork 2 Image:
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Catalogue2 ID0889
Artist ID: 0889
Artist Name: Jo Israel

Website: https://jo-israel.com/
IG: https://www.instagram.com/jo_israel_art/
Artist Statement: My photography and light box exposures unearth the hidden natural and cultural histories
embedded in paper, evoking enchanted lost worlds of ancestral memory.
My work is a journey of the imagination. Like the adventures of Des Esseintes in Huysmans A rebours these are
travels to mythic places conducted from the comfort of my armchair within the stillness of the secluded sanctum.
Notes:
1
Artwork 1 Title: Betwixt (Shadow Box)
Artwork 1 Dimensions: 29 x 23x 10 cm
Artwork 1 Medium: Bespoke oak framed light box, double-sided photographic image cut from a 1920s travel book
Artwork 1 Commentary: Betwixt (Shadow Box) employs the use of camera-less photography within a light box to
render the opacity of paper reproduction transparent.
This light box exposure combines the rector and verso images of the paper of old picture books to create a third
sleeping image â€“ an uncanny spectral image in which the ghost of the past inhabit landscapes and new worlds of
enchantment. This is an X-ray of paper history revealing a hitherto hidden netherworld of imaginary habitation
through the inadvertencies of mechanical reproduction, a world literally passed by and over in the turn of the pages
of bygone picture books.
This work is an adventure between spaces, new excursions between realms of the image. But as much as these
doubling of the image contribute to a mobilisation of the imagination it seems to be in a space separated from time,
not just stopped but also somehow apart from time itself into a pure form of image reverie.
Artwork 1 Image:
2
3
Artwork 2 Title: Valley
Artwork 2 Medium: Giclee print on Hahnemuhle Museum Etching paper
Artwork 2 Commentary: Valley is named after the central gully of a book, the shadowy space of the bookâ€™s inner
spine, the dark vale separating opposing images.
Focussing my camera into the dark recessive gulf at the centre of a picture book while tilting the pages together
invites the two previously separate images to merge together in uncanny union. The process of photographing the
half-open book causes the perspectives of the original images to warp and shift, generating new images of deeply
weird, paradoxical spaces.
Valley evokes the collision of different realities and invites the viewer to consider to the possibility that there are
unknown worlds adjacent our own and that, given the right conditions, the vacuum that separates these spaces can
be breached.
Artwork 2 Image:
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Catalogue2 ID0890
Artist ID: 0890
Artist Name: Johnny Morant

Website: www.johnnymorant.com
IG: https://www.instagram.com/johnnymorant/
Artist Statement: Johnny Morant (b.1982) is a progressive figurative artist working primarily in oil to explore the
contradictions of a sustainable society.
My recent work revolves around the complications posed by invasive species -from guiltless plants to responsibly
awry human beings.
I attended art school in Bristol and Bournemouth and have since lived in London and Amsterdam. I have had four
solo exhibitions in London at the Rountree Tryon Gallery and have work included in a growing number of collections
including Smith & Williamson, Standard Chartered Bank, Prudential plc and Old Mutual plc.
Notes:
1
Artwork 1 Title: Unearthing
Artwork 1 Commentary: Unearthing is a bold and confrontational probe into the issues of sustainability and
responsibility.
Artwork 1 Image:
2
Artwork 2 Title: The greatest discovery of all
Artwork 2 Commentary: "The greatest discovery of all' poses suggestive narratives of the invasive nature of mankind
invoking a realisation of our limits and responsibilities.
Artwork 2 Image:
3
Catalogue2 ID0891
Artist ID: 0891
Artist Name: Kay Shah

Website: www.kay-shah.com
IG: @kayshah_art
Artist Statement: Playing on the idea of a world inhabited by geometric beings is at the heart of my practice. These
beings create their own universe; their own dimension to which the viewer looks into, producing a window between
two realities.
â€‹
The cityscape and its surrounding area directly influence my process. I take the stoic harsh architecture around me
and saturate it, allowing it to become an organism that can be added to and bond with other shapes, overlaying
them with the different gradient coloured skies looming overhead. The illusion of depth through perspective and
shadows transcend two to three-dimensional space; coming together to create a world for these beings from
another dimension to occupy, in turn inviting the viewer to inhabit it.
Notes:
1
Artwork 1 Title: It's Cold Outside
Artwork 1 Medium: Aluminium, Acrylic, Coal, Fluorescent tube lighting
Artwork 1 Commentary: The dimensions will vary with the coal being spread around the sculpture on the floor (the
dimensions provided is that of the centre sculpture). The backdrop fluorescent lighting tubes (refer to image) will be
within the coal surface, illuminating it, if a backdrop similar to that of what is in the image is not available (if there's
no backdrop the viewer can have a 360 degrees view).
Artwork 1 Image:
2
Artwork 2 Title: End of the F***ing World
Artwork 2 Medium: Giclee print
Artwork 2 Commentary: This giclee print is printed on Hahnemuhle photo rag bright white 310gsm paper mounted
on a black frame.
Artwork 2 Image:
3
Catalogue2 ID0892
Artist ID: 0892
Artist Name: Serena Maria Dicks

Website: www.serenamariaceramics.co.uk
IG: www.instagram.com/serenamariaceramics_/
Artist Statement: My works derive from individual experience and female nude art, residing in the liminality of
sensuality and dejection. My forms evolve from life drawing studies, abstracted into ambiguous bodily fragments. I
endeavour to hybridise painting and ceramics; preserving qualities of sensitivity, fragility and allure - from
sketchbook to three-dimensional form. My process involves working in an impulsive style of hand - building and
painting, transcribing raw and intimate emotion. My style of mark making resonates with the discretion and
exposure of sentiment, imbued inside and out of the form, where the self becomes the Other. Their human scale
reveals greater visceral energy through materiality, manifesting visions of fragmented femininity.
Notes:
1
Artwork 1 Title: Emanate
Artwork 1 Dimensions: 90 x40 x 35
Artwork 1 Medium: Stoneware porcelain, porcelain and velvet underglazes
Artwork 1 Commentary: Emanate alludes to the classic female nude, subverting its sensuality and melancholic state.
Through its corporeal form, it exposes ambiguity in dejection and sensuality; its curves and cavernous folds alluring,
yet an essence of the monstrous and grotesque. In its making, the clay was stretched, stressed, compressed and
contorted: creating a paradoxical sinuosity of a supple and ruptured surface. Blushes and bruises burnish its flesh,
imbued with overwrought emotion, concealed and revealed through a white veil of porcelain. Emanate is an
abstraction of feminine corporeality, depicting a liminal landscape of the abject and enticing, revealing the self as the
Other.
Artwork 1 Image:
2
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Artwork 2 Title: Exudate
Artwork 2 Medium: Stoneware porcelain, porcelain and velvet underglazes
Artwork 2 Commentary: Exudate blurs the boundaries between the Self and the Other: focusing on an ambiguous
yet intimate vessel. My process involves an impulsive and playful approach, where the clay is stretched and
manipulated, to create elongated and supple forms. I apply washes of porcelain and flushes of fleshy hues: disguising
and exposing marks of raw tenderness across its surface. Inside out, its tender, yet provocative enticement of the
orifice, seeps into a faÃ§ade of delicacy and purity: capturing the essence of female nude, and the leaking abject
body.
Artwork 2 Image:
4
Catalogue2 ID0893
Artist ID: 0893
Artist Name: Taiki Arita

Website: https://www.taikiarita.com/
IG: https://www.instagram.com/taikiarita_art/
Artist Statement: I was born in the city of Hiroshima where in 1945 the nuclear bomb was dropped on a human
population for the first time in human history. This bomb instantly destroyed lives of about 140,000 citizens.
When I was young, my grandparents, who were atomic bomb survivors, told me the story of the atomic-bomb event.
From that experience, I chose to seek peace; opposing nuclear weapons and wars and conveying the memory of
Hiroshima through art.
Because humankind tends to repeat the same mistakes and forget the past, a lot of nuclear weapons still exist in the
world, and nuclear modernization is proceeding. The world, including Japan, hasnâ€™t learned from the tragedy of
Hiroshima and Nagasaki.
To pray for peace, many thousands of paper cranes are delivered each year to Hiroshima from around the world.
Since the paper cranes are symbols of hope for world peace, the abolition of nuclear weapons, and the opposition to
war, I use the paper cranes and the ash as the material of my work. (Some paper cranes are burn in a sacred temple
since thereâ€™s not enough space to keep all of them.)
We should never repeat the slaughter and destruction of nuclear weapons.
I want to express the hope that humankind can live peacefully on the earth.
Notes:
1
Artwork 1 Title: Armageddon
Artwork 1 Dimensions: 91 X 72.7 X 3 CM
Artwork 1 Medium: Acrylic, Ash of folded paper cranes, Spray paint, Watercolor on canvas
Artwork 1 Commentary: The world end clock remains only 2 minutes.
Endless wars, unstoppable nuclear development, environmental destruction such as global warming. Iâ€™m afraid
that nuclear weapons around the world will explode unintentionally, and erase this world in a flash. We are in the
battlefield of good and evil at the end of the world, Armageddon.
Our world is in its equilibrium.
Artwork 1 Image:
2
Artwork 2 Title: The Passion
Artwork 2 Dimensions: 91 X 72.7 X 3 CM
Artwork 2 Medium: Acrylic, Ash of folded paper cranes, Spray paint on canvas
Artwork 2 Commentary: This picture depicts the Passion of Jesus Christ.
A pigeon with the branch of olive, a symbol of peace is dead lying beside Him. The Passion of Jesus Christ is the
atonement for the sins of humankind,
and the proof of Godâ€™s love for humankind.
The religion of the most of Western countries are christianity, and those countries still have possessed nuclear
weapons, and have justified their military operations â€œin the name of God.â€•
I wonder what the Passion of Jesus and the love of God mean truly to them. The actual world is still full of suffering
like the Passion of Jesus.
As this dead pigeon depicts, "peace" has not been achieved on the earth.
On the other hands, the hope for "peace" is put into the ash of folded paper cranes.
Artwork 2 Image:
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Catalogue2 ID0895
Artist ID: 0895
Artist Name: Catherine Howell

Website: www.chinatree.me
IG: https://www.instagram.com/catherinejhowell/
Artist Statement: I am a dual heritage artist exploring place and identity. I Link image, Sound and video Clips that I
have captured from around the world, with appropriated historical archives and family portraits. Distorting the
likeness of people and places, to take on new perspectives, through Paint, Collage and installation. The assembling
of objects, both pre fabricated and made, allows me to piece together a fictional reality, whilst connecting disparate
elements.
The surfaces I work with play an important part in the work, often choosing pre fabricated materials, or disrupting
the surface to take on a new form, for example rusting steel. This is to emphasise my interests in objects having an
pre existing purpose, then taking on a new one, or our actions having a reaction. I question our place on the earth,
our relationship with ourselves and others through heritage, traditions and lifestyle.
My focus is drawn to the meeting points at random, the idea of simultaneous possibilities coexisting allows me to
explore, and connect "different worlds" at the same time. The reconstruction element within my work gives
reference to the complex layers of history, of movement of people and goods, and Cultural displacement. I have
taken much of my inspiration for the development of my work from the Rhizome concept developed by Deleuze and
Guattari. "A Rhizome has no beginning or end" I develop my research into identity through a non starting point,
pushing the Connections and multiplicities that evolve within the work.
Notes:
1
Artwork 1 Title: She Floats With Boats
Artwork 1 Medium: Acrylic On Map
Artwork 1 Commentary: She Floats with Boats reflects the power struggle within Identity, Culture and History, as we
navigate towards a post colonial period. The work questions cultural displacement, the movement of people, and
complex layers of history. Disruption Sits alongside Creation with Careful painting Vs chaos, as the map is torn and
disrupted.
The Map itself symbolised power and authority. Using such a starting point, creates a challenge to understand our
journey and place on the earth, and the world itself. I connect with my viewer through the map; with it being an
image of such recognition, whilst expressing my own dialect, and mysterious annotations.
The work represents the need for balance. Within the map there are many Boundary lines, and factual information
that is very overpowering. I attempt to soften this through Playful Colour Blocks, and impressions, and distorted
Faces take up space within Contour lines and Countries. The female face at the top of the map, is a lady from
Mongolia who I met in Oxford. I was drawn to her warmth and smile, as we communicated using our body language.
For me she represented in that moment Power and Beauty, as she stood outside the Oxford Cathedral. In her
traditional clothing, Speaking of Cultural displacement, she was present in time. At the top of the map, she smiles
with her eyes down at â€œEuropeâ€• . Yet beneath the warmth there is hardship and layers of struggle, symbolised
through the tearing away of the map.
The 3 faces within the map make up a triangle like shape to create some Harmony. On one side of the portrait her
eyes are closed and the other open, giving reference to outer/inner presence, and spiritual undertones. Her Hair is
boundless and flows into the sea unruly, a celebration of movement away from suppression in relation to Afro
Caribbean hair, and a direct link to another map work Called â€œPressure and Windsâ€•
Artwork 1 Image:
2
3
Artwork 2 Title: Pressure And winds
Artwork 2 Dimensions: 120 x 18x 3
Artwork 2 Medium: Acrylic On Map
Artwork 2 Commentary: Pressure and Windsâ€• Layered and distorted Map makes reference and connections to
Complex histories, Rituals and Movement. The work is Centred around â€œGhettoâ€• who belongs to the 12 Tribes
Of Israel. He describes his dreadlocks, to be â€œThe Force Of The Spiritâ€•. Impressions of his locks, take over
boundary lines, and move throughout the map itself. They symbolise freedom, and a long history of Rastafarian
uprising, who considered it their calling to expose the corruption of the colonial system. Within the map, a single
minded pursuit of the spiritual is present, linking to the ancient Hindu beliefs, and the male cosmic energy of Shiva.
Figures resemble dance, movement, and stillness, in this constant strive to expand, and a longing to be boundless.
The work investigates balance in such a tangled world, full of trials and tribulations. It is a celebration of such faith in
the self, to stay grounded and embrace certain realities.
Artwork 2 Image:
4
5
Catalogue2 ID0896
Artist ID: 0896
Artist Name: Barry Beach

Website: www.barrybeach.com
IG: https://www.instagram.com/barrybeachartwork/
Artist Statement: I am interested in how forms and materials affect us physically and psychologically, and the
intersection of the human and natural worlds. Recent work explores the natural landscape and its relationship to the
human landscape through new and used natural and industrial materials.
The tension of intersecting human and natural landscapes fascinates me, hybrid areas where the human and non-
human worlds intersect. Observing the natural world inspires me, helping me see cycles and patterns: surface/form,
order/chaos, organic/synthetic, life/death/renewal. The San Francisco Bay Area inspires me where hybrid landscapes
of culture and nature evolve, mixtures of hills, structures, transport systems, flora, water, and fog.
Notes:
1
Artwork 1 Title: from the Contested Terrain series [terrain]
Artwork 1 Medium: reclaimed wood, paper and foam mounted on board
Artwork 1 Commentary: A wall-mounted sculptural relief of used materials cut and arranged into a landscape
Artwork 1 Image:
2
Artwork 2 Title: from the Contested Terrain series [valley]
Artwork 2 Medium: reclaimed cable, wood and paper mounted on board
Artwork 2 Commentary: A wall-mounted sculptural relief of used materials cut and arranged into a landscape
Artwork 2 Image:
3
Catalogue2 ID0897
Artist ID: 0897
Artist Name: Daniel Calderwood

Website: dcarts.co.uk
IG: https://www.instagram.com/dan.calderwood/
Artist Statement: My life, and subsequently my work, is heavily influenced by the instinctive and the coincidental. I
am inspired by the intricacy of existence as a whole and how it all is reflected in human experience. I aim to
reconnect with the primitive subconscious and form a dialogue concerned with the way that life influences the
creative process and how a materials innate properties and nuances can express narrative and emotion.
I work in the same mode as organic development, governed by basic rules to retain order but driven by instinct,
intuition and improvisation. Process led, my materials are never forced, but are nurtured into their ideal forms. I find
metals to be best suited to this, they are a group of materials that have incredible dualities; delicacy and malleability,
but, at the same time, strength and endurance.
Merging natural intuition and technical ability, pieces are developed through repetition; physical form through
evolution, as if the work itself were a species.
Notes:
1
Artwork 1 Title: Deliverance
Artwork 1 Medium: copper and mild steel
Artwork 1 Commentary: This is my latest piece in this series of busts and faces, derived from material
experimentations in a separate project â€˜Stardustâ€™ that explored the visual representation of fleshing out the
bones of the creative artistic entity with substance, it also touches on concerns for identity. Deliverance is a piece
that was created out of pure emotional response using no direct visual reference (except the hand), emotions that,
at the time, surrounded how my creativity and faith take care of me. For reasons I havenâ€™t grasped yet, I have
had a lengthy interest with how the hand and the face interact with each other to tell a story. As I make this series, I
add something the last didnâ€™t have, I dared to sculpt a hand and added eyes (although not open yet), as I begin to
see what I am / am becoming. Maybe in some way it is a hope that with every one that I make, I add something to
myself, and grow as a human, an artist and a soul.
Artwork 1 Image:
2
3
Artwork 2 Title: Rejuvenate III
Artwork 2 Medium: forged mild steel and spalted birch
Artwork 2 Commentary: This series of work is often revisited during transitional periods of my life, making them is a
meditative and reflective process of coming to terms with shifts and how new things come from the decay of the old.
The narrative surrounding the work is about the beauty in decay as nourishment or fertiliser for new growth. I use
naturally spalted birch wood root sections for the base; â€˜spaltingâ€™ is a medley of fungus that grows through the
grain structure of the wood creating beautiful patterns that are revealed when the wood is cut. I spend hours
wondering around woodlands to find the perfect specimen that has already been cut down and has already started
the natural process of decay, a spiritual process of finding myself among the trees. I grew up spending hours in the
woods; playing, building, camping and riding my bike, dense trees have become a place in which I find my inner
creative child and converse with my Creator. Carefully digging as deep as I can to find the roots I extract as much as I
can for later processing and working out the optimum place to cut the remaining roots away. The flower its self has
reference to fungal growth too, following the theme of decay and beauty. The process of forging them is one intense
manipulation and precision, each individual stem/head is made from a single bar, worked for hours to refine its
shape. I love making this series, it has such a simple template but requires a beautiful mix of high precision,
preparation, intuition and freedom, all the ingredients for new growth.
Artwork 2 Image:
4
5
Catalogue2 ID0898
Artist ID: 0898
Artist Name: Lucy Duke

Website: lucyduke.com
IG: Lucy Duke Â© Lucy Duke
Artist Statement: My practise is drawing from life with a strong interest in finding the marks appropriate for the
expression and identity of a particular time and place. Bringing to life the light, colour and space of the picture plane
as well as the image and concept pursued.
Notes:
1
Artwork 1 Title: Two realms
Artwork 1 Medium: Watercolour & pastel on paper
Artwork 1 Commentary: The concept of 'Two realms' is seeing the contrast of the physical realm of earth to that of
the spiritual celestial nature of our sky.
It was made 'en plein air' using a previously prepared ground of watercolour on paper that demanded further collage
to make the correct scale.
Artwork 1 Image:
2
Artwork 2 Title: Zephyr
Artwork 2 Medium: Pastel on paper
Artwork 2 Commentary: 'Zephyr' renders a sense of Spring and the warm west wind that ushers it in.
Made 'en plein air ' from my back garden in south London.
Artwork 2 Image:
3
Catalogue2 ID0899
Artist ID: 0899
Artist Name: Lauren Esme White

Website: LaurenEsmeWhite.com
IG: Lauren Esme White
Artist Statement: I usually paint imagined landscapes, in oils and acrylics on stretched canvas. I take off and layer up
paint to create a sense of texture and movement. I paint to the edge of the canvas and like to direct the eye away
from the centre to make my works more visually interesting.
Notes:
1
Artwork 1 Title: Hidden Rock Face Grottoes
Artwork 1 Medium: Oil and acrylic on stretched canvas
Artwork 1 Commentary: This painting has been inspired by the rock architecture in places like China, India, Vietnam,
and Iran.
Artwork 1 Image:
2
Artwork 2 Title: Woven Rock Face Grotto
Artwork 2 Medium: Oil and acrylic on stretched canvas
Artwork 2 Commentary: This painting was inspired by the rock face architecture in places like China, India, Vietnam,
and Iran
Artwork 2 Image:
3
Catalogue2 ID0904
Artist ID: 0904
Artist Name: Sookie Brarou

Website: https://www.sookiebrarou.com/
IG: https://www.instagram.com/the_crispy_cactus/
Artist Statement: My name is Sookie Brarou and I am a Belgian collage artist. Engineer by training, I like to play on
scales and confront image fragments coming from divergent contexts. I decompose and recompose. I create scenes
where, in a world different from ours, intriguing characters interact with their environment and question our society
in an indirect way. Space, climate change and femininity are the themes that fascinate me the most.Â â€¨â€¨My last
collages were made from stock pictures, which were reworked digitally. The creative process is always unique in the
sense that scales, cuts and hues are worked until the image fragments feel like they were meant to be assembled.
2018 was a particularly successful year since I had the opportunity to participate in my very first international
exhibitions. Thanks to the Gamma Young Artist Competition, I had the chance to receive the award of the Best Artist
of the Year in Tokyo and take part in the finalistsâ€™ exhibition in Seoul. I am currently working on collaborations
with photographers and I look forward to the next opportunities to prove myself.
Notes:
1
Artwork 1 Title: Eclipse I
Artwork 1 Medium: Digital collage, silkscreen-printed on paper
Artwork 1 Commentary: This is the first work of a moon-themed collage series, where the moon seems to be
personified and a correlation is made between the notion of eclipse and human emotions such as timidity and
decency. An elegant hand is raised in front of it as protection from unwanted external influences.
Artwork 1 Image:
2
Artwork 2 Title: Eclipse II
Artwork 2 Medium: Digital collage, silkscreen-printed on paper
Artwork 2 Commentary: Second work from the moon-themed series.
Artwork 2 Image:
3
Catalogue2 ID0906
Artist ID: 0906
Artist Name: Claire Van Der Boog

Website: www.clairevanderboog.com
IG: https://www.instagram.com/clairevanderboog/
Artist Statement: The concept of space itself is an illusion. That is the playground of my artistic research.
My own experience of space as brought me to translate it has follows:
White page
Dot
Line
Space is being shaped
Blank mind
Senses
Vision
Space has shaped itself in my mind
Time passes
Memory
Knowledge
I let my guard down
Space is taken for granted
Pause
Rethink
I start to experience different types of spaces
they cannot be retained by lines
Finally, I go back to one infinite
Ungraspable space
White page
Each moment of this spatial journey has its own importance, its own taste and its own tools to apprehend space.
In my artistic research I explore each of these moments and try to bend, distort or magnify space. These
experimentations can result in imaginary spaces, illusions or open questionsâ€¦ and are all new redefinitions of
spaces.
I donâ€™t limit my work to a specific type of medium but rather allow myself to explore any that would best fit the
experiment.
And you are right Iâ€™m a space addict!
Notes:
1
Artwork 1 Title: I am what was, is and will be invisible
Artwork 1 Medium: MDF, Plexiglas and red & blue glasses
Artwork 1 Commentary: Donâ€™t you sometimes feel objects are not just what they seem? What if you are not able
to see everything that constitutes them and probably never will?
Take the cube for example. First you see a square, then 2, 3, 4, 5 and 6 squares. Finally, the cube as a whole. To be
able to see the totality of its physical attributes you were required to observe it from different perspectives and at
different moments. This means that you can only experience it through space and time.
But how was it yesterday? How is the invisible side of your current perspective? What will it be tomorrow?
What if you could see every image of the cube from all perspectives and at all times?
Ouspensky in his book Tertium Organum explains that what surrounds us can only be experienced for what it really
is through the fourth dimension. Without that 4th dimension the image we create of what surrounds us will not be
complete and the image as it is created doesnâ€™t really exist.
The presented artwork embodies the fact that it is hiding something from the viewer who will have to search for it
through time and space, taking action and changing its perspective. Then only the 3 dimensionality of the work will
be visible.
In every day life we all try to better understand what is around us. The knowledge we build up during the years helps
us with it but it might also impair our ability to simply see what is in front of us. It makes it a real challenge and no
straight route exists, only a maze where you need to constantly question yourself to be able to see the true image of
things.
Artwork 1 Image:
2
3
Artwork 2 Title: Cube: endlessness framed
Artwork 2 Medium: MDF
Artwork 2 Commentary: The cube is one of the most basic forms. A form that our senses can visualize, understand
and project most easily. And at the same time, it is one of the most intriguing forms:
A cube can contain an infinity of others.
It is a unit of measurement for three-dimensionality.
One of its faces is always invisible.
â€¦
The cube intrigues me. It is to me a pure form which with its complexity allows me to play with our senses. Depth
and scale, full or empty, order of perception, two dimensionality or three-dimensionality... In the presented artwork,
everyone creates their own vision of the image they are given to see. The work is both simple and complex
depending on how we look at it and with which intensity. Everyone, however by looking at it, will have tested their
perception and for a fraction of a second, they will have had a glimpse at the abys: the one of space in all its richness.
I like to treat space through different perspectives. Whether it is through drawing made three dimensional or
thought 3D laid flat. This duality inspires me and it is, I am convinced, necessary for our understanding of space.
As the space in its simplest apparatus has no shape, I often dress it up in a graphic garment. This facilitates it to make
it more complex.
Simple shapes are often the most complex.
Artwork 2 Image:
4
5
Catalogue2 ID0907
Artist ID: 0907
Artist Name: Gulja Holland

Website: www.guljaholland.com
IG: @guljaholland
Artist Statement: I am a Maltese visual artist specializing in painting. My overall style is expressionistic and merges
abstraction with a digitally informed figuration. The two works submitted form part of an ongoing series entitled
â€Ãltered Egosâ€™. The scope of these works is to express the multitudes that exist within each of us. I call these
works â€˜photo-paintingsâ€™; a term I borrow from Gerhard Richter in reference to my works which combine
photography and paint. What appeals to me so much about combining the two mediums is that they create dynamic
compositions which border between representation and abstraction in a way that fuses the outward and inward
dimensions of the subject being depicted. I tend to depict people I know very well, for practical reasons and owing to
the familiarity between us. I am more at ease using a familiar face when communicating elements of the human
condition.
The best compliment I have ever received from a critic is as follows:
â€˜Looking at Hollandâ€™s work feels like youâ€™re staring at your own reflection in the most surreal of mirrors,
and been left in solitude to wonder: which canvas truly is the fairest of them all.â€™
Other artists who have had a considerable influence on my practice include Edvard Munch, Francis Bacon, Andy
Warhol, and Marlene Dumas.
I feel I am very much at the start of my career and hope to develop my practice much further. Hopefully, these works
give a good indication of my ongoing development of style and motifs.
Notes:
1
Artwork 1 Title: Ego I.
Artwork 1 Medium: Oil and digital artwork on stretched canvas
Artwork 1 Commentary: Ego I. is the first â€˜photo-paintingâ€™ I created. At first, the image appears as an abstract,
but upon closer inspection, a face emerges. The self-portrait merges both digital and physical gestural painted
marks. It reminded me very much of Edvard Munch's 'Madonna'; an image which is very much imprinted in my mind
and may have well influenced the work on a subconscious level as I am a big admirer of Munch.
Here, the influence of pop art on my own practice can be seen in my repetition of source imagery as it forms part of
25 works shown at my first solo exhibition, all of which present an altered version of one of two images.
In imposing a limitation of reference imagery I am able to focus more energy on how I am painting something and
better express the subjectivity of our experiences and understanding of one another.
Artwork 1 Image:
2
3
Artwork 2 Title: Checka in Motion
Artwork 2 Medium: oil and digital artwork on stretched canvas
Artwork 2 Commentary: 'Checka in motion' forms part of the 'Altered egos' exhibition. The exhibition consisted of 25
works which reference and incorporate one of only two photographic images. Each varying copy of the image
presents a slightly altered reality and understanding of the subject. I chose this work as I think it if one of my
stronger works in terms of composition and color balance.
Artwork 2 Image:
4
Catalogue2 ID0909
Artist ID: 0909
Artist Name: Fiona Campbell

Website: fionacampbellart.co.uk
IG: fionacampbellartist
Artist Statement: â€˜The tentacular are... fingery beings like humans... squid, jellyfish, neural extravaganzas, fibrous
entities, flagellated beings... swelling roots... The tentacular are also nets and networks... Tentacularity is about life
lived along linesâ€Š... a series of interlaced trailsâ€™ (Donna Haraway, 2016)Â
Connections between line, growth and energy, interconnections from micro to macro, natureâ€™s cyclical
persistence and transformation are overarching themes in my work. Treating line as object, my work blurs
boundaries between sculpture, drawing and installation.
I tackle environmental issues. Pressing concerns about human exploitation of nature, (of which we are a part) and
over-consumption inform the content, taking my work into the realm of artivism.Â Rooted in anti-consumerism, my
use of reclaimed and discarded materials relates to the issue of waste.Â It belongs to a wider subject of our
relationship with matter, nature, and ourselves. Â
Materiality and process are central to my practice. Â The work is hand-made and labour-intensive - the action of
making often intuitive, time-consuming and repetitive.Â Collecting materials is intrinsic to the process.Â I approach
materials as anti-hierarchical, upholding that â€˜everything in life is in essence biologicalâ€™ (Le Corbusier).Â
Notes:
1
Artwork 1 Title: Glut
Artwork 1 Dimensions: 270cm (h) x 180cm (w) x50cm (d)
Artwork 1 Medium: Found and recycled materials including some with emotional significance (my deceased dogâ€™s
toys, blanket, lead, collar, my sonâ€™s unwanted stuffed animals), foam, sponge, twine, copper wire, old clothes,
fabric (some hand dyed with avocado pits), wool,
Artwork 1 Commentary: â€˜Glutâ€™ is an outpouring, a form of suturing, an emotional response to the recent death
of my dog, factory farming, and our plastic oceans.
A â€˜curtainâ€™ of tentacular entrails,Â viscous bodily hybrids transformed, â€˜Glutâ€™ is seductive and disgusting.
The materials (especially personal items) speak of past lives, loss, textiles, craft. In contrast, the organic forms
symbolise death, violence, but also vulnerability and renewal - the duality of horror and tenderness.
Artwork 1 Image:
2
3
Artwork 2 Title: Accretion
Artwork 2 Dimensions: 100 (h) x 200 (w) x 150cms (d)
Artwork 2 Medium: Recycled and found materials: foam, sponge, twine, copper wire, fabric, leather, wool, plastic
netting, sisal, hair, coir, dust, beads, plant fibre, feathers, handmade paper, pva, paste, rabbit skin glue, linseed oil,
pigment, steel
Artwork 2 Commentary: â€Ãccretionâ€™Â isÂ an accumulation of many parts.Â Its evolution, the labour-intensive
process of its making is an important element in the work. Â â€Ãccretionâ€™ is an abject object.Â It has
connotations of the intestine, a metaphor for waste, excess and recycling, and other tentacular forms.Â Like pulling
hair out of a plug, it is repulsive, ambiguous.
Artwork 2 Image:
4
5
Catalogue2 ID0910
Artist ID: 0910
Artist Name: Tallulah De Castro-Gray

Website: https://www.facebook.com/tallulah.sabrin
IG: tallulahdecastrogray
Artist Statement:
Edinburgh based Tallulah de Castro-Gray (b.1996) is an Anglo-Brazilian artist. Tallulah works with mixed methods of
painting to produceÂ large dramatic works that focus on gestural abstraction and colour perception to provoke
emotion.My work revolves around the physical actÂ of painting. The tactility of the substance inspires me and
depending on which form of paint I use, it's physical qualityÂ and colourÂ influence my process. I preferÂ painting on
large canvasesÂ as the final result is more dramaticÂ and the process itself, due to it's size and physicality, feels like a
dance with colour. The brush marks indicate which ways my arms have moved over the canvas, serving as a record
of my mark making. Wassily Kandinsky's 'Improvisations' inspire my work,Â through their ability to appear just as
they are named, whereas in factÂ areÂ an assembly of pre-calculatedÂ decisions Kandinsky made often with
reference to the movementÂ ofÂ ballerinas. ThisÂ relationship betweenÂ dance and painting is one that influences
my work immensely.Â Through my art, I seek to evoke an emotional response, be it excitement, sadness, or fear.
Notes:
1
Artwork 1 Title: Malice in Wonderland
Artwork 1 Dimensions: 84cm x 118cm
Artwork 1 Medium: Oil/Acrylic on Canvas
Artwork 1 Commentary: This abstract figurative painting was inspired by the fantastical floral fantasia seen in the
original Alice in Wonderland cartoon. The play on words with 'Malice' instead of 'Alice' connotes to the dark tones
present within the work. The paintings' intention is to evoke a feeling of excitement and visual pleasure in the viewer
created through the gestural compile of vivid colour and form.
Artwork 1 Image:
2
Artwork 2 Title: Floral Fantasia
Artwork 2 Medium: Oil/Acrylic on canvas
Artwork 2 Commentary: This expressionist painting was inspired by the abstract expressionist works of Joan Mitchell
and Cy Twombly. The fast violent marks juxtaposed against the playful feminine colours intend to evoke an
enthralling yet sublime springtime feeling in the viewer, evoking emotion and intrigue.
Artwork 2 Image:
3
Catalogue2 ID0911
Artist ID: 0911
Artist Name: Jane Fairhurst

Website: www.janefairhurst.co.uk
IG: Jane Fairhurst
Artist Statement: I work in a variety of media and focus upon research into ancient belief systems whose resonance
is found in contemporary cultures to inform my work.
I have chosen to use my own textile sculptures as still life subject matter for my paintings and in doing so I create
intriguing images of fabrics richly decorated with embroidery and amulet devices; buttons, nazars beads.
Iâ€™ve been a practicing professional artist for over 30 years and gained my MFA with distinction from Liverpool
John Moores University in 2010.
I was selected for Beep International Painting Prize in 2018, shortlisted for the NOA Prize in 2017 and a selected
artist for the Greater Manchester Art Prize in 2016.
I am the founder member (1999) of Cross Street Arts studio group based in Wigan, Greater Manchester and have
worked collaboratively with artists, curators, museums and galleries to bring together diverse and vibrant exhibitions
for over 20 years.
Notes:
1
Artwork 1 Title: This Way
Artwork 1 Commentary: This acrylic on canvas painting is a representational painting of an abstract textile sculpture
and is one half of a diptych.
Artwork 1 Image:
2
Artwork 2 Title: That Way
Artwork 2 Commentary: This acrylic on canvas painting is a representational painting of an abstract textile sculpture
and is the other half of a diptych.
Artwork 2 Image:
3
Catalogue2 ID0912
Artist ID: 0912
Artist Name: Edda Aark

Website: eddaaark.com
IG: https://www.instagram.com/edda_aark/
Artist Statement: Mostly making art is my best friend and sometimes my biggest challenge. It's a way to explore
myself and to unravel my perception of the world.
Notes:
1
Artwork 1 Title: Mostly Happy Memories
Artwork 1 Medium: mixed: tile glue, acrylic paint, pencil, pastels on canvas
Artwork 1 Commentary: it's about processing the past, accepting inner beasts and making peace with them.
Artwork 1 Image:
2
Artwork 2 Title: Angry Purple and a Tennis Racket
Artwork 2 Medium: acrylic paint on canvas
Artwork 2 Commentary: impulse-driven painting based on a vague memory of a picture I painted as a child
Artwork 2 Image:
3
Catalogue2 ID0914
Artist ID: 0914
Artist Name: Seitaku Aoyama

Website: http://www.taksanart.com/
IG: https://www.instagram.com/seitakutakaoyama/
Artist Statement: Painter. Self-taught. Currently working in acrylic and gouache. Born and raised in Tokyo, Japan,
currently living and working in Southern California.
His work has been shown in North America, Europe, and Asia.
Art is to seek out the truth of oneself. To do so, I face the question as to whether I am truly alive. Thus, my art
renders proof of my existence through a sans-cesse narrative of relativity.
When my art, a hypothetical message as from the perspective of the general audience, permeates the life
experience of a few coincidental viewers, relativity is augmented creating truth through the chemical reaction of my
work and those inadvertent few. We all can be relative in one way or another, relative as in a word, relative as in a
family. Achieving veritas reinforces individualistic power and births the flexibility to be liberated from hypothetical
rules, allowing us to depart upon a facile state of forward motion together.
With all that this entails, I continue to create.
Notes:
1
Artwork 1 Title: Fortune Dragon 1
Artwork 1 Dimensions: 20x36 inch
Artwork 1 Commentary: I have been engaged in the visualization of mythical creatures. While at a tattoo shop, I
overheard an argument as to how a dragon should look. This led me to wonder the clout this argument held while
no one (inside or outside this discourse) has actually ever seen â€œa realâ€• dragon. I believe that it is easy to dwell
upon defining something unknown based upon provided information, and I found it is within this space that I can
expand upon and challenge my own imagination and creativity.
Once one follows such given ready-made information, the visual that results is trimmed through utter control of the
aforementioned given information. More often than not, the process of realization is that of extraction instead of
addition. I chose the latter to extend that which has not been seen as is the case of these unseen imaginary
creatures. Establishing the theme to render a sense of fortune provided the most profound match for evocation of
my own image as to what fortune is meant to be.
There are four famous mythical creatures originally from China, commonly seen in Japan. The dragon, Kirin (giraffe),
Hoh-oh (phoenix) and Reiki (turtle). I am planning to realize all of these creatures in a variety of pieces. Hence, each
title is accompanied by a numeric indication.
Artwork 1 Image:
2
3
Artwork 2 Title: Fortune Kirin 1
Artwork 2 Dimensions: 18 x 24 inch
Artwork 2 Commentary: I have been engaged in the visualization of mythical creatures. While at a tattoo shop, I
overheard an argument as to how a dragon should look. This led me to wonder the clout this argument held while
no one (inside or outside this discourse) has actually ever seen â€œa realâ€• dragon. I believe that it is easy to dwell
upon defining something unknown based upon provided information, and I found it is within this space that I can
expand upon and challenge my own imagination and creativity.
Once one follows such given ready-made information, the visual that results is trimmed through utter control of the
aforementioned given information. More often than not, the process of realization is that of extraction instead of
addition. I chose the latter to extend that which has not been seen as is the case of these unseen imaginary
creatures. Establishing the theme to render a sense of fortune provided the most profound match for evocation of
my own image as to what fortune is meant to be.
There are four famous mythical creatures originally from China, commonly seen in Japan. The dragon, Kirin (giraffe),
Hoh-oh (phoenix) and Reiki (turtle). I am planning to realize all of these creatures in a variety of pieces. Hence, each
title is accompanied by a numeric indication.
Artwork 2 Image:
4
5
Catalogue2 ID0915
Artist ID: 0915
Artist Name: Cassie Suche

Website: www.cassiesuche.com
IG: @cassiesuche
Artist Statement: I am a multidisciplinary visual artist exploring the relationship between logical systems and the
natural world.
Process is central to my practice, and my work often originates from rigorous material experimentation. Embracing a
wide variety of processes, I seek to reveal and engage with inherent material qualities. Interested in repetition and
pattern, I gravitate towards processes which utilize varying degrees of automation.
Among the factors driving my work, I am influenced by research and discussions concerning spirituality,
consciousness, and the nature of existence. My recent work uses modular and linear forms to express these ideas.
Notes:
1
Artwork 1 Title: Subtleties
Artwork 1 Medium: Marker on Paper
Artwork 1 Commentary: "Subtleties" explores incremental change through repetition and variation. The work
expresses the motion and trajectory of a component as it gradually and repeatedly changes in momentum, direction
and in itself as an entity.
Artwork 1 Image:
2
Artwork 2 Title: Automata (II, III)
Artwork 2 Dimensions: (2) Each - 84cm x 60cm
Artwork 2 Medium: Copic Marker of Tracing Paper
Artwork 2 Commentary: These drawings are from a series pieces which explore meditative mental processes in
tandem with steady and concentrated physical gestures.
Demanding mechanical levels of consistency in speed, pressure, and accuracy, in the execution of these works, the
artist embodies a form of machinery. The physical sustain and imperfections of the human hand remain present in
the work.
The final imagery highlights the pervasiveness of repetition in both the human experience and in automated
mechanical processes. The duality of the overall composition is representational of the binary interpretations we
utilize to understand our surroundings. The work seeks to invite comparison between human cognitive strategies
and logical machine processes.
Artwork 2 Image:
3
4
Catalogue2 ID0916
Artist ID: 0916
Artist Name: Tom Witherick

Website: www.thomaswitherick.co.uk
IG: https://www.instagram.com/tomwitherick/
Artist Statement: My practice stems from an interest in the embodied and metaphorical structuring of language and
the role it plays in giving form to human experience and our perception of things. I am interested in the way
phenomena can be represented within language and the ability of language to either undermine or overmine an
objects presence at any given time.
By acting as visual metaphors works explore this pre-occupation through formal means such as the manipulation of
material and its sensuous qualities and the situation of the work in space. Using a minimal visual language and
adhering to a sense of object hood, parallels are made between human experience and the functionality of domestic
objects. Either through the reinterpretation of everyday objects or by alluding to an ambiguous use within the work,
pieces take on a performative quality, further highlighting the embodied nature of subject â€“ object relationships
and meaning through an intended handling of the object.
Notes:
1
Artwork 1 Title: nine take cares (bouquet)
Artwork 1 Medium: Plaster
Artwork 1 Commentary: The piece consists of nine individual plaster casts of an ordinary 'S' hook linked together to
form a circular chain. This work is an exploration into the relationships between the sensual material qualities of an
object and our perceptions and handling of it. By changing the material quality of the hooks from metal to plaster
(strong to fragile) their original object quality is also changed, they lose there functionality, instead becoming
something precious and fragile. This fragility is reflected in our physical handling of the work which becomes more
akin to that of a bouquet of flowers than an industrial, utilitarian object. The word bouquet is also used to describe a
string of compliments.
Artwork 1 Image:
2
3
Artwork 2 Title: Object for the corner of a room
Artwork 2 Medium: Metal bucket, wax
Artwork 2 Commentary: "And the moon having painted herself into the corner of your room, downs tools and awaits
the first light of day."
The piece explores the way we events are often conceptualised as actions acted out by an agent. In this case the
event of the covering of a room in moonlight is understood through the personification of the moon as a painter.
The piece acts in a similar way to some sort of theatrical prop where by the object aids in the telling of a greater
narrative.
Artwork 2 Image:
4
5
Catalogue2 ID0917
Artist ID: 0917
Artist Name: Molly Bythell

Website: mollybythell.com
IG: https://www.instagram.com/mollybythell/
Artist Statement: I am obsessed with women. They tantalise me.
Traditionally in painting or sculpture, women are presented as passive receivers of the male gaze. I am trying to
challenge that.
My impulse has always been to paint women. Because I spend time creating their form and because I am one, I get
to know them â€“ their passions, styles and insecurities. Iâ€™m based in Hereford, a less metropolitan area of
Britain and therefore a perfect place to question the patriarchy, to identify problems with the male-female power
dynamic using colour, pattern and composition.
Woman as object becomes woman as subject.
Notes:
1
Artwork 1 Title: feast your eyes
Artwork 1 Commentary: Category is... Bring it to the runway. Tens, tens, tens across the board!
Artwork 1 Image:
2
Artwork 2 Title: freaky friday
Artwork 2 Commentary: We are gathered here today to witness to wonderful phenomenon and power of female
friendships,
â€¦ who most importantly borrow each otherâ€™s clothes!
Artwork 2 Image:
3
Catalogue2 ID0918
Artist ID: 0918
Artist Name: Natasha Muluswela

Website: https://vsco.co/npariss/
IG: https://www.instagram.com/npariss/
Artist Statement: I am a Zimbabwean born artist, currently living in the United Kingdom. Having lived in two different
worlds and cultures have been the central of my focus.
My art work takes a critical look at different aspects of the human body, in a hyper-realistic manner. I explore the
varying relationship between societal views of what body imperfections and perfection means, highlighting the
beauty of how diverse the human body is and how it differentiates between each person. While I use a variety of
materials and processes in each project my methodology is consistent.
The subject matter of each piece determines the materials and the forms of the work. Each project often consists of
graphite, however, contains subtle colour in a range of different media. By methods of research and production, this
has a major impact on new areas of interest which in turn lead to my next body of work.
Notes:
1
Artwork 1 Title: 'One, Two, Three'
Artwork 1 Medium: Graphite, Coloured Pencil and Watercolour Paint
Artwork 1 Commentary: The three drawings are a social commentary on what beauty is perceived to be from a
societal point of view. As society tends focuses on what is perfect and the never-ending strive for perfection. What I
concentrate on is what is that makes us individual, what makes us different?
In regards to the drawings, they focus on a skin condition called vitiligo, something that people view as an
imperfection. However, I see in the individuality of the individual through natureâ€™s on art. The gestures of the
hands are drawn in different poses, this again reflecting back to the social commentary that imperfections are
normal and what anybody thinks is secondary.
Artwork 1 Image:
2
3
Artwork 2 Title: 'Perfection in Imperfections'
Artwork 2 Medium: Graphite and Coloured Pencil
Artwork 2 Commentary: The drawing is another commentary on what makes us different. The beauty of this drawing
highlights nature's own marks, freckles on the human body.
The tone and colour vary in the drawing to highlight the tone of the skin so we can see it from a monotonal view and
also in colour. To me the freckles are a symbol of beauty, but at one time these were perceived as an imperfection. It
is now time to flaunt and embrace the individuals who were once shamed for this and let them know that they are
absolutely beautiful.
Artwork 2 Image:
4
5
Catalogue2 ID0921
Artist ID: 0921
Artist Name: Raul G.

Website: www.byraulg.com
IG: @byraulg
Artist Statement: Since I was a small child in MÃ¡laga I have always drawn and painted. I had two very talented older
brothers from whom I first started learning my skills; in my mind art was just something that everyone did, like
eating and playing. Many years later I would study Fine Arts in Sevilla and soon after that I moved to London. Since
then my artistic practice has been informed by this city â€“ its character, its contrasts, its history and above all its
people.
Portrait was always the genre that attracted me the most. In my ongoing series of live urban sketches The Londoners
I intend to draw a collective portrait of this great city through the people who live in it; those who, on a day-to-day
basis, make London and are made (and unmade) by it. I like creating a situation in which my sitters and I become
part of a brief artistic adventure; the primal excitement of looking, being looked at and capturing someoneâ€™s
presence â€“ something like what Bacon called â€˜the sensation of the momentâ€™.
I am interested in portraying different aspects of the human experience in all its intensity, strangeness, beauty and
absurdity. Thereâ€™s often a feeling of melancholy alienation in my images that echoes the way I relate to the
world. Through my work I aim to record and transform such feelings into images of compelling beauty.
Notes:
1
Artwork 1 Title: The Kanneh-Masons at the Royal Academy of Music, London
Artwork 1 Medium: Acrylic and permanent marker on canvas
Artwork 1 Commentary: A group portrait of the Kanneh-Mason siblings, all musicians who study at London's Royal
Academy of Music. The cellist Sheku has achieved prominence in the music world in the last two years. In 2016 he
won BBC Young Musician of the Year and last spring his debut album Inspiration went to the Top 20 in the Official UK
Albums Chart.
The painting depicts the seven siblings playing onstage at the Duke Hall of the Royal Academy. I met them there
several times and drew the sketches from which the painting is based.
For this picture I wanted to achieve a classical flavour though the choice of compositional lines and colour. I drew
inspiration from 18th Century masters Watteau and Zoffany's paintings of musicians, as well as more current
references such as Al Hirschfeld's illustration work and the colour vibrancy of Peter Blake.
I also intended to capture the vitality of these young players, as well as their interactions whilst they play together, in
order to convey the feeling of music being created in the moment by a group of people who have an intimate
understanding and connection with each other.
Artwork 1 Image:
2
3
Artwork 2 Title: Nico
Artwork 2 Medium: Acrylic and permanent marker on board
Artwork 2 Commentary: I got to know Nico through my work as an urban sketcher. I met her outside a nightclub in
Soho, the area where she lives. I drew a sketch of her at that moment and since then I have done several others at
her flat. This painting is based on some of those live studies.
The drawings are part of a series called The Londoners. As the title suggests, with them I intend to depict life in
London through quick, spontaneous portraits of the people who live in it. I pay special attention to those living in the
margins of mainstream society.
Despite having made several portraits of Nico I still don't know much about her life, but her whole presence suggests
to me that it is one that has been lived to the full. In this painting I have tried to convey that intensity through the
use of a limited palette of contrasting reds, oranges, blacks and whites. She stands against the violent white light
coming from the window, emerging as a compelling figure of mystery, defiance and survival against the odds.
Artwork 2 Image:
4
5
Catalogue2 ID0922
Artist ID: 0922
Artist Name: Michelle Tasker

Website: www.michelletasker.co.uk
IG: @michelletaskerartist
Artist Statement: Michelle is an emerging a photographic artist from the UK.
After picking up a camera in 2009, she has worked within different photographic industries, from the wedding
industry to food photography. None of these ever satisfied her creativity and in 2014 she began her journey into fine
art and self portraiture.
Often working within surrealism, she weaves thoughtful narratives with contrasting concepts.
To date, Michelle has focussed on self portraiture, enjoying the freedom of creating alone. She works, simplistically,
with few props or resources, highlighting form or colour. Her images use layering, collage and digital manipulation.
Inspired by her surroundings; she connects the outside world with her inner world.
Notes:
1
Artwork 1 Title: Time Thighs
Artwork 1 Medium: Photography/Giclee print
Artwork 1 Commentary: How quickly we travel through life. Always running to get somewhere. Only to reach the
end and realise that it was the journey, and not the destination, which was important.
An image from my journey into surrealism and digital collage and a self portrait
Artwork 1 Image:
2
Artwork 2 Title: Self LitAn image from my journey into surrealism and digital collage. A self portrait and
demonstration of my love of beautiful things (the shade, not my legs!)
Artwork 2 Medium: Photography/Giclee print
Artwork 2 Commentary: An image from my journey into surrealism and digital collage. A self portrait and
demonstration of my love of beautiful things (the shade, not my legs!)
Artwork 2 Image:
3
Catalogue2 ID0924
Artist ID: 0924
Artist Name: Sally Hattrell

Website: sallyhattrell.co.uk
IG: sallyhattrellart
Artist Statement: Using a variety of mediums, I explore feelings of loneliness and collapse of humanity through
landscapes and single portraits. I use high contrast and high saturation colours to create drama and separate the
painting from the real world.
Inspired by the likes of the Pre-Raphaelites, Jamie Hewlett, and a lot of Concept art. I feel a strong connection to not
only historical art, but contemporary as well.
Notes:
1
Artwork 1 Title: The Storm
Artwork 1 Dimensions: 29.5x29.5cm
Artwork 1 Medium: Acrylic on Handmade Rag Paper
Artwork 1 Commentary: A Storm rolls in and the lightening strikes. It's the start of a devastating event.
Artwork 1 Image:
2
Artwork 2 Title: The Number Station
Artwork 2 Medium: Acrylic on Handmade Rag Paper
Artwork 2 Commentary: A mysterious radio station has bought you close to an abandoned looking house.
Artwork 2 Image:
3
Catalogue2 ID0925
Artist ID: 0925
Artist Name: Anna-Lena Dube Fuller

Website: https://www.annalenadubefuller.com/
IG: https://www.instagram.com/annalenadubefuller/?hl=en
Artist Statement: Anna-Lena is an Irish-Trinidadian artist living and working in London. She uses sculpture to tackle
the questions she feels passionate about, including gender and the body in society. Her pieces appear surreal,
combinations of clothing and flesh, provoking reactions of humour and horror, however as an Irish artist Anna-Lena
sees her work in the tradition of Dorothy Cross and Alice Maher. Much of her sculpture uses clothing and direct
references to the body such as teeth, sometimes combining biological elements like fur with mixed media
constructions. She is currently working on a long term project, Islands which explore her body in relation to her dual
heritage of post-colonial island states while she is living in London.
Notes:
1
Artwork 1 Title: Island: Joyce 2019
Artwork 1 Medium: Plaster, wire, foam, wood, paint, artificial hair
Artwork 1 Commentary: This is the second work in a series of 'islands' that can be displayed on the floor. It appears
to be a rocky, cold island with 'hair' flowing where two rivers would be. It is part of my exploration of the female
body, and my heritage as the daughter of two former colonies, the islands of Ireland and Trinidad. It is also
lighthearted and dreamlike.
Artwork 1 Image:
2
Artwork 2 Title: Still Life Fruit (Group of 4) 2019
Artwork 2 Dimensions: 15x30x30 (variable)
Artwork 2 Medium: plaster, slate, latex
Artwork 2 Commentary: This is part of a series called 'Fruit of my Womb', each fruit is a Still Life of a piece or pieces
of fruit that have been bitten and appear to be bleeding. The apples and pears appear to be made of human flesh.
These are fun and thoughtful objects that refer to fairytales and childhood and also my relationship with my body as
I age.
Artwork 2 Image:
3
Catalogue2 ID0927
Artist ID: 0927
Artist Name: M.E. Ster-Molnar

Website: meandblue.com
IG: meandblue
Artist Statement: My art reflects a sense of wonder in the details and imperfections of life around me. The texture
of the river, the peeling posters on the city streets, vintage 7-Up signs, 80â€™s new wave music, and mother nature
in the city. Worldly textiles, current fashion trends, blooming flowers, colorful outdoor markets, deep thoughts and
the politics that seep into our everyday lives all intermingle in my creative world. Broad brushstrokes, layers of
paint, rambling writings, hand cut stencils that symbolize the connection that we have to each other, and lots of
imperfection goes into my work. Using collage, acrylics, oils, watercolor & more, I strive to celebrate the beautiful
flaws that make each of us and our world unique, infusing a bit of sunshine into each and every one of them.
Notes:
1
Artwork 1 Title: Youâ€™re the Best
Artwork 1 Medium: Mixed Media - acrylic, spray paint, graphite
Artwork 1 Commentary: Youâ€™re the Best is part of an ongoing series of large scale heart paintings that addresses
the concept of love.
Using a layered, intuitive process, this painting addresses through paint and random words my thoughts on
expressing love to people that we donâ€™t say it to often enough. As I created this, I thought of friends and loved
ones who are always with me - through darkness and light. Even if I donâ€™t see them all of the time or speak with
them frequently, when we connect, itâ€™s like no time has passed. These are the best friends and loved ones. You
are never alone because of them.
The interplay of written words that are sometimes layered over adds to the concept. Visible words are meant to be
read and pondered. I did a few words in this piece ... â€œHave I told you? You are the best. You really are.â€•
Artwork 1 Image:
2
3
Artwork 2 Title: PEACE, LOVE & LONDON
Artwork 2 Dimensions: 50CM x 70 CM
Artwork 2 Medium: Screen print on archival paper
Artwork 2 Commentary: I learned to screenprint in college but never really gave it much thought. Living in London, I
was fortunate enough to take a class this past summer at the Print Club and I was hooked! As I have been screen
printing, I have been experimenting with lots of techniques ... and I love the way that hand created images can be
translated to the silkscreen process. My initial version of this had the words covered up and concealed, but I realized
that so many people were curious about what I was saying in the piece. I like seeing the interaction of other people
as I create, a process that was integral to this screen print.
Artwork 2 Image:
4
Catalogue2 ID0929
Artist ID: 0929
Artist Name: Kerstin Kary

Website: www.kerstinkary.com
IG: kerstinkary, allyouprettygigs
Artist Statement: I'm a figurative artist who draws inspiration from music, popular culture and the daily life.
Music has always been a great influence in my work and forms a red thread running through my projects. I like the
idea of making art, making paintings like a musician make songs; to make people feel something, something intense.
Which also keeps me interested in portaiture. People always connect to faces, to the known and their similarities.
But most important of all is the stroke, the line. The work should always appear effortless.
Notes:
1
Artwork 1 Title: Paul (2018), Love me tender
Artwork 1 Dimensions: 40x30x2 cm
Artwork 1 Medium: Oil painting
Artwork 1 Commentary: Love me tender (2018/19)
- is a series of male portraits. The paintings depict men while experiencing orgasms.
Artwork 1 Image:
2
Artwork 2 Title: Boo (2018), #wyawftmtdewylsg
Artwork 2 Dimensions: 30x30x2 cm
Artwork 2 Commentary: #wyawftmtdewylsg
- the series started last year and became a playground for drawing and painting.
Artwork 2 Image:
3
Catalogue2 ID0931
Artist ID: 0931
Artist Name: Sharron Mcleod

Website: www.sharronmcleodglass.com
IG: sharronmcleod
Artist Statement: Sharron McLeod
Artist Statement
Fragile linkages.
I am intrigued by structures on our landscape that mark themselves out as an anomaly and are often under
appreciated. These structures are in conflict with the forces of nature and show extreme signs of weathering. It is
the rusted and bowed physical affects that turn them into a sculpture in their own right, as a source of inspiration.
Padlocks, barbed wire and chain, which can be the detritus left behind, come loaded with associations and a certain
amount of ambiguity where the viewer decides their meaning.
In my practice I combine printmaking with glass and ceramics which are my preferred mediums because they most
accurately reflect the very fragility of the memory they capture.
I have been working on a series of Glass â€œblocksâ€•. They are each around 13-14 separate sheets of glass. Each
layer has been inlaid with a combination of printed image, glass powder painting, metal inclusions and enamels
applied in a mono print like method. This laying over of multiple images on top of each other in a transparent
medium creates a depth and sense of perspective much like the fragmented landscape they depict.
www.sharronmcleodglass.com
Notes:
1
Artwork 1 Title: Fragile linkages 1
Artwork 1 Medium: Cast glass with printmaking
Artwork 1 Commentary: This cast glass block incorporates various layers of printmaking in enamel and glass powder.
The glass I have used is Bullseye co90 glass.
Artwork 1 Image:
2
Artwork 2 Title: Fragile linkages 2
Artwork 2 Medium: Cast glass
Artwork 2 Commentary: Working in concert with Fragile linkages 1, this piece references the negative space
surrounding things that link us to others.
The glass I have used is Bullseye co90 glass.
Artwork 2 Image:
3
Catalogue2 ID0933
Artist ID: 0933
Artist Name: Edina Seleskovic

Website: www.think-freedom.com
IG: @edina.seleskovic
Artist Statement: Born in Bosnia, I spent most of my life in the US were I found shelter from the Bosnian War, new
home, and lifeâ€™s calling. When I returned to Bosnia after years of being an exhibiting artist in NYC, I was
transported from the comfort of artist community into new reality of a country with existential problems, I realised
that culture here could be vehicle for change.
This is how Think Freedom began. In Sarajevo, it grew out of my conversations with young people about what
culture and art mean to them: can they be tools to communicate, build and establish our freedom. Together we
presented a multimedia interactive installation incorporating sculpture, light, sound, kinetics, photography, and new
media. Its first photograph was published by the AP as the Global Image of the Day. First sculpture to leave Sarajevo
was in the hands of pope Frances as our message and Think Freedom was no longer a small project.
More than that, it reinvented my approach to my work, interactive and inclusive public art became my passion. I am
not longer interested in producing objects meant to please my collectors. I now work on completely orienting my
practice toward public art that encourages 'artification' of our society. Through contemporary aesthetics that
encourage public discourse and extend into the online and offline world, I am certain that art can regain its
relevance in today and tomorrow. My artistic vision is no longer solitary studio practice. It is a conversation and an
experience.
Notes:
1
Artwork 1 Title: Think Freedom Skopje
Artwork 1 Medium: metal with text, multimedia site specific installation
Artwork 1 Commentary: Think Freedom is a comprehensive public art project communicating the universal power of
art and sending a message freedom from the heart of host cities to the region, all of Europe, the Americaâ€™s, and
the World. It incorporates sculpture, installation, performance, light, sound, film, the art of literary word, and new
global communication technologies in order to examine the concept of Freedom in our time, certain that Freedom
and Art are sisters able to ensure the survival of one another.
Artwork 1 Image:
2
Artwork 2 Title: Think Freedom Ljubljana
Artwork 2 Medium: metal with text, multimedia site specific installation
Artwork 2 Commentary: Project is now traveling to over 30 cities in Europe, Asia, Americas, and Australia with a
unique goal of uniting the concept of freedom, new ideas and contemporary art, while branding each city as the city
of cultural innovation. Local students of architecture and art collaborate with project artist on designing the
installation authentic to each city. Local high school students write their messages and ideas transcribed on each
element of the installation uniting them with the messages of students from all prior host cities and travelling on
with the project. On this seven-year long journey over 10 000 messages of young people will be gathered, asking
over 600 community leaders their ideas and guidance, and reaching over 30 000 000 audience membersâ€¦from
Sarajevo City Hall to Daag Hammerskjold Plaza in New York: What does Freedom mean to you?
Artwork 2 Image:
3
4
Catalogue2 ID0934
Artist ID: 0934
Artist Name: Stephen Harwood

Website: www.stephenharwood.co.uk
IG: @stephenharwoodartist
Artist Statement: Falling somewhere between reality and fiction, my work explores the mysteries of English
landscape. I am interested in places that are in some way agitated or persuasive, or that possess qualities that may
not be immediately identifiable or explicable; places loaded with histories and associations (some barely perceptible
or â€õnly in the eye of the beholderâ€™, some immersive and inescapable).
I engage with such locations through a process of reimagining. In this way, my paintings, drawings and films become
an interpretative mirror or filter: an investigation of place that aims for a shared (historical) vantage point. There is a
figurative element, too, when the location demands it. Adolescent males are invoked, and situated centre-stage;
becoming the spirit of place, or genius loci, in the midst of their own developmental becoming.
The resulting images are perhaps latent landscapes; the reverse or underside of the superficial view, enabling place /
landscape to reveal both itself, and our situation within it, anew.
Stephen is an MA graduate of Central St Martins and lives and works in Hackney, East London.
Notes:
1
Artwork 1 Title: C O N S T R U C T I O NS
Artwork 1 Commentary: Part of a series exploring Hackney Wick
Artwork 1 Image:
2
Artwork 2 Title: Ty in the Edgelands
Artwork 2 Commentary: Part of a series exploring Hackney Wick
Artwork 2 Image:
3
Catalogue2 ID0935
Artist ID: 0935
Artist Name: Joshua Von Uexkull

Website: joshuavonuexkull.com
IG: uexkull.art
Artist Statement:
Joshua von Uexkull works with the language of abstract art and digital technology, in order to paint pictures that
represent the people and places around him according to his subjective viewpoint, challenging the supposed
objectivity of the photography. He is fascinated by how the eye sees the world, by the elusiveness of appearances,
and how to more vividly represent visual experience.
Many of his figurative paintings employ elements of abstract painting such as flat planes of colour and hard edges.
This is because he finds the reduced aesthetic of certain Modernist abstract art particularly suited to his urban
environment, architecture and fashion. He finds this superficial, graphic and reduced style is more appropriate to our
image saturated culture in which new media has caused us to look at the world in a much faster manner.
Notes:
1
Artwork 1 Title: Boy
Artwork 1 Commentary: I painted this from an iPad drawing, which allowed me to capture the fleeting light. Itâ€™s a
record of looking at someone very fast, and the alla prima painting makes it fresh.
Artwork 1 Image:
2
Artwork 2 Title: Girl on iPhone
Artwork 2 Medium: Enamel on MDF
Artwork 2 Commentary: This was based on an ipad drawing that I cut into MDF using a CNC route. The drawing was a
few seconds of observation of a student from a distance, and I was interested in how new media have sped up our
process of looking and how this has become the new reality
Artwork 2 Image:
3
Catalogue2 ID0936
Artist ID: 0936
Artist Name: Chris Dietzel

Website: www.chrisdietzel.de
IG: https://www.instagram.com/chris.dietzel/
Artist Statement: I am working as an artist mainly in the field of painting, installation and sculpture. Deep interests of
her work are intuition, self-awareness, contradictions, questioning realities and expanding consciousness. I belief
that art can open or enhance the awareness of people on a deeper level. Which energy transports a piece of art and
which emotions does it release?
I am painting on ceramic tiles. 9 tiles together form one expression. Like we humans have more than one side in
ourself, i think there is not only one truth, there is always a mixed picture from everything. This forms truth and
reality.
Notes:
1
Artwork 1 Title: Wo der Hase lang lÃ¤uft
Artwork 1 Medium: ceramic tiles, acrylic, varnish, marker
Artwork 1 Commentary: Translation Title: Where the rabbit runs.
Artwork 1 Image:
2
Artwork 2 Title: Ich denke, also verirre ich mich.
Artwork 2 Medium: ceramic tiles, acrylic, varnish, marker
Artwork 2 Commentary: Translation Title: I think, so i get lost.
Artwork 2 Image:
3
Catalogue2 ID0938
Artist ID: 0938
Artist Name: Patrick O'Donnell

Website: www.patrick-odonnell.co.uk
IG: https://www.instagram.com/donnellpatrick/
Artist Statement: My current practice explores themes of emotional landmarks and architecture, memory and the
poetics of space. Focusing on the formal elements of edges/shapes/tone my current visual language has developed
from a visit to the Jewish Museum in Berlin in 2016 where the Holocaust Tower made a deep impression â€“ a dank,
claustrophobic and light - deprived space. Acute wall planes shooting up to a slither of light and freedom. A charcoal
tower. The exposure to this place resonated with me spending extended periods of time in hospital with parents
confined to a solitary room, trying to empathise and wondering how I could pass the time by making pleasing
compositions from the corner junctions, if I were to be confined to a similar space. This accumulated experience
prompted a period of re-considering my approach, stripping back the use of colour and working in charcoals,
developing austere and sombre compositions in response to my experience of public and domestic environments
where an emotional connection was felt. The submitted mixed media paintings are part of a geographical landmark /
architectural strand of investigation that runs parallel to a more formally abstract thread.
Notes:
1
Artwork 1 Title: Arthur's Seat
Artwork 1 Medium: Acrylic and charcoal on artist's panel
Artwork 1 Commentary: Geometric response to the iconic Edinburgh landmark.
Artwork 1 Image:
2
Artwork 2 Title: Black Rock Black Hole
Artwork 2 Medium: Acrylic and charcoal on artist's panel
Artwork 2 Commentary: Architectural abstraction of the brutalist underpass near the popular Brighton gay cruising
area of Dukeâ€™s Mound
Artwork 2 Image:
3
Catalogue2 ID0940
Artist ID: 0940
Artist Name: Dominika Szymankiewicz

Website: www.dominicagallery.com
IG: https://www.instagram.com/dominicagallery/
Artist Statement: Hello, my name is Dominika. Iâ€™m originally from Poland and ever since I was four years old, I
spent most of my time drawing on paper or enjoying other forms of artistry. My greatest inspiration has always been
my father, who is gifted in every artistic field, but by far the most in drawing and painting. Whenever I asked for his
opinion, he would always tell me what I needed to do to improve, there was always something no matter how small.
I began to feel like it was never enough and that I could do nothing to achieve his approval. I lost my passion and
enjoyment for art due to this and this eventually lead to me giving up art all together for 10 years.
A few years ago I decided to return to drawing and started experimenting with different techniques. I eventually
favoured combining drawing and painting within each piece, finishing it off by applying art resin to the surface to
give it a modern twist. I truly believe I have found my love for art again and my dream is to have my own exhibition,
for my work to talked about on both sides of the spectrum and for my work, to become my hobby.
Notes:
1
Artwork 1 Title: Glamorous
Artwork 1 Dimensions: 42 X 29,5 X 0,8
Artwork 1 Medium: plywood, acrylic paints, artresin, synsthethic suede
I paint my artistic works with acrylic paints on plywood after pouring them in transparent artresin. I finish the work
by gluing the back and edges with synthetic suede, which I think gives my art modernity
Artwork 1 Image:
2
Artwork 2 Title: Betty Boop
Artwork 2 Dimensions: 29,5 X 42 X 0,8
Artwork 2 Medium: plywood, acrylic paints, nail decorations, swarovski crystals, artresin, synsthethic suede
Artwork 2 Commentary: I paint my artistic works with acrylic paints on plywood after pouring them in transparent
artresin. I finish the work by gluing the back and edges with synthetic suede, which I think gives my art modernity
Artwork 2 Image:
3
Catalogue2 ID0942
Artist ID: 0942
Artist Name: Kerstin Paillard

Website: http://kcpaillard.com/
IG: https://www.instagram.com/kc.paillard/
Artist Statement: Louise Bourgeois once said Â« Colour is stronger than language. Itâ€™s a subliminal
communication. Â»
My abstract paintings are the expression of my fascination for colours and forms, skies and landscapes, the northern
light and the southern brightness.
I began painting at an early age, always attuned to the ways that colour and light merged with thought itself. I have a
long-held obsession with the skies and their ever changing designs and have become the basis of my body of work.
The paintings are only made of pure pigments from the dry pastels that I crush, smash and smear on the canvas. My
process is physical and tactile, engaging all of my body and senses. I paint laying on the floor, I need to feel near and
part of the painting, working from the four sides, walking around the canvas and literally being in the painting. The
gesture is intense and specific, the pace high, the composition completed in my mind, the work is made in one sitting
and the degrees of separation between feeling and fulfillment are narrow.
I want to express my feelings rather than illustrate them. I am moved by colour relationships, but I donâ€™t want my
pictures appreciated solely for their spectral qualities. I'm interested in expressing strong emotions and deep
feelings, creating a meaningful dialogue with the spectators, envelop the viewers in a particular atmosphere, and
inviting them to take part of an immaterial world, filled with serenity, existentialism and poetry.
Notes:
1
Artwork 1 Title: Luna Septentrionalis
Artwork 1 Medium: Pigments on linen stretched canvas
Artwork 1 Commentary: An Art Residency (during summer and fall 2018) in Lapland in the North of Sweden, led me
to create a body of work called Laponia, a serie of paintings composed of several interconnected artworks inspired
by the skies, the light and the colors of these artic areas (this painting is part of this series).
This painting express my admiration and fascination for the silence of the nights in Laponia, the incredible
surrounding serenity and deep feeling of freedom.
Artwork 1 Image:
2
Artwork 2 Title: November in Laponia
Artwork 2 Medium: Pigments on linen stretched canvas
Artwork 2 Commentary: An Art Residency (during summer and fall 2018) in Lapland in the North of Sweden, led me
to create a body of work called Laponia, a serie of paintings composed of several interconnected artworks inspired
by the skies, the light and the colors of these artic areas (this painting is part of this series).
This painting express my admiration and fascination for the the manifold shades and hues of the Northern skies that
never get dark even during the winter and where the sunset turns indigo in the middle of the afternoon.
Artwork 2 Image:
3
Catalogue2 ID0943
Artist ID: 0943
Artist Name: Alex Rhodes

Website: alexandra-rhodes-artist.com
IG: Alexandra_Rhodes
Artist Statement: Having taken a BA (Hons) in Fine Art at Coventry University, I was able to explore a multitude of
creative pursuits; printmaking, photography, painting and sculpture etc. - which I have continued to pursue
throughout my life. For the past decade Iâ€™ve been committed to experimental painting; making expressive,
intuitive abstract works within mixed media, utilizing photography as an adjunct to provoke a wider perspective.
Itâ€™s been an ongoing journey of discovery and invention in my aim of honing individuality and nuance as an
encompassment within pieces, always with the hope that many people will be able to engage in a positive, enriching
way with what I create.
I lived in Singapore as a small child which evoked a love of oriental art, styling and colours. From the sublime down
to the endearing oddities that were ever abundant in the street markets. This has all contributed (perhaps in a
subliminal way) to my choice of colour and aesthetics.
Notes:
1
Artwork 1 Title: LOLANTHE 2
Artwork 1 Dimensions: 35 x 35 cm x mm
Artwork 1 Medium: Mixed Media on cardboard
This mixed media piece is made by a process of intuitive decision making. It combines painting, collage elements and
water marbling techniques.
Artwork 1 Image:
2
Artwork 2 Title: FORMATION BY MOVEMENT
Artwork 2 Medium: Mixed Media on canvas
This mixed media piece is made by a process of intuitive decision making. It combines painting, collage elements and
water marbling techniques.
Artwork 2 Image:
3
Catalogue2 ID0944
Artist ID: 0944
Artist Name: Tamirys Araujo

Website: www.tamirysaraujo.com
IG: araujotamirys
Artist Statement: I think of my work as an expedition to the essence of painting which is lead by my curiosity about
colours and its layers. From the remarkable precision of details in Renaissance to the abstractions of the
Contemporary, I am deeply fascinated by this medium.
In order to address this vast research I have experimented with the qualities of painting in other mediums,
such as objects and installations, but I am currently back to the most traditional of the materials: oil paint. The
landscapes in my recent paintings are a combination of my personal experiences, memories and imaginations from
my horseback riding trails.
By horse I can have the same point of view as the Dutch artists during the exploratory expedition in Brazil
from 1637 to 1644, I can go back in time to try to understand the construction of our identity by the foreign.
---
In recent years, she participated in several group exhibitions among Rio de Janeiro, SÃ£o Paulo and London. She
holds a post graduation diploma in Art and Architecture History from the Pontifical Catholic University of Rio de
Janeiro (2018) and a graduation diploma in Visual Arts from the University of the State of Rio de Janeiro (2014). In
2013, she attended the BA Fine Art exchange programme at Chelsea College of Art in London.
Notes:
1
Artwork 1 Title: Expedition I
Artwork 1 Medium: oil on paper
Artwork 1 Commentary: This imaginary landscape is part of the serie Expedition, a survey in painting based on my
horseback riding trails.
In the process of creating this painting a similar technique to Gerrard Richter is used, applying paint with a
squeegee to create a smooth buttery wet into wet surface. But there is an element of chance, multiple maskings and
layers of paint are applied and by the end when removing the masking surprisingly layers of under-paint are
revealed.
The absence of the horizon line in this landscape turns the limits between the land and the sky undefined,
giving a sense of depth and infinitude to the painting. The serie Expedition is a metaphor to the process of painting, a
continuous journey, full of surprise, perceiving the construction of images of memories and imaginations.
Artwork 1 Image:
2
3
Artwork 2 Title: Expedition II
Artwork 2 Medium: oil on paper
Artwork 2 Commentary: This imaginary landscape is part of the serie Expedition, a survey in painting based on my
horseback riding trails.
In the process of creating this painting a similar technique to Gerrard Richter is used, applying paint with a
squeegee to create a smooth buttery wet into wet surface. But there is an element of chance, multiple maskings and
layers of paint are applied and by the end when removing the masking surprisingly layers of under-paint are
revealed.
The absence of the horizon line in this landscape turns the limits between the land and the sky undefined,
giving a sense of depth and infinitude to the painting. The serie Expedition is a metaphor to the process of painting, a
continuous journey, full of surprise, perceiving the construction of images of memories and imaginations.
Artwork 2 Image:
4
5
Catalogue2 ID0945
Artist ID: 0945
Artist Name: Alison Lam

Website: www.alisonlam.art
IG: @alisonlamart
Artist Statement: My art is cathartic, drawn from a well of personal experience and the rollercoaster of daily
challenges bringing up two autistic boys with complex and mental health needs. I intend to create a platform of
communication for the â€œunspokenâ€• and a dialogue between combat and collaboration in â€œcomplexâ€•
relationships. I reach out beyond the myriad of clinical and social labels, which define and influence how we view
people, objects, and how in turn we are viewed by society.
Beauty can make us stop to reflect and take a â€œsecond lookâ€• but sometimes we need a bit of encouragement
when it is not so obvious.
The definition of â€œRubbishâ€• is: waste material, refuse, litter, discarded things considered unimportant and
valueless. It is easy to turn a blind eye to what we consider â€œrubbishâ€• we glance once and look away or simply
turn a blind eye. I am like a Magpie I pick up shinny things amongst litter I scour workshops and foundry floors for
scrap metal. I recognise beauty in things discarded and I want to give things a chance to be seen out of context,
looked at in detail, to entice people to look beyond a first impression upon which often sets a label.
I am seeking to create work which makes the viewer think about what captures our interests to investigate further
and are the feelings this evokes uncomfortably beautiful. Exploring the notion of the beautifully discarded.....
Notes:
1
Artwork 1 Title: Language
Artwork 1 Medium: Brass
Artwork 1 Commentary: Representing many noises and sounds made by Oscar who is a selective mute. He chose
pieces of discarded brass pieces laid around my studio and made a sound and noise corresponding to letters of the
alphabet. He said this is what some words sound like to me like language that is droplets of rain.
Artwork 1 Image:
2
Artwork 2 Title: Dialogue
Artwork 2 Medium: Mixed media in cabinet
Artwork 2 Commentary: The conversation that is enclosed within this case shows order and containment as well as
fragments and discarded objects. I want to make you look again to give this conversation a second chance, the same
way I want you to give my boys a second chance.
Artwork 2 Image:
3
Catalogue2 ID0946
Artist ID: 0946
Artist Name: Cecilia Granata

Website: http://www.ceciliagranata.com
IG: cecilia.granata
Artist Statement: The structure of my work builds around a concept, a story or a topic that I care about and want to
explore.I proceed on a rational path to shape the idea into a visual form where each element supplements the
different nuances, suggestions and allusions. From there I decide if I should approach the process in an evocative,
symbolic, or more direct way. Depending on the subject or my mood.I always work within the complete acceptance
of a post-modern context but never forget the aim for a pleasurable aesthetic experience.
Notes:
1
Artwork 1 Title: What the thunder said
Artwork 1 Commentary: First piece of a series of illustrations representing different mental states. Originally created
as a digital piece, this was later made into the painting that you are seeing. This simple visual metaphor explores
depressive emotions, redeeming them through beauty and accepting chaos as part of the wonderfully complex and
multi layered experience of life. The theme of the cloudy storm is echoed throughout the painting as patterns,
jewelry and hairstyles, becoming the main character.
Artwork 1 Image:
2
Artwork 2 Title: Stay Gold
Artwork 2 Medium: Digital Illustration, Adobe Photoshop
Artwork 2 Commentary: Part of a series of illustrations exploring different states of mind. Feeling the sunshine inside
out. This simple visual metaphor takes advantage of the repetition of sun motifs to reinforce the main theme.
Artwork 2 Image:
3
Catalogue2 ID0947
Artist ID: 0947
Artist Name: Tim Malone

Website: www.tim-malone.com
IG: https://www.instagram.com/timmaloneart/
Artist Statement: I believe that a large part of abstract painting is problem solving. 30 years as an advertising
art/creative director defines my process â€“ a journey through a number of possible ideas, until one finally reveals
its potential. I start each painting with large, loose areas of flat colour, slowly defining the shapes and values by
building textured layers, each with more detail than the previous. This is a reflection of my experience creating
thousands of advertising layouts over the years where additions or changes in colour, value or texture in any part of
the work has an impact on the final piece, and solving one design problem often creates others.
While my work is generally non-objective, I am influenced by the places Iâ€™ve lived and worked - South Africa,
Saudi Arabia and England â€“ attempting to capture the colours, textures, architecture and social complexities of
these places.
I work in acrylics on a variety of grounds, my preference being cold-pressed watercolour paper, which is slightly
absorbent, but allows the paint to be moved over the surface with relative ease.
Notes:
1
Artwork 1 Title: Jeddah. Balad#2
Artwork 1 Dimensions: 76.2X55.9X0.1
Artwork 1 Commentary: In the old town district of Jeddah at night, the sights, sounds and aromas transport one to
another era. This piece was inspired by an evening walk through the streets of of Balad during evening prayers.
Artwork 1 Image:
2
Artwork 2 Title: eGoli mine dumps
Artwork 2 Dimensions: 49X50.5X.0.1
Artwork 2 Medium: Acrylic and collage
Artwork 2 Commentary: Johannesburg is a city built solely on the discovery of gold. Itinerant labourers named it
eGoli - the place of gold.
Today, downtown eGoli is a juxtaposition of colour and texture; the golden yellow of the sandy mine dumps and the
concrete jungle synonymous of all big cities.
Artwork 2 Image:
3
Catalogue2 ID0950
Artist ID: 0950
Artist Name: Karl Trewhela

Website: www.karltrewhela.com
IG: https://www.instagram.com/karltrew_art/
Artist Statement: Karl Trewhela was born in Dublin to a South African father and an Irish mother. The youngest of
five children and brought up in the South East of England, Karl drew from a very early age. Taken to wildlife parks as
a young boy, drawing animals, nature has always been and continues to be a tremendous influence.
He received his BA Honors in Illustration & Visual Communication at Middlesex University, however, self-taught on
the whole, using life and the great pen masters of the past as his teachers. Forever fascinated with the detail,
delicacy and emotional power of traditional drawing and in particular ink work, Karl uses the finest pen points within
a dreamy landscape. A visceral, therapeutic and meditative journey exploring feelings, balance and the absurdity of
life.
Notes:
1
Artwork 1 Title: Before the Storm
Artwork 1 Medium: pen and ink
Artwork 1 Commentary: I always find it very difficult to describe my artwork. It is never planned or sketched out
beforehand, one element inspires the next. With this piece the tree gave visions of the vulture and the vulture the
clouds and so on. I like rawness mixed with spontaneity and dedication to pen and ink.
Artwork 1 Image:
2
Artwork 2 Title: She's Like the Waves
Artwork 2 Medium: pen and ink
Artwork 2 Commentary: A mixture of inspiration and influence and a message of chaotic power and love.
Artwork 2 Image:
3
Catalogue2 ID0951
Artist ID: 0951
Artist Name: Jessie Pitt

Website: www.jessiepitt.com
IG: jessiepitt_art
Artist Statement: My inspiration comes from nature.

Even though I am inspired by things that I see, I already have an idea of what I need for my next artwork, and the
things I see and what catches my eye is constantly changing.
I paint moments in Time.
Fleeting moments that are there and gone just as quickly. I am inspired by nature and specifically mountains. Light
and shadows that created changing moods. I live in the middle of the Alps and am surrounded and spend the
majority of my time in the mountains.
My art is deeply connected to my inner soul. And I do not paint 'mountains' as such but the soul of the landscape in a
way that is also connected to me.
I am extremely inspired to create immersive spaces and recently in exhibitions to create an space that people can
experience in any way that it affects them personally, in connection to this I like painting in large formats.
My art is a a mixture of painting and drawing in mediums, graphite, charcoal, ink and acrylic on canvas that is not
stretched on a frame of any kind. Which I deliberately texture which becomes an important part of the overall
artwork currently.
Notes:
1
Artwork 1 Title: Endure
Artwork 1 Medium: charcoal and acrylic on canvas
Artwork 1 Commentary: This is a moment in time when the clouds start peeling away from the mountain as the sum
comes out after a storm in summer in the mountains.
Artwork 1 Image:
2
Artwork 2 Title: Surrounded by Memory
Artwork 2 Medium: graphite, ink and acrylic on canvas
Artwork 2 Commentary: The inspiration came from the band of light in the beginning.
I am interested in moments and this sort of light is a fleeting moment in nature.
Artwork 2 Image:
3
Catalogue2 ID0952
Artist ID: 0952
Artist Name: Lu Zi
Website: laurazilu.com
IG: laurazilu
Artist Statement: My work attempts to navigate and articulate certain aspects and impossibility thoughts and
memories. In particular, how the intangible and the longing skews and molds experiences into a collection of
personal mythology and function both as a shield and an illness in the quintessential human experience. Ghost of
my Childhood is a series of work that holds personal significance. The series uses found images from both my journal
and the journal my mother has kept when she is my age. The series investigates the uncanny parallels my life and my
mother's life in our early 20s and attempts to repair the traumas both newly sustained and passed down to us
through generations.
Notes:
1
Artwork 1 Title: Ghost of my childhood III
Artwork 1 Dimensions: 119X84X0.119X84X0.1
Artwork 1 Medium: Mono Print, Bleached and Collaged
Artwork 1 Commentary: Ghost of my Childhood is a series of work that holds personal significance. The series uses
found images from both my journal and the journal my mother has kept when she is my age. The series investigates
the uncanny parallels my life and my mother's life in our early 20s and attempts to repair the traumas both newly
sustained and passed down to us through generations.
Artwork 1 Image:
2
Artwork 2 Title: Ghost of my Childhood XI
Artwork 2 Dimensions: 84X119X0.1
Artwork 2 Medium: Mono Print, Bleached and Collaged
Artwork 2 Commentary: Ghost of my Childhood is a series of work that holds personal significance. The series uses
found images from both my journal and the journal my mother has kept when she is my age. The series investigates
the uncanny parallels my life and my mother's life in our early 20s and attempts to repair the traumas both newly
sustained and passed down to us through generations.
Artwork 2 Image:
3
Catalogue2 ID0955
Artist ID: 0955
Artist Name: M C
Website: Www.mcmakesart.com
IG: @mcmakesart
Artist Statement: MC uses the breast to communicate themes of the human experience often related to the
experience of women. The breasts are life cast and the process of making the art is about release and letting go of
these states.
Notes:
1
Artwork 1 Title: Mend
Artwork 1 Dimensions: 8â€• x 8â€• x 1.5â€•
Artwork 1 Medium: Plaster, silk thread on wood panel
Artwork 1 Commentary: We can heal. The breast signifies with stitches our ability to hea from that which ails is -
physical or emotional.
Artwork 1 Image:
2
Artwork 2 Title: _________ took everything
Artwork 2 Dimensions: 8â€• x 8â€• x 1.5â€•
Artwork 2 Medium: Plaster, nail on wood panel
Artwork 2 Commentary: The absence of the full breast signifies the state of being depleted. The person or
experience that leaves us feeling drained and disconnected from ourselves. The blank allows the viewer to insert
what it is that leaves them
feeling empty.
Artwork 2 Image:
3
Catalogue2 ID0956
Artist ID: 0956
Artist Name: Damaris Athene

Website: www.damarisathene.co.uk
IG: @damarisathene.artist
Artist Statement: My practice explores corporeality and the human form, focusing on painting and starting to include
digital print and sculpture. I am occupied by Julia Kristevaâ€™s writings on the abject, playing with the push and pull
of seduction and disgust she speaks of to confront mortality and the notion of our bodies as pure matter. My work
often renders the body unrecognisable, re-appropriating images from medicine, vastly changing scale or digitally
manipulating body parts. â€˜Cheer Up Loveâ€™ is a departure into figuration, reflecting an urgent desire to speak
about the portrayal of female bodies, spurred on by research on abjection, reading feminist texts and watching
#metoo unfold.
The â€˜Traumaâ€™ series depicts bruises: delicately painted, contradicting their forceful and painful creation. The
â€˜Lovely in Her Bonesâ€™ series portrays radiology scans of various cancers. The beauty in these apparently
abstract images seems at odds with their abject subject matter, creating a dichotomy that concerns me. â€˜The
Pieces of my Spirit Strewnâ€™ series describes odd fleshy forms in artificial sickly pink, heavy impasto with the
kaleidoscope formation nodding to the digital age we live in. New work expands on this, exploring the effect of the
digital on the body with meta regurgitation of imagery. Iâ€™m interested in the digitization of female bodies and
how â€ñow we can digitize our dysmorphia by virtually modifying what we dislike, creating â€œperfectâ€•
selvesâ€™ Coy-Dibley. Does our corporeality become more abject in contrast with digital perfection?
Notes:
1
Artwork 1 Title: Can I Suck on Those Titties (after Matisse)
Artwork 1 Commentary: Julia Kristeva writes about the female body needing to be restricted in order for it to be
enjoyed and I start to examine this in â€˜Cheer Up Loveâ€™, looking at female nude paintings from the western
canon by male artists and repainting them with a male figure. By changing the sex of the subject, the controlled and
contorted positions of the poses are highlighted. The man is stripped of agency, existing entirely to be seen. Quotes
from street harassment simultaneously pierce and adorn their bodies in pink ribbon, referencing a craft and colour
associate with women. Can the male gaze be reclaimed?
Artwork 1 Image:
2
Artwork 2 Title: Cheer Up Love (after Picasso)
Artwork 2 Commentary: Julia Kristeva writes about the female body needing to be restricted in order for it to be
enjoyed and I start to examine this in â€˜Cheer Up Loveâ€™, looking at female nude paintings from the western
canon by male artists and repainting them with a male figure. By changing the sex of the subject, the controlled and
contorted positions of the poses are highlighted. The man is stripped of agency, existing entirely to be seen. Quotes
from street harassment simultaneously pierce and adorn their bodies in pink ribbon, referencing a craft and colour
associate with women. Can the male gaze be reclaimed?
Artwork 2 Image:
3
Catalogue2 ID0957
Artist ID: 0957
Artist Name: Sanghamitra Basu

Website: https://sanghamitrab28.wixsite.com/sanghamitra
IG: www.instagram.com/sanghamitrapeinture
Artist Statement: â€œEvery artist dips his brush in his own soul and paints his own nature into his picturesâ€•
Henry Ward Beecher
Indeed for me, painting is to show a bit of my soul, is a way of connecting with my inner self. As a contemporary
chronicler of the ancient tradition, trying to explore the themes of beauty, sensuality through my work Personally,
my art is an exploration of the journey of the self and the relationship of the self with the external.
Through my work, I try to celebrate the female form and energy. Empowering women with the
education,knowledge, skills and self-confidence is fundamentally important to realize their potential in all avenues
of life..Through my artistic endeavors I try depicting the feminine through my brush strokes. I firmly believe that
empowering the feminine will enhance economic power and societal development and is vital to sustainable
development and the realization of rights for all.
The central theme of my artwork is to depict the relationship between different territories and dimensions of life.
Art for me is the communication of the human with the sense of existence, discovery of the deep secrets and
penetrating to the source .
Through the usage of bold and strong shades of color in my paintings, I try to capture the warmth of bonding which
is a central theme running through my entire creations.
Notes:
1
Artwork 1 Title: Transcend
Artwork 1 Commentary: Transcend- shows that the power of the feminine is not bounded to certain limitations, it is
just beyond. The Woman, bound by our social norms and â€˜mis-normsâ€™, should try to surpass the extrinsic
expressions of feminism. I hope this idea can empower women, withholding patriarchal ideals and gender roles by
exalting women from being elements, of sexuality, reproduction, and labour to an equal contributor of societal
construction.
Artwork 1 Image:
2
3
Artwork 2 Title: Looking Up
Artwork 2 Commentary: Looking Up-It narrates an environment where the lady sees neither the sun nor the moon
nor any kind of light. She observes the whole universe as floating in the sky like a shadow. She sees the universe -
rising, floating sinking and this goes on ceaselessly. Very slowly the shadow-multitude enters the primal womb and
only the current remains, which keeps on buzzing- â€˜I amâ€™ , â€˜I amâ€™. Slowly the current ceases to, void
merges into void and she experiences a state beyond mind and speech.
Artwork 2 Image:
4
5
Catalogue2 ID0959
Artist ID: 0959
Artist Name: Miranda Donovan

Website: www.mirandadonovan.com
IG: mirandambdonovan
Artist Statement: The aim of my work, and the reason for it, is to marry up contrasting elements and worlds of
opposites. It is the differing characteristics specific to something - whether natural, or man made - that gives an
identity. Enhancing these characteristics gives the authentic a louder voice, celebrates it, and, rendered, makes it
eternal â€“ and a source of escape into a world that is new, and yet familiar.
I feel a strong need to question, to be curious about the world, and inevitably through this I question my practice.
What materials am I using? Are these materials aiding me in the message I seek to convey? Does my fusion of
materials - cement and auto paints with intricate, highly detailed oil painting â€“ help what I seek to convey in my
choice of subject matter? And does my subject matter â€“ man-made concrete walls, surfaces splattered with
graffiti, yet coupled with nature â€“ communicate my message?
My goal, via these large canvases of the man-made existing alongside and within nature, is to produce a body of
work - powerful in scale, attention to detail and subject matter - that celebrates the extraordinary in the ordinary,
and that speaks of incongruous relationships that make up the very essence of the world we live in: man versus
nature, urban versus the rural, order versus chaos, beauty versus decay. These relationships are the Apollonian and
Dionysian dichotomy we find in Nietzscheâ€™s work. And, in each relationship, neither entity would exist without
the other.
Notes:
1
Artwork 1 Title: Concrete Sands
Artwork 1 Medium: Oil, Acrylic, Auto Paints & Mixed Media on Canvas
Artwork 1 Commentary: With it's purple, violet skies and concrete "sand" a fantastical element is brought into this
otherwise familiar llandscape inspired by Venice Beach, LA.. Graffiti strewn palm trees tower majestically. The
concrete "sand" below is brought to life by the shadows cast across its surface. Though man himself is absent his
presence is apparent both in the various surfaces; walls and tree barks, covered in graffiti and in the lighting and
signs dwarfed by the palm trees above. A peacefullness pervades the scene. Man and nature coexist harmonousy.
Artwork 1 Image:
2
3
Artwork 2 Title: Restore
Artwork 2 Medium: Oil, Acrylic, Auto Paints & Mixed Media on Canvas
Artwork 2 Commentary: With its fiery red sky a fantastical element is once again at play in this urban landscape
scene. It is a new "world" yet equally oddly familiar. A lone figure stands poised to skate. London city life is
referenced through the bus and buildings behind the trees. Despite being in the heart of a busy metropolis nature is
here restoring and rejuvenating the soul. By placing the raw, brutal in character concrete skate park within the
green richness of nature the characteristics and authenticity of each are heightened. And yet despite this
incongruous relationship a harmony pervades.
Artwork 2 Image:
4
Catalogue2 ID0960
Artist ID: 0960
Artist Name: Bert Gilbert

Website: www.bertgilbert.co.uk
IG: @bert_gilbert
Artist Statement:
Bert gilbert is creating her own mythology with each work forming its particular part of the sacred and secular
whole.
Her process is one of re-discovering a universal 'Sacred Heritageâ€™, the foundation of primordial cosmologies
(Mircea Eliade: Rites and Symbols of Initiation ) witnessed within myth, nature rituals, folkloric storytelling and
music.
Her work is artefact, installation, wardrobe and performance. Laced with dark humour using a lexicon of hybrid
symbology they create a visceral language of expression and simultaneously operate as elements of transferred
emotional states. Her focus currently is exploring sensory gating/ the doors of perception.
Gilbertâ€™s ritualised and obsessive methods are in turn energetic and meditative. What they make signifies a rite
of passage, from one state to another, operating as alchemical relics of this transformation, in all their material
sensuality.
One can read this as both redemptive personal journey or a template for a societal shift. A calling for a ritualised
rewiring of the collective consciousness in a high capitalist society obsessed with appearances alone.
â€œPersonal and societal transformation are channelled directly through the body of the artist in the ritualistic
works of Bert Gilbert.
Gilbertâ€™s interdisciplinary works include performance, costume, photography, fetishistic objects and 3D works.
Not afraid to broach sexuality and obsession Bert has gained a reputation for pushing the audience to confront
underlying desires and taboo,
The attitude, frankness and originality of the artist makes her a highly potent force and this is sadly a quality which is
often lacking in an increasingly po-faced art world.
Her performances and artworks can be seen as essential interventions, calling for malleability in a congealing
culture. â€œ
Michael Eden: Trebutchet Magazine
Notes:
1
Artwork 1 Title: The Liberation Suits 2017
Artwork 1 Dimensions: 7m by 3m by 4 m
Artwork 1 Medium: Canvas, mixed textiles, ink, house hold paint, gold leaf , leather, silk and cotton thread
Artwork 1 Commentary: A collaborative sculpture between Bert Gilbert and Izzet Ers
A creative and emotional dialogue between gilbertâ€™s energetic artwork focused on uncoding the layers of subtext
hidden within conversations and Ersâ€™ response via painstakingly intricate, stitchwork and appliquÃ©.
Their partnership inspired by jungian concepts of psychoanalysis seeks to explore and represent the union of the
male and female, a so called
â€˜syzygyâ€™.
These genderless sculptures were created to recode their conversations. They offer the wearer or viewer a
deconstructed and visceral liberation from the multi-layers of conscious and unconscious actions.
The ruptures between the interior and the exterior, the epidermic meeting points of emotional and physical spiritual
interventions. The filters between what is seen and unseen.
â€œEmotional superhero suits for a time where super villains abound..â€•

Artwork 1 Image:
2
3
Artwork 2 Title: The Fourskins of the apocalypse: Maenad Medusa
Artwork 2 Dimensions: 594 x 841 mm
Artwork 2 Medium: Photographic print of conceptual costume. The suit can also be installed as artwork
Artwork 2 Commentary: From a series of four ceremonial "second skin suits"
The fourskins of the apocalypse 2016 are archetypal second-skins suits for rites of passage that are intended to
transmogrify you from one state to another.
Artwork 2 Image:
4
Catalogue2 ID0961
Artist ID: 0961
Artist Name: Herveline Cremmer

Website: http://herveline-cremmer.com/
IG: https://www.instagram.com/littlefrogarts/
Artist Statement: I am a second year BA Fine art student at Loughborough University. My developing practice is
concerned with the human condition, in particular the self-destructive nature of human beings, the crisis of identity
in post-modern society and mental disturbances of the mind. Primary mediums employed to explore these concepts
are figurative sculpture, etching prints and photography.
A crucial element of my practice is the aesthetic of the grotesque and how this is expressed through material texture
and producing affects of disgust and fear in relation to abject bodies. This grotesque aesthetic questions notions of
human identity attached to the human body as well as the fascination with the repulsive.
As my work attempts to grasp the human condition, I utilise the figural to intervene in reality and generate
disturbing encounters. As such I investigates the relation between artist, art and viewer, in particular the
contradictory reactions that arise when faced with the raw language of deformity present in clinical, disturbing
compositions.
Notes:
1
Artwork 1 Title: Glimpses of Disturbance
Artwork 1 Medium: Bisque-fired clay with casting slip
Artwork 1 Commentary: A sculptural piece of work exploring the erasure of self-identity and the self-destructive
nature of the human condition through the aesthetic of the grotesque.
The outwards exploding material texture of the head is a physical manifestation of the distrubances of the human
mind further depicted in the desolate slumped posture of the figure.
Artwork 1 Image:
2
Artwork 2 Title: Tribulation
Artwork 2 Dimensions: 42.0X59.4
Artwork 2 Medium: Etching print in black ink on cartidge paper
Artwork 2 Commentary: A modern recontextualisation of a traditional medium with a classical composition and
religious connotations.
Explores mental distress and the blind sacrifice of the self.

Artwork 2 Image:
3
Catalogue2 ID0964
Artist ID: 0964
Artist Name: Lara Cobden

Website: laracobden.com
IG: @laracobden
Artist Statement: Rooted in a central theme of recollection and sense of place, my paintings are informed by
observation, memory and dream. They are a subjective and individual response to the natural world around me,
calling on an imagined, coveted past that is unreal; a magical realism. Pulling between the chimerical and the familiar
- I hope there is both a stillness and fluidity in my work; in the ordinary, a sense of reverence. Paintings evolved from
remembered fragments and casual snapshots shift between misty and precise, perceived reality and imagined
narratives.
I like to inhabit and explore this â€ñowhereâ€™ or in-between place and try to collect and recreate that residue of
experience; like recording details, grasping at the gossamer fabric of waking from a dream.
Photographs, sketches and memory are a starting point - through the process and medium (oil paint) an image
evolves - one foot planted in the realms of reality and the other stepping into an alternate world. I tend to work in oil
paint on wood panel - I like the the solidity of the surface and the contrast of the delicacy of thin glazes and washes. I
am intrigued by the alchemy of paint and its facility to express voiceless emotion through intuitive choices of colour,
composition and brushwork.
Recurring themes of love and loss and the desire to capture the essence of experience - a fleeting moment,
ephemeral and yet resilient in its presence, are what inspire me to paint.
I like this quote from Charles Baudelaire - â€œExtract the eternal from the ephemeral.â€•
The thread pulling my work together is about 'coming home', belonging; or conversely a sense of
â€˜unbelongingâ€™.
Notes:
1
Artwork 1 Title: The leaves left notes from the trees on the surface of the water
Artwork 1 Medium: Oil on Panel
Artwork 1 Commentary: Inspired by an autumnal visit to Flatford Mill, scene of John Constable's Hay Wain, I was
struck by the historical weight of trying to paint at such an infamous site.
I am intrigued by the residue of memory left in the landscape and wondered what messages might be imbibed from
the scene as the leaves drifted across the surface of the rose-tinted mill pond...
Artwork 1 Image:
2
Artwork 2 Title: Moonlight Travellers
Artwork 2 Medium: Oil on Panel
Artwork 2 Commentary: Silhouetted pine and birch trees veil a moonlit scene - the borrowed, mercurial light
reflected on the water illuminating the way for night boatmen...
A recollection of time spent in nature reflecting on a tiny island on a lake in Finland.

Artwork 2 Image:
3
Catalogue2 ID0965
Artist ID: 0965
Artist Name: Emma Hill

Website: www.emmahill.co.uk
IG: emma.hill_art
Artist Statement: My abstract paintings are spontaneous and intuitive, expressive and emotionally charged. Each
picture begins with a single brush stroke, starting a conversation. A streak of turquoise leaps above a squiggle of
parchment and lilac beside a glimpse of fluorescent pink. Prussian blue drips like pouring rain and brilliant white
miniature dots light up the sky like stars. Gradually layers of colour build phrases of optimism. Inspired by nature;
brush strokes grow, constantly explore, entwine and then separate and die.
Working on a large format enables a sense of freedom, to get lost within the picture. The painting process follows a
journey into the unknown. In taking risks and trusting my intuition, I embrace uncertainty and vulnerability, allowing
the accidental to become the structural core. Markings are made, painted over, wiped off and layered over.
Influenced by the sky and the sea, a painting is given meaning and becomes complete by engaging the imagination of
the viewer, who recognises something for themselves. In that moment, a glimpse of the figurative or a hint of a
memory begins to form, shapeshifting and disappearing deep into the clouds or ocean.
My artwork aims to create paintings to dream into where we can be happy just to be. Constructing an intuitive
world to get lost into, somewhere beyond our vision, past the horizon, between the sky and the sea. A place to
return and revisit, to explore and rediscover and while immersed, losing and finding yourself once more, cherishing
that particular moment in time.
Notes:
1
Artwork 1 Title: Coral Moon.
Artwork 1 Commentary: I completed this painting just before the end of December 2018 and the day after I found
out that the pantone colour for 2019 is Living Coral, which ironically seams to meander within and throughout this
painting. On reading about coral I was interested to hear that they have a beautiful phenomenon called mass
spawning which occurs under a full moon, which looks like an underwater blizzard of billions of tiny rainbow
coloured flakes, cascading in the sea. This painting then, with a spectrum of abundant colour, in drips and tiny drops
felt like I had unknowingly illustrated this moment of beauty.
Artwork 1 Image:
2
Artwork 2 Title: Roaring Seas
Artwork 2 Dimensions: 157cm x 170 x 4cm
Artwork 2 Commentary: Expressive; simultaneously capturing the raw beauty and power, the energy and
smoothness within the ever changing seas.
Artwork 2 Image:
3
Catalogue2 ID0966
Artist ID: 0966
Artist Name: Richard Devonshire

Website: https://www.richard-devonshire.com/
IG: https://www.instagram.com/richard_devonshire_artist/
Artist Statement: Richard Devonshire is an artist who works in the medium of digital art as well as traditional
painting and drawing.
Richard is drawn to and inspired by the subjective work and language of a myriad of artists, sculptors and fine art
photographers.
Richard has an experimental approach to his work. By using virtual physical cameras and lighting systems he creates
photorealistic 3d virtual imagery using computer graphics software and a rendering engine that uses global
illumination algorithms.
The composition and virtual studio lighting follow tried and tested traditional methods.
Richard Devonshire's work and style is ever evolving and he is on a constant learning curve. Most recently he has
focused on the study of the natural world and it's relationship with mathematics in his artworks.
Notes:
1
Artwork 1 Title: Sunlight Bathed The Golden Glow
Artwork 1 Medium: 3D rendering, GiclÃ©e print on Smooth Cotton Rag paper
Artwork 1 Commentary: Honey bees are disappearing globally at an alarming rate due to pesticides, parasites,
disease and habitat loss. If these little insects that help provide so much of the food we eat were to vanish, what
would we do without them?
Sunlight Bathed The Golden Glow was created and textured using 3d computer graphics software and rendered
using a rendering engine that uses global illumination algorithms.
Artwork 1 Image:
2
3
Artwork 2 Title: Fibonacci Sphere
Artwork 2 Medium: 3D rendering, GiclÃ©e print on Smooth Cotton Rag paper
Artwork 2 Commentary: The Fibonacci sequence, which begins 0, 0, 1, 1, 2, 3, 5, 8, 13, 21 and builds by adding the
first number to the second over and over again, is one of the most recognizable ideas in mathematics. This sequence
leads to things like the golden ratio, spirals and self-similar curves. They appear everywhere in Nature, from the leaf
arrangement in plants, to the spiral patterns in sunflowers, the bracts of a pine cone, or the scales of a pineapple.
The Fibonacci numbers are therefore applicable to the growth of every living thing, including a single cell, a grain of
wheat, a hive of bees, and even the proportions of the human body.
The Fibonacci Sphere was created and textured using 3d computer graphics software and rendered using a rendering
engine that uses global illumination algorithms.
Artwork 2 Image:
4
5
Catalogue2 ID0969
Artist ID: 0969
Artist Name: Julia VeGh

Website: https://veghjulia.tumblr.com/
IG: https://www.instagram.com/veghjulia/?hl=hu
Artist Statement: â€žI believe in the future resolution of these two states, dream and reality, which are seemingly so
contradictory, into a kind of absolute reality, a surreality, if one may so speak.â€• AndrÃ© Breton
Hungarian contemporary artist JÃºlia VÃ©ghâ€™s works depict the dynamism of remembrance and the continuous
reinterpretation of everyday situations.
Emphasis is placed on coincidence, which composes seemingly distant elements into one given space and time.
Through this, VÃ©ghâ€™s paintings are filled with reminiscences of the past and present, reality and the imaginary,
and through these gestures the images simultaneously become dreamlike and personal.
The dynamic memory selects freely â€“ composing a new, bold fictional narrative world, similarly to the world of
surrealism.
Beyond the free association that can be achieved through brush strokes and photomontage a continuous source of
inspiration is the selection process and the matching of motifs and material - reflecting Central European situations
with a studiously personal and ironic manner.
Further, the dynamic memory, while confronting and composing the real/unreal, the experience/non-experience,
has a significant role in the creation of VÃ©ghâ€™s works.
Notes:
1
Artwork 1 Title: Hierarchy
Artwork 1 Commentary: "Hierarchy" portrays a veiled twist on the dissociation of power, society and modern
culture, set in the everyday surroundings of a school sports hall.
Artwork 1 Image:
2
Artwork 2 Title: The Flood
Artwork 2 Commentary: "The Flood" - Reflecting on our times, and the uncertain and unstable reality of the future,
predicting an alternate history scenario.
Artwork 2 Image:
3
Catalogue2 ID0971
Artist ID: 0971
Artist Name: Alison Watt

Website: www.alisonwattstudio.com
IG: alison.gibbonswatt
Artist Statement: I have submitted 2 paintings from a new series of large scale works both completed in 2018. The
paintings I have developed this year have investigated surface texture built up in layers and washes of paint to imbue
mood and convey the tone to each setting I consider as a narrative for each piece. Each painting captures a moment
in time which I have re-imagined through memory using an intuitive use of building brush marks and composition to
feel my way through the mood of the place in time I am recalling. The paintings use brush marks and texture to
illustrate the energy of the moment with clean edged lines providing anchors to center the movement and provide a
space of certainty or control. I grew up in a small town on the West Coast of Scotland which always provides me with
an inspiration to my work. My childhood was spent exploring the wild countryside which was rich in color and
dramatic tone. I enjoy exploring contrasts of emotion within my work where the freedom of the choreography of a
line is hampered by a clean edge to slow it down and contain it's rythm. My paintings can be viewed as landscapes
where I recall the days of my childhood spent in wild countryside where freedom came easy and allowed a rich
imagination to be cultivated. I like to imagine narratives where boundaries of morality are explored and imbue a
sense of unease.
Notes:
1
Artwork 1 Title: The shape of night
Artwork 1 Commentary: This artwork looks at the choreography of line and brush mark to intimate the sensuous
lines of the body. The brush strokes were built up in response to one another as I felt my way around the
composition in an intuitive nature as if blindfolded in the dark, feeling the shape of a body's curve.
I was run over by a car ten years ago which made me lose my sense of smell. My other senses overlap in response
where I feel the depth of sense is amplified.
Artwork 1 Image:
2
Artwork 2 Title: Fields and fireflies
Artwork 2 Commentary: This painting was built in layers of washes where colour is an integral component to
illustrate the mood of the scene. It imagines a moment in the heat of summer where nature is at is fullest and the
evening air simmers with an oppressive energy. The title suggests an open space filled with the heat of summer. It's
an illusion to allow the viewer to imagine their own version of events played out in the scene.
Artwork 2 Image:
3
Catalogue2 ID0972
Artist ID: 0972
Artist Name: Timothy Forster

Website: www.timothyforsterarts.com
IG:
Artist Statement: I am an Artist based in Ilkley West Yorkshire working predominantly in Film and Watercolour.
I am interested in the intangible encounters we have with landscape and their relationship with the social
objectification of space.
My work endeavours to compare and contrast physical and mechanical methods of communication; sketching vs
film, the hand vs the machine in an attempt to create environments where past and present experiences intertwine,
confuse and support one another.
Notes:
1
Artwork 1 Title: Bardon
Artwork 1 Dimensions: Film Based Work
Artwork 1 Medium: Film
Artwork 1 Commentary: â€˜Is Landscape a scene we are looking at, or a world we are living in? Is landscape all
around us or just in front of us? Do we observe or inhabit landscapeâ€™?
â€‹John Wylie
wetransfer link: https://we.tl/t-Q3T9KEWakp
Please note, in order to achieve the required MB submission, this film has been reduced in length by 2 minutes. This
work can either be displayed via projector or Screen Installation. If projector I am able to provide equipment.
Original file size can be provided on request.
Artwork 1 Image:
2
3
Artwork 2 Title: Bardon
Artwork 2 Medium: Watercolour
Artwork 2 Commentary: â€˜Is Landscape a scene we are looking at, or a world we are living in? Is landscape all
around us or just in front of us? Do we observe or inhabit landscapeâ€™?
â€‹John Wylie
Artwork 2 Image:
4
Catalogue2 ID0974
Artist ID: 0974
Artist Name: Darren Lindeman

Website:
IG: @darrenlindeman
Artist Statement: My work is a very passionate and emotive form of gestural drawing. My artwork has been drawn
with my thoughts and feelings rather than sight and thoughts of perfection. What inspires me to create my work is
memories and my thoughts, along with how people are, and my perception of society. I suffer with depression and I
struggle to talk to anyone about them but drawing helps me a lot to get out my feelings. I like using media that I can
use quickly and can layer up without having to wait too long to dry. I donâ€™t have too much money so I paint/draw
on what I can find about.
Notes:
1
Artwork 1 Title: This was once a field
Artwork 1 Medium: Acrylic/pastels/charcoal/spray paint
Artwork 1 Commentary: One day after college I carried this board along with my materials to the bottom of the field
from my caravan and started to paint in the sun.
Artwork 1 Image:
2
Artwork 2 Title: Kim and ART
Artwork 2 Medium: Acrylic/pastels/paint scrapper
Artwork 2 Commentary: Inspired by an artwork of Kim Jong Un visiting Marcel Duchampâ€™s Urinal. Painted/drawn
on an old door.
Artwork 2 Image:
3
Catalogue2 ID0976
Artist ID: 0976
Artist Name: Susan Coussens

Website: www.susan-coussens.com www.susie-coussens.com
IG:
Artist Statement: I am a Fellow of the Digswell Arts Trust which is a long standing Charity who help emerging artists
by providing affordable studio space for up to 5 years.
As a graduate of the University of Bedfordshire with a BA (Hons) in Fine Art (2015) I am a figurative artist with the
philosophy of â€œthe more I paint the more I learnâ€• I am still finding my voice and mastering the craft of painting.
I also believe that as artists we hold a unique position in society in that through our art we can reflect on current
issues and take a view of what is happening around us.
My current work shows a keen interest in the Renaissance with a modern twist and merges the modern with the
traditional to create a painting that reflects both of realism and graphic images.
Susan Coussens
2018
Notes:
1
Artwork 1 Title: PIETA 2018 (part A)
Artwork 1 Medium: Acryllic and Oil Bar
Artwork 1 Commentary: â€œPieta 2018â€• (Oil and Acrylic on canvas,183 x 122cm) was triggered by the
unprecedented amount of murders that currently have occurred in London this year half of which are of young men
and girls aged 30 years and under and are almost certainly gang members or the victims of gang culture.
Taking reference from the Renaissance religious paintings and the incomparable Michelangeloâ€™s Pietaâ€™s, Pieta
2018 shows a mother mourning the senseless death of her son. She is dressed in a vibrant green dress while her son
lies dead in her arms and to reinforce this narrative I have used the â€œdead coloursâ€• technique. Although this
work takes its reference from the past it represents a very modern problem.
With this painting comes a Murder Map which lists the names of those who have been murdered in London this year
and with those under 30 years of age marked in red to help put this painting in context. (which is still being added to
sadly)
Artwork 1 Image:
2
3
Artwork 2 Title: PIETA 2018 MURDER MAP
Artwork 2 Medium: 0
Artwork 2 Commentary: As part of the Pieta 2018 artwork this Murder Map accompanies the painting which lists the
names of those who have been murdered in London this year and with those under 30 years of age marked in red
who are all black and probably gang members) to help put this painting in context and which is still being added to
sadly.
Artwork 2 Image:
4
Catalogue2 ID0978
Artist ID: 0978
Artist Name: Gertie Young

Website: Gertieyoung.co.uk
IG:
Artist Statement: My paintings are unplanned and so the composition reveals itself over time as images may arise or
as some may be over-painted.
Notes:
1
Artwork 1 Title: Tankers passing estuary gardens
Artwork 1 Dimensions: 30 x 30 unframed
Artwork 1 Medium: Watercolour, gouache, collage
Artwork 1 Commentary: Almost night, low tide. Nothing looks the way it seemed during the day.
I stayed with this piece for a long time gradually removing more and more elements until an atmosphere seemed to
develop and it found a direction.
Artwork 1 Image:
2
Artwork 2 Title: Approach of the winter solstice
Artwork 2 Dimensions: 36 x 36 unframed
Artwork 2 Medium: Watercolour, gouache, collage
Artwork 2 Commentary: The world moves towards the longest night of the year.
This piece started with large floral motifs but seemed to take on a life of its own and gradually passed into another
dimension.
Artwork 2 Image:
3
Catalogue2 ID0979
Artist ID: 0979
Artist Name: Laura Chopin Emsley

Website:
IG: instagram.com/laurachopinemsley
Artist Statement: *acciaccaturaÂ

almost invisible
almost inaudible, untraceable
preceding something more important, valuable, or defining
but there, nevertheless
unnoticed,Â but documented
be mindful of the mundane
**c minorÂ
melancholicÂ
or the parallel major
a sudden shift
*** dynamics
left to the players discretion somewhat
up for interpretation
guided by the melody and tone
but also memories and instances
forgotten happenings
past becomes present
****4/4
or common time
every day time
grocery shopping time
its raining again time
stockwell to kings cross time
brushing your teeth time
Notes:
1
Artwork 1 Title: and what we find will be categorised
Artwork 1 Dimensions: H84xW250
Artwork 1 Medium: ink on paper, pins
Artwork 1 Commentary: A piece of text with supporting 'documentation' of an unknown event mysteriously
captioned 'Tottenham Hale Excavation' Further documented and placed alongside the original, the piece of work
captures the human impulse to document and categorise- when the documentation of a process becomes more
important than the process itself.
The piece of text reads:
'and what we find will be categorised,

the ones that can be carried for a very long time without arms aching,
or the ones that can be posted to other continents for a very small postage fee,
the ones that are the colour of grass but the colour of grass at night when you're standing under a streetlight in the
park but you don't cast a shadow onto the grass you cast one the other way onto the footpath,
and all the things that make no sound when you drop them with quite some force or at least no sound within the
hearing range of all the people who don't know the name of their rabbit because they stole it from their neighbour
whilst they were on holiday,
the neighbours cried for weeks and took 3 days off work'
It is otherworldly and strange yet rooted in a familiar reality. Its arbitrary categories, inspired by a Chinese
encyclopaedia in Jorge Luis Borges' essay 'John Wilkin's Analytical Language', are tenuously linked and form a
trustworthy bond with the evidential image placed alongside it.
Artwork 1 Image:
2
3
Artwork 2 Title: the apple tree
Artwork 2 Dimensions: approx. H100xW150, projected onto wall with digital projector
Artwork 2 Medium: video
Artwork 2 Commentary: Video: https://we.tl/t-l1WSJDeKzA
On July 20th 2018, I was volunteering at the Hancock Museum in Newcastle for The Great Exhibition of The North.
The following events (supposedly) took place:
It was about 12 o'clock.

A woman approached me.
"I found this on your gallery floor."
MY gallery floor: the power I possessed was palpable.
She handed me a school jumper with an apple tree on it.
I took the jumper home with me.
It used to belong to a girl called Julia.
I hope she doesn't get too cold.
'the apple tree' follows me and my guilt in the aftermath of this happening.
Artwork 2 Image:
4
5
Catalogue2 ID0981
Artist ID: 0981
Artist Name: Erik Colgan

Website:
IG: @erik.colgan
Artist Statement: I use my art to, paradoxically, be a form of escapism and a narrative of my experiences, good and
bad, in our world. I have been drawing and painting regularly since the summer of 2017 when I was looking for a
creative outlet. I had â€œdabbledâ€• with artistic expression previously but with a period of self-reflection I was left
with a compulsion to draw that I gladly indulged!
Like many of us I have always been drawn to faces. As such, I particularly like to create portraits. We covey our
emotions through our eyes and lips and I take advantage of these to express a mood, tone or statement. My practice
has led to me trying to capture a sense of being alive in the faces of my portraits whether that be some celebration
of joy or a deep lament of pain. Both light and dark are equally valid and an experience of human life we all share.
Notes:
1
Artwork 1 Title: Bekant
Artwork 1 Dimensions: 29.7 x 42cm
Artwork 1 Medium: Pencil drawing
This piece was produced using a mixture of 6b and 8b graphite pencil on 170 gsm acid free paper.
I purposefully applied the graphite lightly with longer flatter strokes, building with pressure and layers where the
shadows would sit to create the structure of the eyes, nose, forehead, beard, ear and hair (in that order.)
I always start with the eyes to fix the emotional tone. It is the foundation upon which I build.
Once the general portrait shapes in light and dark are present I will add detail with a finer heavier pressure.
I titled this piece â€˜Bekantâ€™ which means â€˜familiarâ€™ or â€˜knownâ€™ in Swedish. I chose this as I was
looking for this character to give the observer a sense of recognition and of being recognised. What for though? That
is open to interpretation.
I also have a fascination with Scandinavia. I have a genetic heritage that connects that interest to a very concrete
reason which feels integral to my being. When I look at this character I see a potential historical face of my ancestry
or a living distant cousin. I see sadness, weathered beauty and something familiar.
Artwork 1 Image:
2
3
Artwork 2 Title: â€œThe show much go on.â€•
Artwork 2 Dimensions: 29.7 x 42cm
Artwork 2 Medium: Pencil drawing - graphite and coloured.
Artwork 2 Commentary: This piece was produced using a mixture of 6b and 8b graphite, charcoal and a selection of
coloured pencils on 170 gsm acid free paper.
I approached this piece looking to produce a mixture of realism and cartoon. I purposefully created bigger eyes than
any real personâ€™s to covey this cartoonish sense of fantasy. This coupled with the heavier charcoal applied
created illusion of a performer. This character has unnatural colouring in her skin and hair to reflect a sense of either
being onstage or in front of lights.
She is fierce, poised and determined. We have caught her in that moment â€˜beforeâ€™ where you take in a sharp,
deep breath. Preparing yourself, steadying your heart rate and readying your mind before an audience, quelling your
nerves or fear.
She is a metaphor for life as a queer person. Living in a light that sometimes is thrust upon you adoring and cruel.
Having, at certain times to be defiant and beautiful. Dealing with expectation from within oneâ€™s person,
community and wider society as a whole. Always at the edge of performing. This is why I named it so because living a
life as a queer person you need the resolution to carry on.
Artwork 2 Image:
4
5
Catalogue2 ID0982
Artist ID: 0982
Artist Name: Tigran Yukhanyan

Website: www.yukhanyan.com
IG:
Artist Statement: Tigran is a great experimentalist. He began to create beauty with his own hands since he was a
child. He finds great pleasure in bringing beauty into the world, and when he is busy with it heâ€™s dissolved in his
work. Thereâ€™s no human being any more. Thereâ€™s a pupil, an adherent deeply devoted to his work. Thereâ€™s
a small screw in the fairy world of Great Art. Tigran is a monumentalist. Sculptors have a long history in Armenia.
Thereâ€™s no street in the capital of the Republic - Yerevan, where there are no a pair of sculptures at least. Once
Tigran tried his skills in painting. Many people think that he managed it well enough. Since that time heâ€™s created
many and many canvases of various genres. When people get acquainted to his site they often cannot believe that
all the pieces of art here are created by one person. They doubt. Those who believe seldom let themselves to step
out of the usual frames. Artists usually create in one genre. Tigranâ€™s collection is a symphony. And they often ask
why he doesnâ€™t choose one genre? Why are his works so unlike without a print of his personality? It is boring for
Tigran. He thinks he must try everything. Heâ€™s not one of those coping things that exist for centuries. Each of his
works is a unique mixture of complicated thoughts of contemporary people and the romantic fragrance of times.
Notes:
1
Artwork 1 Title: The mystery of blossoming
Artwork 1 Medium: Unique technique of multilayer sculptured oil paint on canvas
Artwork 1 Commentary: Â«The mystery of blossomingÂ» is a canvas from black and white series. Here painter has
tried to depict the perfection of a womanâ€™s body. Tigran often compare this series with black and white cinema.
Here nothing interrupts the cinema lover to enjoy the movie. Itâ€™s a very sensual picture. While looking at it one
may think as if that young woman have been born from flowers.
Artwork 1 Image:
2
Artwork 2 Title: A duet for cello
Artwork 2 Medium: Unique technique of multilayer sculptured oil paint on canvas and wood
Artwork 2 Commentary: Â«A duet for celloÂ» is a formalistic painting. It is like a short and vivid dialog between two
women. The third, central figure of the canvas is the cello which is like a womanâ€™s body. Who knows! Perhaps
they talk about a third womanâ€¦ Tigran has chosen the formalistic way of depiction because itâ€™s one of the most
difficult ones in fine arts and he likes to solve hard tasks. Jazz and Shostakovich - thatâ€™s the music he thinks about
while looking at it.
Artwork 2 Image:
3
Catalogue2 ID0983
Artist ID: 0983
Artist Name: Caitlin Mckeon

Website:
IG: caitlin_mckeon_artist
Artist Statement: I am a non-binary artist working on an MA in Fine Art and Humanities at DJCAD at the University of
Dundee. I am interested in the cis-gaze on the queer body, as well as the experience of being queer within a body. I
am influenced by medical art and the history of surgery, my biggest artistic influence has been Louise Bourgeois. A
lot of my work appears violent, or gory, or unsettling, but I always instrument care in my sculptures and hope to
diffuse nurture into the pieces as well. I like to focus on how caring and healing can be a very difficult process,
physically, emotionally, and societally. Some of them are autobiographical, and some of them are what the cis-gaze
assumes about being queer. I hope to challenge the binary in all of my work.
Notes:
1
Artwork 1 Title: The Legs
Artwork 1 Medium: Fabric and Paint
Artwork 1 Commentary: This piece is a pair of thick white woolen tights, stuffed, with the feet tied and painted red.
In line with my exploration of the queer physical experience I came across a phenomena, where people have spoken
to their doctor about being amputated, voluntarily, because they have always felt like they should be missing their
hand or their leg. Most doctors obviously refuse to remove healthy limbs from healthy individuals, but it got me
thinking about how cis people see trans people who decide to have transitional surgery. This piece is a visualisation
of the opinion that queer and trans people are mad, unnatural, or even dangerous.
Artwork 1 Image:
2
Artwork 2 Title: Tits in Rain
Artwork 2 Medium: Plaster, Paint and Board
Artwork 2 Commentary: This is a cast taken from a female friend's breasts. It's title comes from the iconic line at the
end of the film Bladerunner "...disappear like tears in rain." I hoped to raise all aspects of the relationship between
breasts and femininity; that they do not equate or define femininity, but can be an expression of it. That the binary
assumptions imposed on all of us within a patriarchal, racist, capitalist frame work is something to be abolished. That
we should not be valued by our breasts or lack thereof. The title suggests a hope that, one day, we might see the
gender binary as a barbaric and humorous thing that people used to believe in, as we do with many other cultural
inventions, and the binary will disappear like tears in rain.
Artwork 2 Image:
3
4
Catalogue2 ID0984
Artist ID: 0984
Artist Name: Jules Ryan

Website: www.paintedbyjules.co.uk
IG:
Artist Statement: Visualising concepts, and using Imagination to create art is part of who I am and always has been
ever since I started drawing as a child. I have a deep long rooted love for the unique beauty of art but also its
majestic power and impact when viewed by others.
I have always been passionate about getting people to appreciate inner Creativity, especially now in our ever
increasingly expanding technological world. To me art can show something that no photograph or digital image ever
can, telling its own story.
It is often said that owning art is seen as something that only a certain type of person is interested in and with
considerable disposal income, but this is certainly not the case and I like to change this perception.
I want my paintings to show and address the issues in the world today as I see it. Often referring to historical events
as reference points and using intense colours, writing and some controversy (when necessary) in my work to aid
understanding and make people think, but also to stand out.
The world today appears more fractured and divided than ever before as we all strive for more individualistic desires
and insular nation states. With more broken societies, less tolerance for others and the human cost of globalisation
in the competitive world for resources. It has the potential to escalate unless we work together
I believe art bridges that widening gap and brings everyone together.
â€¦.Anything is possible if we try.
Notes:
1
Artwork 1 Title: Moonlight Front
Artwork 1 Commentary: Remembering 100 years since the end of the Great War, the work painted using only blue
colours depicts a nightmarish interpretation of the horror of this conflict against a moonlit and rain fall misty sky.
I used the tragedy of Passchendaele as inspiration, where many brave souls came to rest in the water soaked mud
swamp without ever firing a bullet. Lost to nature but forever with us.
One last soldier stands alone in the centre to symbolise this sacrifice made and emphasize the tragedy of war with
the many lives taken.
Artwork 1 Image:
2
3
Artwork 2 Title: Despair
Artwork 2 Commentary: I wanted to create a work that summed up pressures surrounding mental health and how
many people feel lost with nowhere left to turn.
I used a young male trapped in a prison cell as my inspiration due to the many persons currently imprisoned in the
U.K today with a mental health related condition, but who leave prison in a poorer state of heath, both physically
and mentally than before they first went inside.
I wanted my painting to encapsulate this intense ordeal of isolation, confinement, entrapment, turmoil, and pain.
The walls feel like they are moving and closing in, everything feels surreal in colour, and the person realising they are
breaking down just wants to scream to make it go away.
Understanding and talking about this issue is something I am deeply passionate about. Many of us fail to do this, as it
is still often seen as a taboo.
Artwork 2 Image:
4
5
Catalogue2 ID0986
Artist ID: 0986
Artist Name: Maria Mccullough

Website: www.mariamacc.co.uk
IG:
Artist Statement: The themes of fragility, metamorphosis and survival are central to my work, which can be viewed
as a continuum from personal to world issues. The fragility of life within that, and the determination of nature and
humankind to overcome adversity, is at the core of my investigations. Into my work I weave personal narratives to
illustrate how we cope with trauma, disease and recovery. This has led to explorations into sexual transitioning,
cancer treatments and facing death. And on a more global scale I have looked at the effects of huge environmental
stresses â€“ climate change above all â€“ on the human condition.
This fragility is explored through individual works and installations, but always founded in a strong narrative content.
Through sight, sound and touch, I want to facilitate an exchange, a dialogue with the viewer, encouraging them to
become more deeply involved with the subject.
The metamorphosis extends to the art itself. Having a highly process-led approach to making I manipulate a wide
range of materials, juxta-positioning traditional art making with industrial production methods. They could be
organic (wood, pathology specimens, human tissue) combined with natural pigments, ink, charcoal, metal powders.
And these are encouraged to mutate - corrosion, oxidation, shrinkage and weeping all working to create fragility and
change in the piece.
Alongside the exploration of the personal condition, our environmental impact is being scrutinized through a year-
long collaboration with a fellow art and science colleague. I have travelled for research to Iceland and hope to
venture to the Arctic.
Notes:
1
Artwork 1 Title: May Milk Moon
Artwork 1 Medium: Mixed - rice paper, ink, charcoal, synthetic blood and varnish.
Artwork 1 Commentary: This work was formed from a dialogue with three women who shared their personal
experiences in confronting breast cancer and body dysmorphia. The May Moon was used as a metaphor to convey
physical transformations. Breast prints were made to explore body changes as the women discussed how they coped
with ageing, combating cancer, a failed reconstruction to surgical augmentation. Rice paper was used to express the
delicate nature of the bodyâ€™s tissue. This was built up in layers containing natural pigments, carbon and artificial
blood. The prints were arranged to depict the phasing of the Moon and once suspended in a window it was naturally
back lit by the moon. The work was inspired by a conversation with my art and science collaborator, Hannah Scott.
Artwork 1 Image:
2
3
Artwork 2 Title: This World is having an aneurysm
Artwork 2 Medium: Mixed - canvas, paint, wax glass, pigments and varnish.
Artwork 2 Commentary: This painting was created as a response to media coverage of Trumpâ€™s denial of climate
change. The textured surface is reminiscent to that of a topographical map and the palette and treatments of the
mediums selected were to convey hot desert sands, shrinking ice caps and erratic swirling weather patterns. The
aesthetic was designed to allure yet there is a blood red streak on the surface of seeping darkness as if a bleed on
the brain.
Artwork 2 Image:
4
Catalogue2 ID0987
Artist ID: 0987
Artist Name: Natalie Lawson

Website:
IG: natlawson25
Artist Statement: I am a mixed media artist that fell in love with the translucent properties of latex through
experimentation, whilst completing my Fine Art and Visual Culture Degree in 2015. I hope to challenge the
boundaries of latex through innovative processes of application and documentation, thereby inviting a closer look at
its structure. The latex allows for trace elements and minute particles to embed into the latex surface from models
such as bronze, porcelain and natural materials, adding texture and establishing connections beyond the visual.
Over time the latex has the capacity to disintegrate which allows for the sculptural works to transform, opening up
new possibilities for interpretation.
A major influence for me was Eva Hesse (1936-1970) a German artist that explored sculpture through organic
associations using innovative materials. Her works had an innate ability to capture light and radiate with it,
something I hope to emulate in my work.
Notes:
1
Artwork 1 Title: Revealed
Artwork 1 Dimensions: 14.6 x 27.6 x 18.6 cm
Artwork 1 Medium: Latex, Bronze, Wood
Artwork 1 Commentary: Growing up as a tomboy, I had no interest in clothing other than as a covering for my body.
This however changed as I entered my teens where clothing took on a whole new meaning. It became a second skin,
a layer that was protective, that I could hide behind, that I could reveal some skin and camouflage what I did not
want to put on show. It was a status symbol, keeping up with all the latest trends, but also a coming of age whereby
I could embrace my femininity.
Light and latex are the principle components that investigate the possibilities and limitations of this clothing layer.
Constantly changing, veiling, stretching, discarding and folding, each work emerges from the darkness. This darkness
serves as protection, concealing those layers that cannot easily be revealed.
My work explores this transient phase, this constant state of flux. It reflects the complex, multidimensional aspects
of a personal journey of discovery.
Artwork 1 Image:
2
3
Artwork 2 Title: Beauty Mark
Artwork 2 Medium: Limited edition Giclee Print
Artwork 2 Commentary: The use of a light box to photograph this work enhances the translucency of the latex
revealing flaws whilst simultaneously showing the beauty of the latex medium. I use repetition in my work to explore
texture and layers, increasing the applications of the latex for each model giving each form a different structure.
These visual echo's instead of creating harmony through the use of repetition, reinforce the differences. My work
fluctuates between figurative and abstract, as the structure breaks down it becomes more abstract.
Artwork 2 Image:
4
Catalogue2 ID0988
Artist ID: 0988
Artist Name: John Bracey

Website: https://www.johnbracey.gallery
IG:
Artist Statement: John Bracey creates dreamlike abstract paintings. The large pieces of work are timeless and visually
intriguing. His source is from no particular reference other than his imagination, stillness and reflection. Each piece is
a visual sonata offering a different story. There is the strong and powerful against the subtle and the delicate. The
paintings are meant for the viewer to get lost in, find their own story and their own thing.
The paintings are bold and hold their own in big spaces. As a description they arguably sit best in the Lyrical
Abstraction genre. Technically there is an interest in texture, colour and the balance of composition. The surface
looks like itâ€™s been worked on and aged. The choice of colours and features that make up the composition are set
to tell a story. Scale within the paintings is important but is left for the viewer to decide upon.
John has been painting for a number of years. He has built up an exciting portfolio. The portfolio is growing along
with his client base. His work is gaining popularity.
For the past two years he has been increasing the number of both solo and joint exhibitions. One in which he won an
award. This was an exhibition with the FPAA â€“ Federation of Professional and Amateur Artists â€“ of which heâ€™s
a member. There are further exhibitions planned for the future where new pieces will be showcased.
He lives in Rushden, Northamptonshire where he works from his home-based studio.
Notes:
1
Artwork 1 Title: The Heart Of Desire
Artwork 1 Medium: Oil & Acrylic Paste on canvas
Artwork 1 Commentary: One of the â€˜Desireâ€™ series. Beautiful fuchsia colours. When seen close up thereâ€™s
lot of transparency. This gives a lot of depth. A bright and bold painting. Proven to be very popular.
Artwork 1 Image:
2
Artwork 2 Title: Unicorn Cliffs
Artwork 2 Medium: Oil & Acrylic Paste on canvas
Artwork 2 Commentary: One of the â€˜Creation VIâ€™ series. Alien and out of world qualities with strong contrasts
and heavy textures.
Artwork 2 Image:
3
Catalogue2 ID0989
Artist ID: 0989
Artist Name: Amine Barbuda

Website: http://amine.com.br/
IG:
Artist Statement: A varied language artist, Amine works with unfolding urban research and contemporary man using
illustrations, animations and poetry. Amine uses intersemiotic translation, that is, an anthropophagic way of
transcribing works of literature, philosophy, visual and plastic arts that discuss city, body, image and narrative
Notes:
1
Artwork 1 Title: The Possessed
Artwork 1 Commentary: work inspired by dostoievskiÂ´s romance "The possessed". the work theme seeks to paly
with the niihilists from the romance and what the niihilist from today are doing facing the worldÂ´s problems.
Artwork 1 Image:
2
Artwork 2 Title: Carnival in Santiago de Cuba
Artwork 2 Medium: acrylic on canvas
Artwork 2 Commentary: Painting made in 2017 in a artistic residency which I followed many popular festivities in
Cuba, such as SAntiagoÂ´s carnival
Artwork 2 Image:
3
Catalogue2 ID0990
Artist ID: 0990
Artist Name: Taylor "Ty" Bones

Website:
IG: https://www.instagram.com/skeletrose/
Artist Statement: My name is Ty Bones, and I create contemplative and engaging paintings and drawings that
confront viewers with questions about identity, culture, and interpersonal faÃ§ades. I pull inspiration from my own
identity as a queer, 3rd generation immigrant and the rich experiences in my life to inspire my work. I use my
personal experience as a way to connect with other people and communicate across boundaries of
misunderstanding and taboo.
Notes:
1
Artwork 1 Title: The Kiss of Judas (John 15:18-25)
Artwork 1 Medium: Oil in panel
Artwork 1 Commentary: The historical, narrative tale of Jesus Christ differs substantially from the icon of God's son
that is used today as an excuse by many to spew hate and prejudice against minorities and impoverished. By
depicting myself as Christ, I'm confronting that irony between despising others through the scripture of a man that
was despised by the world. To the historical, narrative Christ, I am one and the same; but due to the church and the
ideology that praises in his name, I have been cast out just as he was. In this self-portrait, taking the position of
Christ at the moment of betrayal, I implore the viewer to think about this state of irony and deception.
Artwork 1 Image:
2
Artwork 2 Title: Lodge Window
Artwork 2 Dimensions: 19 x 20 cm, ea. (62 x 112 cm, installed)
Artwork 2 Medium: Oil on canvases
Artwork 2 Commentary: There's a house on the Oregon coast, built by my great-grandfather, that my family goes to
each summer. Just for a single week, the small branch of my great-grandfather's family that consists of my parents,
my sister, and I get the time and the space to escape our jobs, our studies, our lives, and exist on a rickety and
rotting coastal paradise. The perimeter of this 1910/1920s shack was once a patio, but the cold ocean winds
prompted our old family to cover it, instead, with panes and panes of small windows. The view onto the beach isn't
picturesque and the beach is cold and empty, but it's this house, and the small daybed by the windows, that is my
perfect place to be. It's a house of family, relaxing, of good food and even better stories, and to share the view that
this experience grants me I hope to share the energy of peace and love as well.
Artwork 2 Image:
3
4
Catalogue2 ID0991
Artist ID: 0991
Artist Name: Shelley Dyer-Gibbins

Website: www.shelleydyergibbinsart.com
IG: @shelleydyergibbinsart
Artist Statement:
Notes:
1
Artwork 1 Title: Hard Kiss
Artwork 1 Dimensions: 20cms x 30cms
Artwork 1 Medium: Linocut with inked painted background on Fabriano papers
Artwork 1 Commentary: Showing an intimate and passionate moment between two lovers. The carved outlines help
pull the artwork together teamed with an inked painted background.
Artwork 1 Image:
2
Artwork 2 Title: Magpies
Artwork 2 Dimensions: 20x30cms
Artwork 2 Medium: Linocut 3 colour block with over inked silver background on Fabriano papers
Artwork 2 Commentary: My focus was to highlight the crooked claws and nails on their feet. As beautiful as Magpies
are, I wanted to create the dark and mysterious side to these creatures with my colour palate and their expressions.
Artwork 2 Image:
3
Catalogue2 ID0992
Artist ID: 0992
Artist Name: Clive Wilson

Website: www.clive-wilson.co.uk
IG:
Artist Statement: Faces are how we recognise each other and how we express ourselves. Our entire world is
connected by faces.
In my paintings, I have been exploring different ways of portraying faces and most recently, expressing emotional
situations through facial expressions and silent interaction between the people depicted on the canvas.
Loosely based on self-portraits the interactions come from within myself, but are equally applicable to others. I want
to draw people in so they are left wondering what has happened here, what is going on and what will happen in the
future?
Notes:
1
Artwork 1 Title: In the mirror of the soul (there's nowhere to hide)
Artwork 1 Commentary: Loosely based self-portrait displaying the interactions from within myself.
Artwork 1 Image:
2
Artwork 2 Title: Don't look back
Artwork 2 Commentary: Loosely based self-portrait displaying the interactions from within myself.
Artwork 2 Image:
3
Catalogue2 ID0993
Artist ID: 0993
Artist Name: Madeleine Marsh

Website: www.madeleinemarsh.com
IG:
Artist Statement: My name is Madeleine Marsh and I am a London artist making sculpture and jewellery. My works
are typically one-off pieces inspired by history, recycling and the pleasure of telling a story. For many years I have
been a mudlark, collecting river finds from the Thames. The â€œMadlarkâ€• birds shown here are a celebration of
London history. Each one is covered with hundreds of pieces of pottery â€“ recording what we ate, drank, smoked -
the everyday life of Londoners across the centuries. My Madlarks also reflect the Thames as the wild heart of
London, where even in the heart of the city, nature and wildlife flourish. I also use mudlarked material to produce
jewellery. I love finding these lost and broken pieces and giving them new life. For me recycling is not just a
functional necessity but an artistic joy.
I would absolutely categorise myself as a new and emerging artist. For many years I worked as a writer, then 8 years
ago years ago I thought I would love to learn to draw. I took my first adult education class at 50; discovered sculpture
and jewellery and now work as a full time artist. Middle age is often represented as a time of loss (particularly for
women). For me it has been a period of excitement and creativity. You are never too old to have ideas, to make, to
access new skills and even to change your life.
Notes:
1
Artwork 1 Title: Madlark Dodo (sculpture)
Artwork 1 Dimensions: 48wx60h
Artwork 1 Medium: Mudlarked potttery from the Thames
Artwork 1 Commentary: This bird is made from pottery and other finds mudlarked from the Thames. I find a piece
that somehow suggests a beak and the bird emerges from there. The interior is made from welded metal and
plaster. I then mosaic the surface with hundreds of shards, spanning 500 years or more â€“ ranging from Victorian
marbles, to 18th century Chinese porcelain to 17th C clay pipes, reflecting the everyday life of Londoners across the
centuries. Each bird has its own character. Made from lost and broken objects this sculpture brings the extinct dodo
back to life.
Artwork 1 Image:
2
Artwork 2 Title: Madlark Egret (sculpture)
Artwork 2 Dimensions: 64lx64h
Artwork 2 Medium: Mudlarked potttery from the Thames
Artwork 2 Commentary: This bird is made from pottery and other objects mudlarked from the Thames. I find a piece
that somehow suggests a beak ( here a Victorian jug handle) and the bird emerges from there. Even in the heart of
the city, the Thames is full of wildlife and wading birds peck over the rubbish of centuries. Made from recycled
pottery, and set on a reclaimed wood base, this egret celebrates the birdlife on the Thames;the lost treasures to be
found on the foreshore, and the magical power of transformation.
Artwork 2 Image:
3
Catalogue2 ID0994
Artist ID: 0994
Artist Name: Alessia Camoirano

Website: alessiacamoirano.com
IG:
Artist Statement: My art explores my emotional intensity and trauma. Employing my subconscious, greek mythology
and other female inspirations. My hands are guided by my needs as a woman and inner child.
Notes:
1
Artwork 1 Title: Dido's myth
Artwork 1 Commentary: Hundreds shadows
picking and biting
insides of me.
Swimming in between all the colours
Calm is an island
Chaos is my armour
I can be jealous of her
I can beg myself to change
But silently waiting
for you to stay away.
As I walk the city
As I jump on the district line
as I punch my wants
and hug my needs
I say goodbye to what
I used to be
But I still hold her
in my deepest thoughts
and there, just there
secretly I hold you
far away from me
yet inside of me.
Artwork 1 Image:
2
3
Artwork 2 Title: Cassandra
Artwork 2 Commentary: Cassandra was the daughter of King Priam and Queen Hecuba of Troy.
She could predict the future however she also had a curse: no one believed her prophecies. She predicted the fact
that the Trojan horse was a trap, but obviously no one believed her. The myth narrates two different versions of how
and why she was cursed, the first one involves Apollo who was humiliated after being rejected by Cassandra(she
refused to have sex with him) and cursed her. Cassandra was a beautiful and intelligent woman, but people
considered her to be out of her mind.
This story, reminds me of how women are often discredited when they refuse men. It makes me think about all the
times a woman has been called a liar for speaking up against abusers. It reminds me the strength that a woman
needs to have to be treated like a decent human being. I cannot think about Cassandra without thinking about every
woman who has been belittled, humiliated or overpowered by a man.
Artwork 2 Image:
4
5
Catalogue2 ID0996
Artist ID: 0996
Artist Name: Dawn Mclaren

Website: www.dawnmclaren.weebly.com
IG:
Artist Statement: I am a sculptural printmaker that specializes in working in 3D installations with natural objects. I
am also a photographer and published author. My work explores peoples life journeys and stories using
transparency to create a refined and intricate piece of artwork.
Notes:
1
Artwork 1 Title: Sacrifice
Artwork 1 Dimensions: 100*45*5
Artwork 1 Medium: Sculpture/Printmaking
Artwork 1 Commentary: This wood panel illustrates a womans journey of making a self sacrifice to the gods of fate
and prediction in order to change her current situation of being baron to fruitful.
Artwork 1 Image:
2
Artwork 2 Title: Prayer
Artwork 2 Dimensions: 120*50*7
Artwork 2 Medium: Sculpture/Printmaking
Artwork 2 Commentary: In trying everything she has done, she sends a prayer to the gods, waiting in hope for her to
be answered.
Artwork 2 Image:
3
Catalogue2 ID0997
Artist ID: 0997
Artist Name: Wayne Clements

Website: www.in-vacua.com
IG:
Artist Statement: These drawings are executed in ink-pen on paper. Each A4 drawing comprises a grid of
approximately 7,500 hand-drawn ascii characters. The technique is that a photograph taken on a Smartphone is
converted to an ascii image using an app. This image is cropped and enlarged. It is then transposed to paper by hand,
character by character. The resultant drawing exists on several significant levels. It is a contemplation of the folk-art
technique of ascii image-making in its contemporary digital form (ascii images originate in the folk-art practice of
typewriter-art and early computer graphics). It is the record of a meditative performance, as each drawing requires
repetitious activity, over several weeks, to complete. The drawing is an interrogation of the machine-made, as the
technique tends continually to mechanical precision without ever in fact wholly arriving at it. The drawing viewed
close-up is encountered as a mass of characters, but at a distance resolves into a rendering of a photographic image.
The images are of sites in the area of the Thames Estuary, and the open-ended series as a whole is titled â€˜Estuary
Englishâ€™.
Notes:
1
Artwork 1 Title: Trees: High Beach
Artwork 1 Medium: Ink-pen and print on paper
Artwork 1 Commentary: See artist statement
Artwork 1 Image:
2
Artwork 2 Title: Grain: Coastal Path #2
Artwork 2 Medium: 0
Artwork 2 Commentary: See artist statement
Artwork 2 Image:
3
Catalogue2 ID0998
Artist ID: 0998
Artist Name: Gudrun Stã¥Hl Sharpley

Website: www.gudrunsharpley.co.uk
IG:
Artist Statement: Gudrun StÃ¥hl Sharpley is a figurative artist who revels in working with figures and faces, shapes
and colours, focusing on movement within her work as her main theme.
Over the years, Gudrun has studied old masters and new and influences in her work reflect admiration for the
drawings of Leonardo da Vinci and the photographic and graphic realism of Dutch renaissance painters, as well as
much 19th to 21st century work.
Abstract Expressionism must get a special mention. With all good art, composition which generates movement
within a work is key to any successful outcome, abstracts included. Gudrun is particularly taken with abstract works
of Clifford Still with his seemingly blank canvasses which demonstrate a subtle internal composition, and with
George Bellows's figurative work which revels in his use of paint, often on a very large scale. In the world of
portraiture many artists can be named as influences, but, unsurprisingly, John Singer Sargent tops the list,
particularly with his watercolours. Gudrun admires an extensive range of artists and is interested in contemporary
developments.
Notes:
1
Artwork 1 Title: Pastoral
Artwork 1 Medium: Oil pastel on oil canvas paper
Artwork 1 Commentary: Oil pastels by their very nature force a bold and free approach. Marks that are made cannot
be erased or easily manipulated therefore it requires confidence and clarity of intent.
Artwork 1 Image:
2
Artwork 2 Title: Wendy
Artwork 2 Commentary: The aim of this oil painting was to capture the likeness and essence of the sitter, without
extraneous fuss.
Artwork 2 Image:
3
Catalogue2 ID1000
Artist ID: 1000
Artist Name: Schirin Khorram

Website: www.schirin-khorram.de
IG:
Artist Statement: My central focus (in my paintings) is always my own feelings my existential orientation. My motiv
to portray women most of the time is to work my own experiences.
In my latest portraits I gave the figures their own stories.
I want to read the face of my subject deeper than its contours.
Notes:
1
Artwork 1 Title: "Leda"
Artwork 1 Commentary: The affair of Zeus with the beautiful Leda is considered the most famous infidelity of the
godfather. As a swan he should have approached her. My portrait should leave room for interpretations...
Artwork 1 Image:
2
Artwork 2 Title: "All Things must pass"
Artwork 2 Medium: mixing technique on canvas, triptych
Artwork 2 Commentary: â€œThe heart dies a slow death, shedding each hope like leaves until one day there are
none. No hopes. Nothing remains.â€• Memoirs of a Geisha
Artwork 2 Image:
3
Catalogue2 ID1003
Artist ID: 1003
Artist Name: Ana-Maria Dinescu

Website: http://www.anadinescu.com/
IG:
Artist Statement: I choose to represent human faces in my paintings because the face is the most eloquent part of
the body in bearing an expression of human depth, character and emotion.
I superimpose a texture made of very many colors, almost an abstract texture on the actual volume and traits of the
human face.
I follow the 3D modelling traits of the face, but sometimes I also experiment. This is my intention because I want to
emphasize each human is the bearer of a complex abstract and colorful world, and the gateway to this world is the
face.
I add to the portrait, conceptual touches by painting a barb wire on the sitters mouth, or a fire in the sitter's eyes.
This should emphasise traits of the character of the sitter.
The barb wire suggests somebody withholds expressing himself freely.
The fire placed in the sitter's eyes suggests the sitter is a passionate individual.
I focus on conceptual portraiture, with an abstract maze of various colors to render the human features and
modeled in 3D.
My main interest is humans and their emotions, underlined with fantasy by the abstract color maze made out of
little converging lines and even dots.
The conceptual part of my work is driven by existential questions, and the reaction of humans to the frustration they
can't answer them.
All my sitters are part of my life, friends or people i know, giving a more personal, more involved dimension to my
act of free expression.
Notes:
1
Artwork 1 Title: Man with a barb wire around his mouth
Artwork 1 Dimensions: 100X70X2,5
Artwork 1 Medium: oil colors on canvas
Artwork 1 Commentary: The work touches expression, freedom of expression, whereas the barb wire represents
constraints in that freedom of expression ,
Artwork 1 Image:
2
Artwork 2 Title: The girl with the wide eyes
Artwork 2 Dimensions: 70X50X2,5
Artwork 2 Medium: oil colors on canvas
Artwork 2 Commentary: The work is a self portrait of the girl "with the wide eyes", such as I have been nicknamed
many times.
The look in my eyes coordinated with my thoughts brush on existential questions, and the frustration of not finding
any answers to them.
Artwork 2 Image:
3
Catalogue2 ID1004
Artist ID: 1004
Artist Name: Ivan Midzic

Website: www.ivanmidzic.com
IG:
Artist Statement: EcoCable serves the transfer of art energy, raises the issue of ecological practice and is my modest
contribution to the development of ecological consciousness.
EcoMotor-Tribute to Cargo Cults, I make conection with cultures les technologicaly developed and point out our
surprising similarities. The way how Curgo Cults builed replicas of western technology from wood in hope to get
more cargo from modern gods, reminds us of our pop cultural worship hi-tech gadets and moden pop gods.
Notes:
1
Artwork 1 Title: EcoCable
Artwork 1 Medium: rope, plastic, metal
Artwork 1 Commentary: EcoCable serves the transfer of art energy, raises the issue of ecological practice and is my
modest contribution to the development of ecological consciousness.
Artwork 1 Image:
2
Artwork 2 Title: EcoMotor-Tribute to Cargo Cults
Artwork 2 Medium: wood, rope
Artwork 2 Commentary: EcoMotor-Tribute to Cargo Cults, I make conection with cultures les technologicaly
developed and point out our surprising similarities. The way how Curgo Cults builed replicas of western technology
from wood in hope to get more cargo from modern gods, reminds us of our pop cultural worship hi-tech gadets and
moden pop gods.
Artwork 2 Image:
3
Catalogue2 ID1006
Artist ID: 1006
Artist Name: Yvonne Welman

Website: www.yvonne-welman.com
IG:
Artist Statement: My work is a personal reaction to social issues."
I find motivation for my most important work in ideas and social issues and questions about art history, gender
equality etc. Feelings like frustration, anger or admiration start the process of making my own opinion visible.
My materials are open acrylic ,collage with textile fabrics from my own - and family history .
A personal version of classical techniques with drawing, underpainting and finishing glazings is the base of my
technique. Sometimes the underpainting is a digital collage.
I use certified limited edition prints to make changes in the design to see what happens.
I am exploring the Zeitgeist from a female point of vue. I see myself as a visual columnist.
Serendipity, time and technique each play their part during the process of creating the paintings. It takes a lot of
time to create my work, which makes it possible to add a new idea.
This creation of a complex strip story stands in strong contrast with the huge amount of superficial pictures we are
surrounded with every single day. I want to create meaningful pictures to add value to society. I want to make
people think about all kind of issues.
Because these stories are no easy messages, I decided to work like a fisherman.
I catch the eye then I start pulling in by giving away details and more details to hold attention so one can read the
whole story standing close.
I admire artists like Breughel, Jeroen Bosch, Georgia O' Keefe, Grayson Perry, Camille Claudel, Neo Rauch, Jenny
Saville and Lita Cabellut.
Notes:
1
Artwork 1 Title: Since Leucippos people are always and everywhere damaged by lust of power
Artwork 1 Medium: certified digital print {1/5] and open acrylic on canvas
Artwork 1 Commentary: Everything that is happening lately, Cologne and recent actions of political leaders show us
that there are very little changes in our "civlized"society since ancient Greece.
The persons and objects symbolize the title.
For instance: 3 paintings of Rubens, GÃ©ricault and Delacroix are used to define the suppression of people.
The architecture symbolizes everywhere. The different painting techniques, the shoes, tattoes symbolize time.
The Mickey and Minnie stand for the silent majority of people.
Artwork 1 Image:
2
3
Artwork 2 Title: Kingpin
Artwork 2 Medium: certified limited edition print [1/5] and open acrylic on canvas
Artwork 2 Commentary: This painting is about power and money
Our economy based on the grow principle is doomed to fail. Politicians and multinationals work together to distract
money from the real economy and this money does only work for te happy few at the expense of other people. The
painting is optimistic in the sense, that we the sheep can all work together to prefend this. We can create a new
world not based on growth but on a circulaire economy.
Artwork 2 Image:
4
Catalogue2 ID1008
Artist ID: 1008
Artist Name: James Vickerstaff

Website:
IG: www.instagram.com/jamesvickerstaffartist/
Artist Statement: James Vickerstaff is a self-taught, London based artist. His work is mainly focussed on portraiture
and figurative art, typically working in oil paint.
In each of his paintings, James aims to celebrate and embellish his subjects, and present them to the viewer in a way
that enables them to create their own stories using his characters.
Notes:
1
Artwork 1 Title: Fur coat
Artwork 1 Commentary: "Fur coat" was completed after 2 sittings, and 15 hours. In this painting, James Vickerstaff
explores the use of bright colour to amplify the subject's character.
Artwork 1 Image:
2
Artwork 2 Title: "Metro hoodie"
Artwork 2 Commentary: "Metro hoodie" was completed from a reference photo, provided by the artists friend who
he met whilst working in Sweden. This painting was completed as part of a series of work featuring volunteer models
from the artists social media network.
Artwork 2 Image:
3
Catalogue2 ID1009
Artist ID: 1009
Artist Name: Mariano Cabalfin Ll

Website:
IG: mscabalfin2
Artist Statement: I am a teacher by profession. I teach at a Music, Arts, PE, and Health at public school in Quezon
City, Philippines. I started drawing and sketching back in grade school. I thought I would not be able to go back to
arts when l started teaching, but it gave me the inspiration to go back to things l really love doing. I started painting
in July of 2018. In just 5 months l was able to create 10 oil paintings which is not unexpected. I look forward to create
more art pieces
Notes:
1
Artwork 1 Title: Laundry Day
Artwork 1 Dimensions: 24x22x.5
Artwork 1 Medium: Oil Paint
Artwork 1 Commentary: Laundry day is the day that everyone can relate to. Whether you use machine and do it by
your hands, laundry is fun to do specially with your family.
Artwork 1 Image:
2
Artwork 2 Title: Ethnic outfit of the day
Artwork 2 Dimensions: 30x30x.5
Artwork 2 Commentary: Everyone loves to dress up regardless of skin color, gender, and age. We are free to wear
colors we feel we are beautiful with.
Artwork 2 Image:
3
Catalogue2 ID1010
Artist ID: 1010
Artist Name: Anjie Mailey

Website:
IG: @anjieartslondon
Artist Statement: Regeneration, units of measurable visual interest, placement. Using primarily acrylic and ink to
place the viewer directly within the painting. Influenced by the huge regeneration of urban inner city neighborhoods
and how we experience them. Using shape, colour and line to create a place to step in, wander around and go in a
visual walkabout. How we experience our surroundings, where we live, work and play is forever changed as new
buildings and projects emerge. Regeneration alters our physical world, our space, our known. Jump in, wander, look
around, rest, step out Experience the painting.
Notes:
1
Artwork 1 Title: Untitled
Artwork 1 Dimensions: 29.7 X 42cm
Artwork 1 Medium: Acrylic and ink on paper
Artwork 1 Commentary: E20 regeneration exploration of Olympic Village. Experiencing the new way of living.
Artwork 1 Image:
2
Artwork 2 Dimensions: 29.7 X 42cm
Artwork 2 Medium: Acrylic and ink on paper
Artwork 2 Commentary: Reflecting on new builds, new materials, spatial living. Fleeting glances into a new
expectation. Waves of light penetrate the space, high living, urban landscape.
Artwork 2 Image:
3
Catalogue2 ID1011
Artist ID: 1011
Artist Name: Chris May

Website:
IG: christopher_ison_may
Artist Statement: My work circulates around the theme of Gaps and spaces and seperation. And just how they
impact on our everday lives. And have done with every generation and every cultural system.
my work in practice is similar to a investagative inquirey promted along with this theme in mind.
Most of my pieces are a accumulative effect of personal experence along with other people's life experences from
others. my work has a metaphor aspect to it that aims at reuniteing space back in on itself and evaulating opinion as
a safety mechnaism against the state of sepration loss or death of self and trying to vocalise this and expressing this
via form, and marks, and material languge in my work.,
Notes:
1
Artwork 1 Title: Backdrops of Distractions 2018
Artwork 1 Dimensions: 60 cm X 49 cm
Artwork 1 Medium: House paint and Assorted found materials adjusted
Artwork 1 Commentary: This particular piece is slightly texture and has a particular scratched surface in parts that
shows a historical underground elements in the work. its painted on a old pvc advertising banner that i found at the
roadside.
In this piece I wanted to create a kind of primitve quality a quality that some how runs concurrent of past notions
and past thought even of near events in the media that has past out of date as old news but somehow still holds a
sway or has a nudge in cultrual identity of different nations accordinly to events..
its this imprinted feeling or intutive knowing and retrival of information that intersts me, and somehow contrubutes
and distracts from current affairs as contradictions of fresh new ideas emerge out of the ashes of the old, and valid
pointers point too placed geographicaly locations of information and collectively in a kind of place all at once of
there own like that in the refernce of historical finds does accomplishs in place and time or not known.
Artwork 1 Image:
2
3
Artwork 2 Title: Disenchanted Youth
Artwork 2 Medium: PVC BANNER AND HOUSE PAINT AND PENCILS AND SPRAY AND SHARP MATERIALS
Artwork 2 Commentary: This work is on old PVC used advertising banner and is attached to a piece of old timber and
painted over in house paint and pencils and spray and other materials that are at hand impulsively.
I wanted to give this piece of work a sense of the outside world when its in turmoil.
And I also to stir up a feeling of anger and violence in its imagery as also being rarther cool youthful and young
aswell.
A sense of separation of which I was aiming for in this work.
A demonstration event gone wrong and the under belly of acts of rebelion realized as so desired by a small minority.
A kind of a dirty aspect of society breaches forth in this piece and into a snarling metophoric lingering dog full of
anchy and bent on chaotic disorder of differences thats debased of order and directed towards the state as its
imagined target.
And in the young peoples protest a sense of angst and excitement of coming together in fighting like a pack of wolfs
is relised in comradship.
But the reality and in truth a cause little really care about as individuals once the fuss dies down.
The real suggestive qualities I wished to extend was a sense of excitment in this piece really coming from the
stimulus via bordom and misdirected aimless opportunities as its excuse masked as political motives and
indifference and celebrated in seprartion.
Artwork 2 Image:
4
5
Catalogue2 ID1013
Artist ID: 1013
Artist Name: Andrew Sargent

Website: www.andysargentartist.com
IG:
Artist Statement: Using various materials, on various supports, I am an artist who works in two dimensional imagery.
Over the last two years I have taken landscape as the nucleus or starting point for creating work in various ways. I
am now branching away from using landscape, and using other subject matter and events to create new work. As an
artist who lives with limited mobility due to permanent injury, I have used events that are biographical, and part of
my practice is describing in imagery my own personal story. I use both representational or figurative, and also other
non-traditional ways of describing events or subjects important to me. Some of the work appears abstract, but I'm
using less literally descriptive techniques to describe my recollection or observance of a subject. Freeing my artistic
"constraints" in this way, gives me more time to be creative, and to be visually "multi-lingual". I paint in pain due to
my disability, and I have to keep returning to work at regular intervals, to build up layers in my work, as working for
more than a couple of hours at a time is too taxing. This gives me time to consider and plan work. At other times, I
can complete an emotive and expressive work in two hours, almost as a "rant" in colour and sweeping brush marks,
a description of a moment in creative time, appearing abstract, but each mark is a statement.
Notes:
1
Artwork 1 Title: "Birmingham, Frank and Banjo's next the easel"
Artwork 1 Dimensions: H51cm x W65cm x D3cm
Artwork 1 Medium: Oil and Acrylic on wood
Artwork 1 Commentary: This painting describes a conversation in expressive use of colour and mark making. The title
is the starting point for the viewer. Expressed visually using only random mark making and colour observed on the
day of the occurrence, it becomes a description of a brief happening, and the atmosphere of its surroundings.
Artwork 1 Image:
2
Artwork 2 Title: "Coombe track and stump"
Artwork 2 Dimensions: H54cm x W65cm x D2cm
Artwork 2 Medium: Oil on wood
Artwork 2 Commentary: This painting gives a view of a secluded trackway through woodland, but rendered down
into marks of paint. Using colour and contrast to create the experience of glimmering sunshine through foliage and
overhanging canopies of branches. The use of the frame gives the appearance of a kind of "viewfinder" to lead the
eye through the image.
Artwork 2 Image:
3
Catalogue2 ID1014
Artist ID: 1014
Artist Name: Ozlem Thompson

Website:
IG: http://www.instagram.com/ozlemsorluthompson
Artist Statement: I was born in Istanbul, the nexus of Asia and Europe, where I developed my interest in
contemporary art, and began painting and drawing from an early age.
With a love of physics and degrees in biology and botany, I became well acquainted with exotic plants and through
my work began to merge concepts and visual ideas in my mind. Myriad species of organisms, organic structures, and
quantum physics, all inspired me to search for a place in which the real and fantastic could exist creating
synaesthesia in the experience, the process and the result. I love strong colours, generating an extemporaneous
flow of energy as I work, without preparation or planning.
I take as inspiration the works of Kandinsky and Mondrian, in whose studio in London I live and paint. My first
exhibited piece was included in the December 2018 show at Van Der Plas Gallery in Manhattan, as well as some
group exhibitions in London.
Notes:
1
Artwork 1 Title: Sailing in the Ocean
Artwork 1 Commentary: This work is concerned with the nature of space, time and the human experience of
meaning in life. We believe in the apparently linear direction of time, and yet we cannot explain how the
interconnectedness of being links everything together. We have an altogether tiny understanding of the cosmic
dimension. Is the universe an ocean? Or is our consciousness an ocean? Are we sailing through or over it?
I tried to evoke a sense of mystery and randomness in the use of colour and pattern and the relationship between
various areas, and although a boat or vessel is not clearly represented, there is a boat depicted, while I aim for the
viewer to experience a feeling of movement and travel. It is a matter of interpretation.
Some areas seem to attain a greater level of completion, and some seem incomplete, while boundaries are clear and
not clear, invoking a sense of flux and change.
The viewer will create their own sense of what is real, what is ocean and how it feels to sail in it.
Artwork 1 Image:
2
3
Artwork 2 Title: Flying Mushrooms
Artwork 2 Commentary: I tried to imagine strange objects in a different universe while painting extemporaneously
and without planning. I chose the yellow colour to evoke positive feelings and energy. Silver helps introduce a sense
of evolution, and the mushrooms are obscured and changing, and are neither plant nor animal.
The viewer may feel a sense of calm and reassurance that things are the way they are and naturally in order.
Nothing is static but everything is changing and evolving from simplicity to more complexity.
Artwork 2 Image:
4
Catalogue2 ID1015
Artist ID: 1015
Artist Name: Netta Hociej

Website:
IG: netta_hociej
Artist Statement: My name is Netta Hociej. I am fourteen years old. I am an artist bases in cambridgeshire. I am
bored of my small town, and the small minded people within it. I am bored of the social stereotypes we all abide by,
and even more so falling a victim to them. So bored, intact that with my artwork i want to make people look, to
think, to question, and to think outside of the boxes that we create for ourselves. Want to do this without being
given the very label I am to destroy: the angsty, troubled millennial.
In most of my work, I utilise a mix of textiles and photography to create images that evoke discomfort. I aim to
explore and expose various emotional triggers in my pieces, to inflict that effect.
I am not a professional. I have no training other than the structured curriculum of key stage three art. I am simply
someone who has a great desire to speak loudly with my visual voice, and reach as many people as possible with my
artwork. Winning this prize would commence a new stage in the development of myself as an artist, working
towards the executions of my visions with increasing accuracy each time. and would give me the exposure I need to
make my art profitable so that i can make an impact on the world through charities and organisations to make a real
difference that I dream of.
Notes:
1
Artwork 1 Title: Jaded envy
Artwork 1 Dimensions: 54.9 x 118.9 mm
Artwork 1 Commentary: This peice is my comment on the power hungry emotion of envy. When we analyse human
actions, a very vast majority of them are fuelled by a sense of jealousy, that a lot of the time we don't even realise is
trapped within us.
The subject of the piece is a metephor for a person so wrapped up and posessed in a struggle to appease this
envious feeling and eventually dying a blank canvas; never realising their true potential, what they have and who
they truly are. So focussed on feeding the beast of jealousy within themselves; trying to make their lives an
emulation of another, they have lost their true sense of self.
I have observed this behaviour in many people including myself and I have seen how it ruins the innate tranquility
we all have potential for. I wanted to reflect these devastating effects in my piece.
Artwork 1 Image:
2
3
Artwork 2 Title: What a cliche
Artwork 2 Dimensions: 54.9cm x 118.9
Artwork 2 Commentary: This piece is based on the negative fuel that we create when we obsess over the way we
look. More importantly, that fact that it isn't always negative obsession, positive obsession can be just as damaging,
especially when the thin line between the two is so fickle.
The title 'What a cliche' is reflective of this being a reoccurring theme in artwork and society in general in the past
decade, and yet - the issue remains unresolved. I want to suggest that this is perhaps because we are looking at it
the wrong way; it's the way we view ourselves that counts, not how other people view us.
The youth of the subject was a comment on the innocence children possess before they are thrust into society's
washing machine of expectations. The drastic, intense and somewhat disturbing elements of the image are
testament to the damage that's caused when we all try to make our way through to the other side.
Artwork 2 Image:
4
5
Catalogue2 ID1016
Artist ID: 1016
Artist Name: K Blick

Website: www.kblick.com
IG:
Artist Statement: In my most recent series â€Ãfternoon walk with Victoriansâ€™ 2019, I continue my theme of blue
hue experimental time trip. I have forms of inspiration from the objects I encounter when visiting various places such
as other countries, museums, vintage shops and similar places. It makes me think of how these objects interact with
time and space and I try to evoke the feelings with which they imbued. This might be said to be very similar to what
the theorist Walter Benjamin calls the â€ãuraâ€™ of an original object, where its authenticity and originality have
an impact on the viewer. I have found that when I employ a monochrome tone, It strengthens the impact of the
feeling I am trying to evoke more impactful.
Notes:
1
Artwork 1 Title: NW6 Albert Mews / Afternoon walk with Victorians
Artwork 1 Medium: oil paint on wood panel
Artwork 1 Commentary: In my most recent series â€Ãfternoon walk with Victoriansâ€™ 2019, I continue my theme
of blue hue experimental time trip.
Artwork 1 Image:
2
Artwork 2 Title: SE1 Victoria Place / Afternoon walk with Victorians
Artwork 2 Medium: oil paint on wood panel
Artwork 2 Commentary: In my most recent series â€Ãfternoon walk with Victoriansâ€™ 2019, I continue my theme
of blue hue experimental time trip
Artwork 2 Image:
3
Catalogue2 ID1017
Artist ID: 1017
Artist Name: Stefano Zaratin

Website: www.stefanozaratin.it
IG:
Artist Statement: Stefano Zaratin has always been fascinated by what makes people uneasy, by what would be best
not to show.
In his works, sometimes he chooses a verbal language - always taking care of the relationship between words and
the pure graphic sign, in some others he highlights elements particularly significant to him â€“such as the fly - which
he believes to be a condensation of what he wants to communicate.
What he wants to investigate is how man lives his â€˜master / slaveâ€™ relationship with nature and the
contradictions that are generated in the internal / external contest
Time is an important aspect of his work; the slow formation of his creation allows him to become one with it.
He uses diverse materials, but all linked to a sense of lightness, such as paper, the light that filters through a
fretwork, or steel that he tries to turn into something precarious or simply as a graphic element.
Notes:
1
Artwork 1 Title: Short-circuit
Artwork 1 Medium: paper
Artwork 1 Commentary: The contradiction between an object and the material used to represent it, has an
irresistible appeal to the artist. In the case of 'Short-circuit' an iron is reproduced in paper, using the same material
packagings are made of. The object carries on itself the effects of what is its primary function: transmitting heat. The
lower part of the appliance, called the 'plate', is completely burnt, as if there had been an implosion, an impossibility
to bring all the accumulated heat to the outside. The title 'Short circuit' refers not so much to the electric
phenomenon, as to the idea of a sudden collapse due to the lack of contact with the outside, a sort of 'madness'.
Artwork 1 Image:
2
Artwork 2 Title: Appropriations #4
Artwork 2 Medium: paper, copper, nylon, wire mesh
Artwork 2 Commentary: The work â€Ãppropriation #4â€™ is reminiscent of what could be the part of a gas or
water pipeline, a structure built by man and now in disuse, on which an unknown animal has built its nest, taking
definitively possession of it.
Artwork 2 Image:
3
Catalogue2 ID1018
Artist ID: 1018
Artist Name: Jacky Ming How Chan

Website:
IG: @notjackychan
Artist Statement: I am an oil painter trained in the classical atelier method, working predominantly from life with
portraits and figures. My paintings attempt to bring skills from my training to a more contemporary setting and
audience. I'm interested in exploring how a figural or portrait painting could capture a substantial amount of time
beyond a single snapshot within a perceivable still image. At present, these explorations result in figures in a
timeless-bound context in a moment of pensive thought, allowing the viewer to engage by bringing their own
questions of what the figures are thinking.
Notes:
1
Artwork 1 Title: Dawn
Artwork 1 Dimensions: 150 x 110 x 2cm
Artwork 1 Commentary: A woman on a chair with a dress on the floor as the morning sun begins to flood the room
with light.
She sits nude hugging her legs but doesn't appear vulnerable and looks pensively beyond where the viewer is
standing.
We're neither intruding or participating in the scene, in a moment that seems as though could last for 15, 30 minutes
or even an hour long. We are left to speculate the events that have transpired resulting in this image.
Artwork 1 Image:
2
3
Artwork 2 Title: Requiem of an architect
Artwork 2 Dimensions: 70 x 60 x 2cm
Artwork 2 Medium: Oil on paper over canvas
Artwork 2 Commentary: 'Omnia mutantur nihil interit' - Everything changes, nothing perishes - Ovid's
Metamorphoses
This painting looks back on my past life as an architect as a memory and as a painter presently. The past providing a
seemingly blank canvas for what is to come to be painted on top in a palimpsestic manner without losing it entirely.
By stripping away colour to a bare minimum, the viewer's eyes adjust to see the variations of paint textures used to
create the difference between the background and the figure.
Artwork 2 Image:
4
5
Catalogue2 ID1019
Artist ID: 1019
Artist Name: Simone Dhont

Website:
IG: simone_dhont
Artist Statement: I originally from South Africa and moved to Scotland 16 years ago.I have been experimenting with
different styles through out the years from expressionism to surrealism and abstract work.In High Scool I won 3 art
competitions one of them artist of the year 2000 for my final year in High School.I did not see how I would make a
living financially from moving forward to study art for a career in art.Looking back now I wish I did.I chose to study
graphic designing,marketing and advertising for one year and a one year course in Interior design.My heart was not
in it and I continued to paint in my free time whilst doing reception work,housekeeping and bar work.I am really
excited by colours and I have been working with a new splatter paint effect.There is allot of planning that goes into
the composition,background and colour scheme.The paint has to be diluted to just the right amount of thickness for
a pleasing effect with some control.I have been adding a 3d effect by using plastic flower moulds that rise seamlessly
from the canvas and clay flowers.
Notes:
1
Artwork 1 Title: â€œRing of Rosesâ€•
Artwork 1 Dimensions: 31x12inch by 1 half inch
Artwork 1 Medium: Acrylic,clay on thick edge canvas matt varnish
Artwork 1 Commentary: This artwork was inspired by flowers in the summertime.I made the roses and daisies from
clay and stuck them on the canvas and then worked out the colour scheme. After putting the details in the flowers
and daisies and finishing the background I used different shades of green and white to splatter the paint on the
canvas creating a loose stem effect and so loosening up the overall look of the artwork. Making it lighter and
brighter.When throwing the paint on the canvas the paint has to be diluted for just the right amount of thickness for
more control. Confidence and purpose is needed in the moment of throwing the paint. It creates a spontaneous
effect with some level of control that requires trust in the moment.
Artwork 1 Image:
2
3
Artwork 2 Title: â€œPoppies in Springtime â€œ
Artwork 2 Dimensions: 24x12inches
Artwork 2 Medium: Acrylic on thick edge canvas with plastic mold and matt varnish
Artwork 2 Commentary: â€œPoppies in Springtimeâ€• inspired by the beautiful red Poppies that you see
everywhere in Springtime and Summertime here in Scotland.I wanted to create a loose and modern effect in a
abstract style to convey the vibrancy of these flowers.I used a plastic mold and stuck it on the canvas with 3d flower
gem stickers for texture and interest.The artwork was then converd with 3 layers of white paint to allow the
background to seamlessly rise from the canvas.The final layer is a mint green colour to make the red stand out more
which is leading me to the final teqnique.Diluting the red paint to just the right amount of thickness I did a few
practice throws on a blank piece of paper to get the consistency of the paint right and to gain confidence and trust
within my throw.Finaly I created a loose splatter paint effect with some curve in the the throw for interest to
represent the Poppies in a vibrant and passionate effect juxtaposing on the more conservative and carefully build
background.
Artwork 2 Image:
4
5
Catalogue2 ID1020
Artist ID: 1020
Artist Name: Nicola Siebert-Patel

Website:
IG: https://www.instagram.com/nicolasiebertpatel/
Artist Statement: I am a multi disciplinary artist interested in representing aspects of life in the 21st century.
Interested in the structures of religion and spirituality.Â My current practice has been focused on looking at objects
within a religious context, and reinterpreting their meaning with their presentation.
What is a religious or spiritual experience if you take away the word religion?Â The changes we experience in the
body after a numinous experience.
I try to remain open to all mediums in my practice and the idea dictates which medium will be best to represent in.
My practice currently involves painting, sculpture (Wood and Metal), video, print making and collage.
Notes:
1
Artwork 1 Title: Blood of Christ
Artwork 1 Medium: print mounted on framed board
Artwork 1 Commentary: Taking an item which has been given a strong meaning (Altar wine), served in Catholic
church service as Blood of Christ. Presenting this object in a different capacity and challenging that meaning. There
are 108 bottles of wine, again a number which has been given numerous auspicious meanings, i.e 108 prayer beads
on a Mala prayer string, believing if you repeat a mantra 108 times it will manifest. I am interested in presenting
objects in a different light.
Artwork 1 Image:
2
Artwork 2 Title: Child
Artwork 2 Medium: Wood and fabric
Artwork 2 Commentary: Presenting a child sized life jacket onto a wooden cross. The cross is widely recognised as a
symbol in Christianity of Jesus dying for others' sins. The life jacket representing children who have died or been
orphaned in the migrant crisis.
Artwork 2 Image:
3
Catalogue2 ID1021
Artist ID: 1021
Artist Name: Milou Stella

Website:
IG: https://www.instagram.com/miloustella_art/
Artist Statement: What does â€˜ideal feminineâ€™ mean today? Through my paintings and embroideries, I play with
ideas of womanhood and femininity, asking questions about gender, social roles and expectations, identity and
family.
I developed my aesthetics for my art through looking at visual and narrative folklore, Pre-Christian artefacts
representing female subjects, mothers, queens and goddesses whilst also paying attention to non-religious
illustrations of Medieval Illuminated manuscripts available online. I was drawn to the first in search of pre-patriarchal
examples of ancestral and mythological female power, and the latter because of their 2D cartoon-like qualities and
surreal humour to which I connected immediately.
I focused on both types of imagery to then develop a series of hybrid creatures that combine animalistic and human
body parts on which I project my own personal narratives, humour and imagination and through which I can
question the attitudes and perceived expectations of society towards women when it comes to self-identity,
motherhood and beauty.
Iâ€™ve been working with gouache and watercolours, because of the flatness of both mediums typical of medieval
illustrations. And I was similarly drawn towards embroidery as part of my search for works made by women which
took me to develop and want to experiment with textiles. I find embroidery a very interesting medium for the times
weâ€™re living in, as it still holds a lot of female history and within that: assumptions, subversive power and politics.
My goal is to create female empowered images that are both relatable and humourous without reinforcing negative
gender stereotypes.
Notes:
1
Artwork 1 Title: Mother and Prawn/Labour of Love
Artwork 1 Dimensions: 180mmx205mm
Artwork 1 Medium: Embroidery on Stretched canvas
Artwork 1 Commentary: I developed this piece when looking for representations of motherhood in Bronze Age
statuettes. I was looking at ways to connect with them through the process of inhabiting some of the features with
my own imagination.
This piece is the result of a series of experiments that started with drawings in pencil first, then gouache, then
textile. I was happiest with the textile piece, because of my recent interest in using recycled textiles in an evocative
way. In this case I used calico for the background (instead of traditional canvas used for paintings), a second-hand
bed sheet for the main subject of the piece, backed with simple felt for extra texture.
The piece has been constructed taking into consideration how reliant we are on the cotton fiber together with the
fraying qualities of it once itâ€™s woven, making it both strong and delicate at once. I transferred the central image
onto cotton doing free-motion embroidery and using a sewing machine. I kept the tension of the thread quite tight
to create a slightly more textured effect. I used free motion embroidery in an intuitive way, trying to be in the flow
and rhythm of the machine which is quite hard and different from hand-embroidery.
The central piece is effectively an applique, which is a common sewing technique traditionally used by women who
sew and quilt for their families. I used simple felt as backing and calico for similar reasons.
The background fabric has also been dyed with ordinary onion skin for 18 hours, I chose this number as itâ€™s the
maximum duration of womenâ€™s labour when giving birth. The embroidery work, in synthetic shiny golden thread
has taken over 30 hours of work alone which I distributed in 3 consecutive labour-intensive days, two of which were
13 hours of work per session.
I embroidered using only 1 thin thread to create a thin hair-like line reminding me of a fantastic animal pelt and
pubic hair. I followed the outline of the central subject of my piece and moved outwards to create movement and
reflections. I used gold thread because of the rich history that relates to goldwork in traditional medieval
embroidery, and the illuminated illustrations which were called so because of the presence of gold leaf making them
appear lit and precious.
I chose a humorous and surreal title to subvert often moralising images of the same subject that reinforce religious
and/or patriarchal agendas telling us what good mothers should look like or how beautiful our children should be
and created a parallel with the term: â€˜labour of loveâ€™, which can both refer to birth and motherhood and to
many labour intensive activities enjoyed by women (including textile practices) that are often trivialised, belittled
and taken for granted by society.
Artwork 1 Image:
2
3
Artwork 2 Title: Female (without nipples)
Artwork 2 Dimensions: 140mmx200mm
Artwork 2 Medium: Gouache and watercolour on paper
Artwork 2 Commentary: Womenâ€™s body parts are still the centre of heated debates, including the one
surrounding our nipples and genitals. This piece is a reflection on female bodiesâ€™ censorship still in place today
and its consequence both in terms of representation and as a taboo experience for a woman.
Ancient fertility goddesses and statuettes of the bronze age that Iâ€™ve been looking at from all over the planet
often presented both breasts and genitalia. In the 21st century the expectations towards women bodiesâ€™ and
their representation are far from such idealised naked freedom, which is why I developed this piece representing the
subject empty handed.
I created a warm nebulous background using watercolours and proceeded to paint the subject with thin layers of
gouache, I deleted and covered some of them with slightly different shades of white and blue. I chose the colours to
create a stark contrast between the subject and the background.
Furthermore, the small size of this work is in relation to the size of the statuettes Iâ€™ve been interested in,
representing a dimension that is intimate and personal, rather than monumental.
Artwork 2 Image:
4
5
Catalogue2 ID1022
Artist ID: 1022
Artist Name: Martinho Dias

Website: http://www.martinhodias.eu
IG:
Artist Statement: MARTINHO DIAS, (b. 1968) is a visual artist from Portugal.
He has been an uncompromising researcher of truths, of some lies, as well a seeker of interior freedoms. Pursuing
his own permanent transformation and evolution, this quest is made by keeping faithful and loyal essentially to
himself and his personal beliefs.
Martinho Dias's body of work moves and relates, most of all, to a political and social criticism, asserting his point of
view regarding a certain contemporary reality. Frequently, he unfolds and re-configurates that same reality in the
bidimensionality of his canvases. Collecting his initial material and themes mainly from press media, art history and
internet, Martinho Dias is a manipulator and disturber of images and contexts and circumstances, offering us in his
paintings new realities and narratives or speechs, emphasized by colour, expression and figure and picture realism.
Each single work starts based in pre-existing material taken from a mass of chaotic images, names and references,
seething and bubbling away in the globalization melting-pot, following what the curator and art critic Nicolas
Bourriaud considers the "culture of use".
The photographic images serve as "models" for the pictorial compositions that are the substance of figures, faces
and bodies represented in Martinho Dias's painting. The painter intends to amount the de-construction and de-
contextualization of reality's several fringes as we understand it, taking parallel with Guy Debord's definition and
notion of the "integrated spectacle".
Notes:
1
Artwork 1 Title: On a black see-through background
Artwork 1 Commentary: A double reading of the proposition "about": "above" and "about". Need for joint action
with reflection. So we have a reflection on a scenario black and a need for action symbolized in the immeasurable
size of the hands of the three figures.
Artwork 1 Image:
2
Artwork 2 Title: Eloquence of a Cabbage
Artwork 2 Commentary: Oratory is the art of public speaking in a structured and deliberately with the intention to
inform, influence or entertain listeners.â€¨ In the case of this painting, "noise" prevails - perhaps the speech is too
specific, or too deep to be understood by the speaker's peers. It is possible that the orator will say nothing or, on the
contrary, we are not yet trained to understand what a cabbage has to say.
Artwork 2 Image:
3
Catalogue2 ID1028
Artist ID: 1028
Artist Name: James Caley

Website:
IG: @jamescaley
Artist Statement: James Caley is a London based Poet/Artist. He is author of CityBeating and other poems and 4
Steps From The Wire.
Notes:
1
Artwork 1 Title: Orange LAdy
Artwork 1 Medium: Ink on Paper
Artwork 1 Commentary: The Orange Lady is open to discussion.
The original will be shown at the Menier Gallery between 25 Feb and the 2nd of March.
Artwork 1 Image:
2
Artwork 2 Title: The Wild Wood Beauty
Artwork 2 Medium: Ink on Paper
Artwork 2 Commentary: new lover
he opened up your mind
took a walk around inside
trampling over flowers
until all sign of new life had died
you wrapped up to unwind
shook a stalk around a while
hoping for some answers
to pollinate the darkness with light
he left you wondering, why?
were the tops even made with rock?
he pulled down from the sky
everything that you'd done wrong
well I tell you now is your time
the toxic man is on the run
the wind plays the broken chimes
and the morning birds set free their song
at the foot of the mountain of shit
he's left a boot for you to put on
you step one foot inside
you best believe it doesn't fit
3
fuck it
go for it
make for the border
get over it
pick up someone fallen
what's to show for it?
you are ten foot taller
and now you know it
you might feel a little older
but the golden thoughts get bolder
you'll find when you check your shoulder
there stands your new lover

Artwork 2 Image:
4
5
Catalogue2 ID1029
Artist ID: 1029
Artist Name: Simona Cravcenco

Website:
IG: simona_cravcenco
Artist Statement: Capturing the light and the emotion behind the subjects I choose to paint it is my inspiration.
Making people feel that they are part of a bigger context and that what they feel matters it is my purpose.
Reconnecting with nature and with people around us reminds us to slow down and feel.
My work is a combination of light, emotions and small pleasures that make us feel alive. The themes in my paintings
reveal parts from my emotional life that everyone live from their one paradigm.
Notes:
1
Artwork 1 Title: Joy
Artwork 1 Commentary: Standing on the top of the mountain. Feeling the pure joy of the moment. Connecting with
mother Earth and exchanging energy.
Artwork 1 Image:
2
Artwork 2 Title: Hope
Artwork 2 Medium: 0
Artwork 2 Commentary: Hope - breaking the darkness that sometimes surrounds us. Hope is the light that we need
to continue and makes us resurrect. What would we be without it?
Artwork 2 Image:
3
Catalogue2 ID1030
Artist ID: 1030
Artist Name: Sofia Parra

Website:
IG: @fia.bella_
Artist Statement: My work toys with the concept that everything in the universe is connected. I flirt with this idea of
interconnectedness via oxymoronic visuals. I create satirical narratives and enticing new worlds through my collages.
My medium is hand-cut from brilliantly coloured images I pull from old books and flyers. The finished pieces are
rarely larger than a loaf of bread.
An acquaintance of mine once compared my wonder for the world around me with the attitude of someone who
knows they are standing at deaths door. For me lukewarm sentiment does not exist. Nostalgia makes me melt.
Whenever something curious captures my attention I become completely overwhelmed with the blistering novelty
of it. I bring this energy into my work. I meld with the surge of inspiration I feel coursing through my body. On a good
day this is brought on by something as mundane as a knot in a wooden table, slightly resembling a face. Through my
work I highlight and celebrate the familiarity in the unfamiliar. I think that this is important because in this
technological age we live in we are more disconnected than ever not only from each other, but also with the world
around us.
Notes:
1
Artwork 1 Title: A Little Bait Catches a Large Fish
Artwork 1 Dimensions: 16cm x 14.5cm
Artwork 1 Medium: Paper collage
Artwork 1 Commentary: This collage teases man with the power of nature.
Artwork 1 Image:
2
Artwork 2 Title: Beauty Is Pain
Artwork 2 Dimensions: 25.5cm x 13cm
Artwork 2 Medium: Paper collage
Artwork 2 Commentary: This collage depicts the swallowed pain of societyâ€™s beauty standards.
Artwork 2 Image:
3
Catalogue2 ID1032
Artist ID: 1032
Artist Name: Jasmine Chan

Website: http://jminechan.webflow.io/
IG:
Artist Statement: In our own arrogance, we have taken objects and materials for granted and have overlooked them.
Due to our circumscribed view in which we place humans at the very top of the hierarchy â€“ an anthropocentric
view â€“ we have discarded what we do not understand for fear of the uncertainty they cause. While it is
problematic, I maintain that it is not a mistake but rather a human condition â€“ something we inherit from our
cultures and are difficult to change. There is a hierarchy between subject and objects, and I am taking advantage of it
to create a space for the objects and materials to present themselves in their bland form, as free from human
implemented superficiality as possible â€“ as an effort to relook at our current subject-object hierarchical
entanglement. With the works offered as a protest and compromise at the same. This discussion relooks at the
complex structure of the world through the miniature inanimate object world.
Notes:
1
Artwork 1 Title: Untitled (Hand stretched red plastic bags sewn with red thread)
Artwork 1 Medium: Hand stretched red plastic bags sewn with red thread
Artwork 1 Commentary: Approaching the cheap material from a formalistic perspective, there were concerns of
over-alienating the object from its common use through over-manipulation.
I wanted to acknowledge both the red plastic bagâ€™s object status and unveil its potential to be a seen for its
plasticity and its artificial colours. To achieve that, I removed its object label and reformed it where its thingness is
shown.
To further avoid alienation to the work, its unlimited potential is compromised by making them look familiar from
the everyday. When sewn together, the stretched plastic bags begin to look meat-like. This allows the work to re-
function for viewers as a familiar symbolic form thus making it easier to engage with meaning and references from
their everyday, while at the same time it defamiliarises the red plastic bag. Yet, it is still recognisable as red plastic
bags.
The work is a deliberate imitation of another object, which adds a subtle layer of satire to the work.
Requires : laid on the floor, create an illusion of more volume by pulling it upwards softly. It is able to stay up due to
the lightness of the material.
Artwork 1 Image:
2
3
Artwork 2 Title: Untitled (Clear plastic bags and gel)
Artwork 2 Medium: Clear plastic bags and gel
Artwork 2 Commentary: For the use of simple ubiquitous materials, it only makes sense to only use simple methods
when transforming these materials as it is important to not overwork them. The manipulation of the plastic bags in
the works are ways of removing function, deforming and displacing them. And it is like almost only in the art world
are all these useless things are valuable.
By balancing the work in an in-between state, it reduces the anxiety caused in people through the recognizable
elements but at the same time rests at a state of potential with its vagueness and ever-changing qualities.
Through the assemblage of objects, the making of this work demonstrates exactitude in arrangement and position of
each individual element of the work.
Requires : each piece to be stacked & aligned individually as neatly & accurately as possible.
Descriptive : It has over 1000 pieces of clear plastic bags filled with gel. Individually, each layer seemingly appears
clear but when layered together it brings out the green colour of the gel quite obviously. The green colour turns
yellowish over time. Interestingly, the scent of the works comes through quite obviously as well.
Artwork 2 Image:
4
5
Catalogue2 ID1033
Artist ID: 1033
Artist Name: Joshua Hill-Walsh

Website:
IG: @joshuahillwalsh_artist
Artist Statement: My passion for art is driven by a desire to raise awareness about issues that matter deeply to me. A
constant source of inspiration of mine is the way in which art has been used throughout history as a device in social
and political revolution. In my painting, I use a series of considered references from art history in conjunction with
political issues I seek to convey. To communicate warnings to do with subjects that include; conflict, environmental
concerns and social instability. Through a process of over layering and utilising the media to provoke conversation
around socio-political change. I look to how the materiality and the sensory experience of viewing the work can
affect the discourse surrounding these topics.
What is important to me is producing paintings that strike a chord and work towards raising awareness of issues
surrounding humanitarianism. I would like to expand upon the idea of creating large scale expressive paintings and
continue to explore the discipline in greater depth, examining how to manipulate the medium and investigate
variations in mark making. In the future, I intend to investigate how other media can be utilised in the same manner.
Notes:
1
Artwork 1 Title: Scales Of Responsibility
Artwork 1 Medium: Acylic On Canvas
Artwork 1 Commentary: This work is focused on feelings of parenthood and angst associated around the fraught and
fractured period we are living through. This work was produced near to the time that the worlds leading scientists
announced that there was only 12 years to save the planet from irreversible damage caused by climate change. As a
parent I now find myself in the position of question and considering not only my own existence but that of the life I
have created.
Artwork 1 Image:
2
Artwork 2 Title: A Lot Of Noise
Artwork 2 Medium: Acrylic On Canvas
Artwork 2 Commentary: This painting is response to the rhetoric and visceral feelings expressed by certain politicians
and media personalities. The repercussions that this is causing. This work is imbued with feelings surrounding
entropy and is connected to the tense and devise issues that are enraging people at present. Societies and groups
seem to be constantly on edge. Where the precipice may give way at any moment. Who knows what may ensue.
Artwork 2 Image:
3
Catalogue2 ID1034
Artist ID: 1034
Artist Name: Sandra Turzhanskaya

Website:
IG: @st.space.art
Artist Statement: Iâ€™m a student from Ukraine, studying architecture. An artist, painting feelings. Iâ€™m
expressing my views, thoughts and my philosophy in the paintings. Furthermore, Iâ€™m doing some special spiritual
techniques which allow me to implant energy in my artworks, so they are working as healing paintings. I call them
energy-informational paintings.
The main thing I like about my art is that everyone sees something different: some people observe exactly my
expressions, some sees their own feelings and notice interesting details.
Notes:
1
Artwork 1 Title: While the candle is burning
Artwork 1 Commentary: Was painted in the darkness, with the light of one small candle and the reflections from the
monitor with the changing landscapes of outer space.
Trust impulse, trust feeling. Trust your hands. Eyes can lie, daylight is deceptive. The heart does not lie; the inner
gaze of the soul sees the truth.
When you donâ€™t see what you are painting, the rational part is turned off because the brain doesnâ€™t catch
clear visual pictures. And the conscious, the subconscious, the superconscious start acting. You realize the hidden
universe which is inside everyone - and you give birth to it on the canvas.
In the painting there are several scenes at the same time.
1) This is how our planet Earth looks like from the subtle dimensions. This is the light of human souls, these are the
energy fibers of the planet. We are one - people, nature, the whole earth. And if your conscious goes up to high
levels, then our manifested world is like this - one big spot of light, consisting of billions of light filaments, fibers,
shells... And above itâ€™s endless space. Colored spots flying from the ground are the souls rising or falling to the
ground.
The bright light that separates the Earth from the space is a symbol of uncertainty, an infinite path. It would seem -
here it is, the light at the end of the tunnel! But no, beyond it there are endless expanses; and the path of knowledge
begins again.
2) "While the candle is burning" also means "while we are alive". While we are doing something, while we are
growing, until we give up - we are alive; the planet is alive. As long as there are people carrying light, there is hope
for our world.
3) The planet at the painting is the Sun. Its light is not infinite; the universe is huge, and neither the Sun, nor human
devices are not able to know it fully. Sunshine doesn't cover whole universe; a person can't have a full knowledge of
everything during one life. We have to study forever.
4) "While the candle is burning" - the picture was painted during the time while the candle was burning.
Artwork 1 Image:
2
3
Artwork 2 Title: Dance of love
Artwork 2 Commentary: North and South, water and fire, calmness and passion. All of these are different aspects of
a greater entity. Existence that we are aware of consists of these elements.
Everything in the world is energy; everything is filled with it and consists of it. The picture was created with a special
technique that allows charging images with the necessary energies to harmonize and heal certain issues. Energy-
informational paintings with the power of healing.
It is a union and a game of opposites, which together can create new worlds and dimensions.
On the left we can see the world in fire, the sunset or the sunrise - of dynasties and generations, of humanity and
souls. It is the fire of passion and the fire of life itself, it is the desire to act, to create, to destroy â€“ and to start
again. Fire can destroy - but it can also warm up and illuminate the way.
On the right it is a waterfall of hopes and creativity, calmness and harmony. This is a rest, stagnation, a state of
peace and relaxation, which can turn into a violent stream any moment and, if necessary, demolish all obstacles
along the way.
Each person combines these two extremes, which manifest themselves individually. Everyone combines the
weakness and strength, light and darkness inside, and one cannot exist without the other.
Artwork 2 Image:
4
5
Catalogue2 ID1035
Artist ID: 1035
Artist Name: Priyanka Bhattacharya

Website:
IG: https://www.instagram.com/pb_art_official/
Artist Statement: Priyanka loves to put her thoughts on the canvas through a radical mix of color and abstract forms.
Through her work, Priyanka envisions to project her perspective of life and explore her real emotions and thoughts.
At a conceptual level, she drives inspiration in the duality of our daily lives and tries to capture deep intense feelings
we all experience and the contrast of the outside world. Her work is infused with her own emotions, which gives a
unique signature to every single artwork.
Her career spans multiple industries; over the years she has worked as an award-winning art director, a business
manager to some of the biggest Bollywood stars and lately as a digital entrepreneur. Her love for art is as old as her
and started when her father gifted her a cool box of crayons. Even though Priyanka spent her last 16 years building a
corporate career, her love for color and canvas never really left and rekindled when she moved to wonderful
Indonesia a year and a half back.
Priyanka spent her formative years in Mumbai which is also called the â€œMaximum Cityâ€• known for celebrating
its extremes with much aplomb. Living in Mumbai meant intense exposure to a multitude of people with extremely
varied backgrounds, different mindsets and over the top emotions. Priyanka was always a keen observer of dualities
of the inner soul and the outer expression. When Priyanka moved to Jakarta she picked the canvas to showcase and
celebrate the emotions she had witnessed in people around her in the past or experiences in her everyday life.
Notes:
1
Artwork 1 Title: Agony
Artwork 1 Medium: Oil on Linen
Artwork 1 Commentary: Agonyâ€™â€™ is a self-portrait of Priyanka.
Itâ€™s an expression of the soul-wrenching pain she was feeling after a failed pregnancy. The pain grew harder as it
bottled up over a few months as she hid it from the world. When she could not hold back she let it out, exploding
out into a melancholic mesh of dark tones on the canvas. â€œAgony â€œ is the first work of Priyankaâ€™s second
series â€œ Face Off- Painâ€•
Artwork 1 Image:
2
Artwork 2 Title: The Forever War of the mind.
Artwork 2 Commentary: No, the soldier never forgets.
Veterans returning today represent the first real influx of combat-wounded soldiers in a generation. They are
returning to a nation unprepared for what war does to the soul. Those new veterans will need all of our help. After
Americaâ€™s wars, the used-up fighters are too often left to fend for themselves. Many of the hoboes in the
Depression were veterans of World War I. When they came home, they were labeled shell-shocked and discharged
from the Army too broken to make it during the economic cataclysm.
War is haunting. Death. Pain. Blood. Dismemberment.
The Art title and description is from an article that echoes my thoughts
https://www.nytimes.com/2009/11/07/opinion/07cleland.html
Artwork 2 Image:
3
4
Catalogue2 ID1038
Artist ID: 1038
Artist Name: Paul Minter

Website: www.paulminter.com
IG:
Artist Statement: My current work is about body image and vulnerability. It is about the way that we try to change
the way we look to attract the people that we believe will make us happy.
Certainly I wasted at least a decade (the 90s) looking for love. Lusting after the unattainable, and believing that some
one had the answers. Eventually I realized that there are no "grown ups" and that the toughest looking exteriors
often hide the deepest insecurities.
As an artist I wanted everything to be beautiful and I spent twenty years as a costume designer and then an art
teacher. I have come to oil painting quite late. It took me so long, because I didn't have the courage to say what I
wanted to say, or I just didn't know what it was that I could say. Learning to paint was the easy bit, deciding what to
paint...that is hard.
Notes:
1
Artwork 1 Title: Tough enough?
Artwork 1 Commentary: As a young man I was drawn to the work of Klimt, but my world was shaken to it's
foundation by Herb Ritts' photograph "Fred with Tyres" which I discovered one day in the window of Athena Posters
in Camden Town.
What could I do with such a challenging image of physical perfection? I certainly didn't have the courage to buy it, or
to hang it on a wall?
Thirty years later, this painting is the answer to that question. This is what I can do with all that longing and
discomfort, and a life times desire for beauty in everything, but not ripping my heart out.
Artwork 1 Image:
2
3
Artwork 2 Title: Sebastian
Artwork 2 Commentary: As a young man I was drawn to the work of Klimt, but my world was shaken to it's
foundation by Herb Ritts' photograph "Fred with Tyres" which I discovered one day in the window of Athena Posters
in Camden Town.
What could I do with such a challenging image of physical perfection? I certainly didn't have the courage to buy it, or
to hang it on a wall?
Thirty years later, this painting is the answer to that question. This is what I can do with all that longing and
discomfort, and a life times desire for beauty in everything, but not ripping my heart out.
As this painting developed the background, which was inspired by Iznik pottery, evolved into Victorian Gothic and
the figure became Saint Sebastian with all that that might imply.
Artwork 2 Image:
4
5
Catalogue2 ID1039
Artist ID: 1039
Artist Name: Antonio Bezerra

Website: bez.pt
IG: www.instagram.com/bzzerra
Artist Statement: Using my own data, collected daily by my google profile, I created an immaterial but
simultaneously real landscape, to which I joined the sounds of my daily routes, brutally manipulated until they were
no more than ghostly reverberations. The result is the audio-visual manifesto of a cyberspace footprint that we all
leave constantly, on a daily basis, about the future of which there are still not many ideas. With, or without
awareness of us doing so.
My work reflects about the future of humanity and the ubiquity of technology. In the interception between physical,
metaphysical and virtual reality, the Man and his data.
Millions of bytes of information stored in an anonymous cloud that sees everything, everything hears, everything
knows. In addition to what organic memory allows, there is now the information recorded in cybernetics that never
stops recording. Always accessible. Forever.
Man adapts to his new life with the machine.
In a future that is made today, it wins the supremacy of technology.
What's left of mankind? Bionic art for hybrid beings, ever closer to immortality.
#noprivacy is a digital sculpture and a video installation, intimately linked to the real world through the geolocation
data that originate it, and the enormous amount of metadata that overlaps it.
Keywords: Data-driven Art, Data Mining, Big Data, Digital Sculpture, Video Art, Sound Landscapes, Visualization,
Anthropocene, Post-humanism, Technological Singularity, Human Rights.
Notes:
Vimeo = www.vimeo.com/user34536433
1
Artwork 1 Title: #noprivacy_01_2
Artwork 1 Dimensions: 1920 x 1080 px
Artwork 1 Medium: Video Installation
Artwork 1 Commentary: VIDEO: vimeo.com/user34536433
Artwork 1 Image:
2
Artwork 2 Title: #noprivacy_02_122
Artwork 2 Medium: Archival pigment print on cotton paper
Artwork 2 Image:
3
Catalogue2 ID1040
Artist ID: 1040
Artist Name: Tina Takako Prentis

Website:
IG: tina.takako.art
Artist Statement: I was born in Japan but have lived much of my adult life in the UK. My paintings reflect the
experiences I have been through as a woman, a mother, a wife and an artist, and express what I have learnt along
the way.
In my work I try to depict the reality of human consciousness as we go through our every day lives. No matter where
you live, what culture you come from, how old you are and whether you are a man or a woman, some days can be
filled with happiness, but on other days we may go through a difficult time.
The ways in which we all live on this planet fascinate me as the energy of life flows through us. I take great pleasure
in observing and thinking about it and I feel that what most helps us to love ourselves is the desire to understand the
world we are living in.
These particular paintings I chose for this entry are about race, gender and life itself. They express my feelings
through vibrant colour and form. Open your box and analyze what you can see there, and be brave enough to
express what and who you are.
Notes:
1
Artwork 1 Title: Flow of Chi
Artwork 1 Medium: Oil on canvas board
Artwork 1 Commentary: Though it's a concept that comes from the east, we are all more conscious about Chi energy
nowadays-so I wanted to show how it flows through you with a sense of humor. I like playful paintings with lots of
colour.
Artwork 1 Image:
2
Artwork 2 Title: Orange light
Artwork 2 Medium: Oil on plastic panel
Artwork 2 Commentary: Beauty is found all over the world. You shouldn't have to feel ashamed or sad about where
you come from- or worry about your skin colour or race. Warm orange light has the power to make people happier,
and in my view the woman in this painting is graceful and beautiful.
Artwork 2 Image:
3
Catalogue2 ID1041
Artist ID: 1041
Artist Name: Joã£O Fortuna

Website:
IG: @joaofortuna.art
Artist Statement: I work as an artist, focusing my work on collage, with a technique of overlapping images in depth.
Starting from themes of the contemporary universe and in satirical and provocative language, I invite you to a state
of reflection on the course and role of the human being in the World.
Through my work we submerge ourselves in a complex universe, full of small images that populate their pictures in
antagonistic and paradoxical scenarios.
Political, social, economic and environmental manifestations are reflected in his work through narratives caught in a
flow between order and chaos where the fragility of the human condition is a constant.
Notes:
1
Artwork 1 Title: A DesconexÃ£o de Marat | The Disconnection of Marat
Artwork 1 Medium: Photographs and Wood
Artwork 1 Commentary: The first of a series of paintings, where iconic works of art invade my artistic universe,
where they gain new strength, new meanings and new interpretations. The characters travel in time and are trapped
in our century, experiencing our current problems.
Inserting a chaotic scenario populated by industry, factories and chimneys, "Marat" dies for not being able to access
the internet. Exacerbating the problem of the technological hyperconexion in which we live, through this idea that if
it is not connected I am not connected to the world, without internet I can not live.
This picture is the starting point for a deeper questioning of our way of life and our human interaction, where the
question always remains, are we really connected, connected to what?
Through individually cut images by hand, the work is done through a system of overlapping images in depth, where
one image separates from the other every 0.05cm, creating almost a world itself.
Artwork 1 Image:
2
3
Artwork 2 Title: VisÃ£o Comum - JustiÃ§a Cega | Commun Vision - Blind Justice
Artwork 2 Medium: Photographs and Wood
Artwork 2 Commentary: Having as its starting point the human eye, and being the vision one of the primordial
senses, this series of four pictures represent also universal problems; from the fashionable to revolution, from
inequality to politics.
This first painting of the series has as main theme the struggles and manifestations in their diverse forms, from the
black fight to the LGBT, from the fight in Venezuela until the fight of the refugees; In short, it is a cry of change that
for the most part is not heard, this first narrative is confronted with the idea of blind justice that does not seem to
work according to the population. A work of confrontations and questions, but with a very direct and provocative
message.
Through individually cut images by hand, the work is done through a system of overlapping images in depth, where
one image separates from the other every 0.05cm, creating almost a world itself.
Artwork 2 Image:
4
5
Catalogue2 ID1042
Artist ID: 1042
Artist Name: Jillian Ballas

Website:
IG: jillianballas
Artist Statement: Deeply rooted to the natural landscape around me, my artwork focuses on current environmental
issues, delving into how these crises are perceived by society and how we are connected to them. In creating work
through an environmental lens, my art is meant to be a reflection of our global culture, mirroring how we are
affecting the climate and what is being done about it.
Growing up among forests of giant cedars and rushing rivers, a love for the natural world was instilled in me at an
early age. This exposure has led me to instinctively create works of art about what is threatening my fondest
memories and places. Whether it be deforestation or ocean pollution, my work exists to serve as a reminder to why
we should all care.
Getting inspiration from the environmental art movement as well as my own experience, my hope is to create works
that speak about the permanent damage we are causing to our Earth. Through an intentional blend of
unconventional and traditional materials, my work has an environmental edge that challenges mass culture and our
attitudes towards our climate.
Notes:
1
Artwork 1 Title: Stained
Artwork 1 Medium: Acrylic, hot glue
Artwork 1 Commentary: This piece deals with the environmental impact of pollution in our oceans via oil spills. By
painting this piece from an aerial perspective, the viewer can be misled and hidden from what it truly is. At first
glance, this painting looks like a vibrant abstract painting, but once the message behind it is known, the whole mood
changes. This misdirection challenges how our society often overlooks or buries the environmental horrors in front
of us in favor of a more beautiful, simple picture.
Artwork 1 Image:
2
Artwork 2 Title: Tainted
Artwork 2 Medium: Acrylic, hot glue, plastic
Artwork 2 Commentary: This piece deals with the detrimental issue of micro plastics in our oceans. Similar to reality,
these plastic particles are not initially obvious. Choosing to include unconventional mediums such as hot glue and
plastic beads, I wanted to make it so that the whole painting is in fact made from plastic. In doing this, I am showing
that the pollution in our waters is not always in plain sight.
Artwork 2 Image:
3
Catalogue2 ID1044
Artist ID: 1044
Artist Name: Paul Nurse

Website: www.gallerypaul.com
IG:
Artist Statement: My work comes simply from spontaneous inspiration to capture and translate the mood and
emotion of the moment in a genuinely natural interpretation.
All in the hope of positively evoking a viewers senses
and emotions.
Notes:
1
Artwork 1 Title: Old Jeddah - A Middle East Journey
Artwork 1 Dimensions: 88 x 72 CM
Artwork 1 Medium: Acrylic on canvas board
Artwork 1 Commentary: Having spent time in the Middle East, this is one of two recently completed studies
depicting its captivating character.
Artwork 1 Image:
2
Artwork 2 Title: Country Bridges
Artwork 2 Dimensions: 40.6 x 30.5 CM
Artwork 2 Medium: Acrylic on Stretched Canvas
Artwork 2 Commentary: On a brisk winters day walk at Fountains Abbey, the old stone bridges and river setting
provided inspiration for this piece.
Artwork 2 Image:
3
Catalogue2 ID1045
Artist ID: 1045
Artist Name: David Dejous

Website: -
IG:
Artist Statement: Paris-based David Dejous works to reveal the paradoxes within images, considering their equivocal
nature and their ambiguities. He draws upon the confusion between the various codes of representation associated
with painting, photography, and drawing, but also with photocopied, screen-printed, documentary and scenographic
media. The resulting images raise issues of authenticity, realism and illusion.
Notes:
1
Artwork 1 Title: NIGHT SHIFT (from Bestiary Series)
Artwork 1 Commentary: The purpose of the series is to consider some toys as phenomenons.
Twelve paintings from the series are gathered under the name "Night Shift" (12 panels 65x50 cm â€“
25,9â€™x19,7â€™).
PhenomenonÂ :
1- A fact, occurrence, or circonstance observed or observable.
2- Something that is impressive, extraordinary, supernatural.
3- A remarkable or exceptionnal person, prodigy, wonder.
4- a. An appearance or immediate object of awareness in expÃ©rience.
b. (Kant) A thing as it appears to and is constructed by the mind.
Artwork 1 Image:
2
3
Artwork 2 Title: SLIGHT PHENOMENONS (from Bestiary Series)
Artwork 2 Medium: OIL ON CANVAS / PAPER
Artwork 2 Commentary: The purpose of the series is to consider some toys as phenomenons.
Twenty-one paintings from the series are gathered under the name "Slight phenomenons" (21 sheets 30x21 cm â€“
11,8â€™x8,6â€™).
Phenomenon :
1- A fact, occurrence, or circonstance observed or observable.
2- Something that is impressive, extraordinary, supernatural.
3- A remarkable or exceptionnal person, prodigy, wonder.
4- a. An appearance or immediate object of awareness in expÃ©rience.
b. (Kant) A thing as it appears to and is constructed by the mind.
Artwork 2 Image:
4
5
Catalogue2 ID1046
Artist ID: 1046
Artist Name: Carla Cannon

Website: etsyCJWiththeFlow
IG:
Artist Statement: During my college life, I studied for my Art A Level but it wasn't till my later years I rekindled my
love for creating art and experimenting with different mediums.
Currently I work full time as a Teaching Assistant yet teach P.S.H.E to all primary years as well as being the Learning
Mentor for the school.
More recently, I suffered a breakdown due to anxiety and depression and whilst on long term absence art became
my therapy.
I have now taken the step in my 45th year to pursue my art and hopefully develop it further.
I am extremely excited to see where my re found path will take me.
Notes:
1
Artwork 1 Title: Glimpse of Light
Artwork 1 Medium: Oil Paint
Artwork 1 Commentary: This piece was created when studying different techniques and mediums in the portrayal of
landscapes.
The piece took 20 hours to complete.
The lighter shades and tones depicted in the painting reflect the sense of a new beginning.
Artwork 1 Image:
2
Artwork 2 Title: Best Face Forward
Artwork 2 Medium: Acrylics
Artwork 2 Commentary: This piece depicts the need to present yourself the best way you can , though your inner
feelings say otherwise. It also depicts the battle you have within yourself when faced with a busy head, anxiety and
conflicting thoughts whilst still trying to face and manage each day.
Artwork 2 Image:
3
Catalogue2 ID1047
Artist ID: 1047
Artist Name: Sunita Khedekar

Website: www.khedekars.com
IG:
Artist Statement: I am graduated from Sir JJ Institute of Applied Art, Mumbai, India. I paint on wide range of subjects
including contemporary landscapes, abstract art and Indian mythological / traditional paintings. my favourite
medium is acrylic on canvas. My paintings feature cheerful colours and unique texture quality.
I love to paint, and am inspired by the whole concept of creativity; the idea that a blank canvas can be turned into
something that someone will cherish is very exciting to me. I also enjoy the fact that a painting can mean different
things to different people. I have been very happy painting with acrylics for most of my life.
Although beautiful english countryside landscapes, hills, small villages fascinates me, I would say nature had
influenced my style. I think that subconsciously whaterver I have seen has had an effect on me, teaching me about
form, colour and technique, & texture and I like to think I have absorbed these lessons into the work I do.
Notes:
1
Artwork 1 Title: Dream Winds
Artwork 1 Medium: Acrylic with mixed media
Artwork 1 Commentary: Its a poetic expression of the dream of a beautiful happy & safe world with rainbows,
chirping birds & light.Its a expression of exuberant & boundless world.
Artwork 1 Image:
2
Artwork 2 Title: Harmony of Heaven & Earth
Artwork 2 Medium: Acrylic with mixed media
Artwork 2 Commentary: HARMONY OF HEAVEN AND EARTH
Rainbow coloured houses

Bright
Against a pale sky
Cotton candy clouds

And a lovely warm sun
I fly
Along with the birds and beasts

towards the sky
We close our eyes
We leap and get carried by the wind

I feel the breeze in my hair
The beast's mane and tail sway
The bird's feathers flutter away
The trees green,yellow and snowy white

as if all the seasons are one in sight
Freedom
must feel something like this
Weightless
Buoyant
Escatatic
Silent
Fragrant
A harmony of heaven and earth
Artwork 2 Image:
3
4
Catalogue2 ID1048
Artist ID: 1048
Artist Name: Stephanie Zeller

Website:
IG: zellerart
Artist Statement: Shakespeare penned, "to thine own self be true...". I am an amateur artist, who recently
discovered the world of painting. Many years ago, I had the choice between a career in music and the arts or in
something more practical. I made the practical choice, and after many years, finding painting has been like coming
home.
Notes:
1
Artwork 1 Title: Memories of home
Artwork 1 Medium: Watercolour on Paper
Artwork 1 Commentary: I grew up by the Canadian Rockies. I have now lived away from Canada for 10 years.
Painting its glorious mountains and lakes connects me to home. This painting was inspired by Abraham Lake, when
it is frozen over with its weird beauty of frozen methane bubbles.
Artwork 1 Image:
2
Artwork 2 Title: Jarring Reminder
Artwork 2 Medium: Watercolour on Paper
Artwork 2 Commentary: Christmas Eve was gloriously sunny. We were driving through the Hope Valley. Turning a
corner, we were rewarded with a splendid view - sun-dappled peaks dressed in their greens and a crystal clear blue
sky. The plume of smoke from the Hope Valley Cement Works was a jarring reminder of the continual toll we
humans make on the earth.
Artwork 2 Image:
3
Catalogue2 ID1051
Artist ID: 1051
Artist Name: Yusei Horiuchi

Website: www.yuseihoriuchi.com
IG: www.instagram.com/yuseihoriuchi
Artist Statement:
Notes:
1
Artwork 1 Title: monotone to the colors
Artwork 1 Dimensions: 145.6cm X 103cm
Artwork 1 Medium: mixed media on canvas
Artwork 1 Commentary: Overlapped line creates chaos, and these lines represent the fluctuation of people's mind.
None of these lines are futile, and every single line connects for a reason. Color shows the balance of emotion of the
human heart. We, humans, are the complex yet straightforward existence where we stand on the subtle balance of
eccentric mentality.
Artwork 1 Image:
2
Artwork 2 Title: black on black
Artwork 2 Dimensions: 100cm x 100xm
Artwork 2 Commentary: The same statement with "monotone to the color." By creating lines and background color
in the same color, it will show how people can blend into themselves when they hit at a certain point.
Artwork 2 Image:
3
Catalogue2 ID1052
Artist ID: 1052
Artist Name: Jess Pemberton

Website: www.jessicapemberton.com
IG: https://www.instagram.com/jess_pemberton/?hl=en
Artist Statement:
Notes:
1
Artwork 1 Title: Fruits of Nature
Artwork 1 Dimensions: 42 x 59.4 x 0.5 CM
Artwork 1 Medium: Analogue and Digital Collage with Digital Drawing
Artwork 1 Commentary: We are the spawn of the now.
We are Nature.
Lets take some responsibility.

Artwork 1 Image:
2
Artwork 2 Title: Factory Settings
Artwork 2 Dimensions: 42 x 29.7 x 0.5 CM
Artwork 2 Medium: Analogue Collage
Artwork 2 Commentary: Revealing the often hidden nature of dark mental states and how they're fed by our
environment.
Artwork 2 Image:
3
Catalogue2 ID1053
Artist ID: 1053
Artist Name: Georgina Forbes

Website: gjbforbes.tumblr.com
IG:
Artist Statement: I trained as a fine artist and use image to express my ideas, thoughts and feelings. I often created
work around the theme of biography and much of my work has been inspired by the narrative of other's lives and
how to authentically portray a life. More recently I have branched out into the practice of printmaking which has
opened up new areas of expression for me. I have returned to creating images as play, trying to shed the
selfconscious and anxiety about a perceived audience. My work is now about the joy of making, serendipity and
surface. Its unselfconsciously about where I am and where the piece takes me through the process.
Notes:
1
Artwork 1 Title: Fuji Film 1
Artwork 1 Dimensions: 118.9cm x 84.1cm
Artwork 1 Medium: Multi media
Artwork 1 Commentary: These images combine a mono-print series created on a offset litho press, then drawn into
with crisp lined drawing inspired by 1940s fashion. Fuji film was a prominant brand at this time and the style and
relaxed feel of the drawn images reminds me of hot sun and holiday snaps.
Artwork 1 Image:
2
Artwork 2 Title: Fuji Film 2
Artwork 2 Dimensions: 118.9cm x 84.1cm
Artwork 2 Medium: Multi media
Artwork 2 Commentary: These images combine a mono-print series created on a offset litho press, then drawn into
with crisp lined drawing inspired by 1940s fashion. Fuji film was a prominant brand at this time and the style and
relaxed feel of the drawn images reminds me of hot sun and holiday snaps.
Artwork 2 Image:
3
Catalogue2 ID1058
Artist ID: 1058
Artist Name: Talia Steinberg

Website:
IG: @taliagaby_studio
Artist Statement: I am a 20 year old artist from Melbourne, Australia, who is enthusiastic about nature. I enjoy the
thrill of being outdoors, and whenever a chance presents itself to paint or draw a natural subject, whether it be a
tree, flower, or possibly some bark, I will not hesitate to put my artistic abilities into practice. One of the things I love
most about my realistic style of painting is that I am able to capture the most intricate and complex designs and
details of nature, however difficult and long the process may take. The end result always surprises me.
Two artistic periods that have majorly influenced my art are the Baroque and Impressionist periods. What I like most
about Baroque art is that whether it is a painting or sculpture, the subject appears never to be stationary. The figures
seem alive and draw you into the work itself, allowing you to believe that there is a role to play in the scene being
depicted, making it a very emotional experience. Often people comment that my artworks draw them into the scene
itself, making them "feel like they're in the garden", they say. Impressionist painters such as Van Gogh, Seurat,
Monet and Manet always express their love for nature with the use of single, small/large brush strokes, and
different/contrasting colours grouped together. This fascinates me as an artist, as although it is not my preferred
method of painting, it shows me that there is more than one way to represent an exquisite scene of nature in more
than one way, and I would like to explore this more.
Two years ago I was fortunate enough to have been selected for the TopArts 2017 exhibition, as part of the National
Gallery of Victoria. This exhibits the final works and folios of 40-50 Year 12 students from across Victoria, each
artwork completely different to another, in it's own unique and special way. I have also won awards, including top
prize, in local art competitions.
Notes:
1
Artwork 1 Title: Fantasy Garden
Artwork 1 Medium: Oil painting on canvas
Artwork 1 Commentary: This painting was inspired by the beautiful, tropical scenery in Coffs Harbour, NSW,
Australia. I wanted to explore the variety of vibrant colours, and the technique of dotting the oil paint onto the
canvas, which creates a rough texture. I liked using this technique because although it may not be the conventional
way of painting bushes in a realistic manner, it gives the painting a sense of reality and liveliness.
Artwork 1 Image:
2
Artwork 2 Title: Assortment of Flowers in Garden
Artwork 2 Medium: Oil painting on canvas
Artwork 2 Commentary: This image is a creation of my own. The four elements, the background and three flowers,
are each a separate photo which I photoshopped together to create a realistic photo, and ultimately turned it into a
painting. The process of painting this consisted of four steps: I began with the background, blurring it as it is
portrayed in the photo, and subsequently working on the blurred flowers, finishing with the largest flower in the
foreground, in focus. I love this technique of a blurred background with objects in focus in the foreground, as it adds
to the sense of realism I am attempting to achieve, and I believe that it is a very unconventional form of painting,
therefore it is unique to me. This is the first painting where I have used Photoshop to form the picture, and I am very
pleased with the composition and how it turned out.
Artwork 2 Image:
3
4
Catalogue2 ID1059
Artist ID: 1059
Artist Name: Ed Murray

Website:
IG: edwardmurraysculpture
Artist Statement: The work seeks to find life and humour in areas of neglect. The assemblages use scavenged
materials, used once and destined for recycling.
Notes:
1
Artwork 1 Title: Single use 1
Artwork 1 Medium: Wire, plastic, cardboard, rubber, wax
Artwork 1 Commentary: Single use 1 is part of an ongoing series playfully exploring the theme of recycling. The work
seeks ro subscribe personality to discarded matter.
Artwork 1 Image:
2
Artwork 2 Title: Single use 2
Artwork 2 Medium: Wire, cardboard, wax, rubber.
Artwork 2 Commentary: This piece continues the exploration of living form emerging from discarded matter.
Artwork 2 Image:
3
Catalogue2 ID1063
Artist ID: 1063
Artist Name: Tong Yang

Website:
IG: tongyang_yt
Artist Statement: My work revolves around nature and how nature defines place. The way in which nature
characterises a place is varied: it can be its interaction with manmade structures, or simply with other natural
elements, like light. I wish to record such interactions using a brush and paint. I start with the nature that defines my
hometown, a region known as â€œwaterâ€™s homeâ€• of China, and thus resulting in the first piece â€œRiver
Southâ€•. Then after combining the subject matter water and trees, I decided to focus on trees only. Light also plays
an important role in my waterscape as with the riverscape painting; it creates colours and tonal variations in what
we see.
I use layering as a technique to build the tonal variations/colours, one colour at a time, with quick brushstrokes that
replicate the light, the surface textures of water, and the shapes of leaves. I wish to capture a sense of place, a
feeling that viewers could physically be present to view such a scene. The compositions of the two paintings are
deliberately chosen to show this feeling. The riverscape depicts water that runs all the way to the bottom of the
canvas, and the eye-level is some height above the water, suggesting that the viewer would need to be somewhat
elevated in order to get this particular view. The path in the landscape painting is set directly in the centre in an
attempt to guide the viewersâ€™ focus, as if standing in the middle of the path with the intention of walking to the
end of it.Â
Notes:
1
Artwork 1 Title: River South
Artwork 1 Dimensions: 88cm x 57.5cm x 0.1cm
Artwork 1 Medium: Acrylic painting
Artwork 1 Commentary: "River South", or "Jiang Nan", regions south of the Yangtz River, where my hometown is.
The painting is a typical view of the ancient water town "Wu Zhenâ€• during a cloudy day when wind stirs up the
waterâ€™s surface.Â
Artwork 1 Image:
2
Artwork 2 Title: Awakening
Artwork 2 Dimensions: 46cm x 80.2cm x 0.6cm
Artwork 2 Medium: Acrylic + oil painting
Artwork 2 Commentary: This painting presents a detailed scene of a forest at dawn, when the light has only softly
landed on the trees. There is no sign of movement in this painting, to demonstrate the peace and quietness that
nature provides when undisturbed.Â
Artwork 2 Image:
3
Catalogue2 ID1065
Artist ID: 1065
Artist Name: Catherine Fleming

Website:
IG: @catherinefleming65
Artist Statement: My name is Catherine Fleming. I am a 23 year old artist from Spiddal, Co. Galway. I have been
drawing and painting since I was a very young child. I was particularly encouraged by my aunt Rena who is an artist
herself, her and I had a combined exhibition in Spiddal when I was 11 years old as a fundraiser for the Burren
Chernobyl Project. This first exhibition fueled my love for painting throughout my teenage years which led me to
have my first solo exhibition when I was 16 years old. Since that time I have had several exhibitions around Galway.
When I was a child I focused solely on realism, though as I grew older I developed a love for abstract art. I spent
much of the last few years experimenting with many different ideas and inspirations, particularly music and poetry. I
have found myself nowadays combining both realism and abstract ideas in my paintings, though at the age I am I
embrace the fluidity of my changes in style, and look forward to seeing what new experiments the future will hold.
Notes:
1
Artwork 1 Title: Helping Hand
Artwork 1 Commentary: The woman in the box is suffering from anxiety.She is clutching onto her sheet which is
being pulled away by a large hand into a world of bright colours and loud patterns. Though this hand is not supposed
to be threatening, rather itâ€™s meant to be helpful, pulling the anxious person out into the world. To the woman
this feels like an invasion or attack as she is too afraid to face the world outside. As beautiful as it is the world around
the box scares her. This painting represents the help so many try to give to people who are struggling and the
resistance met when those people arenâ€™t ready or are in denial about the situation they are in.
Artwork 1 Image:
2
3
Artwork 2 Title: Falling Into Sound
Artwork 2 Dimensions: 45.7x61x4
Artwork 2 Commentary: This painting is the clearest way I can convey the feeling of facing fear. When set with the
task of walking out ones door after a period of isolation all sights and sounds are overwhelming. It feels as though
you are falling into a self imposed snake pit. The hand is reaching out for something to hold on to, to give one
stability. The harsh truth is that the first step is letting yourself fall into the abyss which is as simple as going to the
shop to buy bread. It seems trivial but to the anxious mind it can be terrifying. Though this image represents intense
fear it isnâ€™t entirely negative, this immersion into ones biggest fear and working through it, at least in my
experience, is pivotal to moving forward.
Artwork 2 Image:
4
5
Catalogue2 ID1066
Artist ID: 1066
Artist Name: Eugenia Solomkina

Website:
IG: @eugenia solomkina
Artist Statement: I am a third year student at LARA
Notes:
1
Artwork 1 Title: Serenity
Artwork 1 Medium: charcoal on archers paper
Artwork 1 Commentary: Given dimensions are of the unframed work. This drawing was made from life as part of
LARA curriculum.
Artwork 1 Image:
2
Artwork 2 Title: Emma
Artwork 2 Medium: charcoal on roma paper
Artwork 2 Commentary: Given dimensions are of the unframed work. This drawing was made from life as part of
LARA curriculum.
Artwork 2 Image:
3
Catalogue2 ID1067
Artist ID: 1067
Artist Name: Nadia Dada

Website:
IG: nadiaadada
Artist Statement: I am very lucky to have been brought up in family that come from different places in the world and
live in a city full of diversity. It makes me feel like I am apart of this world and I am able to soak in cultures and be
inspired.
I love using different materials: watercolour, photography printmaking and layering my work for depth and texture. I
also work as a teacher to young children and feel it is important to give them the confidence to make marks in this
world without inhibitions.
Notes:
1
Artwork 1 Title: Breath of the Compassionate
Artwork 1 Dimensions: 90cm65cm1cm
Artwork 1 Medium: Watercolour, Himalayan salt, rock salt, table salt, gouache.
Artwork 1 Commentary: The 'Breath of the Compassionate', or 'al-nafas al-rahman' in Arabic, is an eight-pointed star
& four-pointed cross design, significant to many cultures and religions around the world. It is found more commonly
in Arabic architecture, in which adjacent tiles alternately expand and contract into one another, giving a visual sense
of inhalation & exhalation. Breathing is component of all living beings on our planet, a bond that we all share
interpersonally. This pattern is also based around the teachings of Ibn al'Arabi (a medieval Sufi philosopher) who
named this universal principle of creation, which joined the elements of fire, air, water, and air. In astronomy, the
pattern also represents the four corners of space (North, South, East, & West) and time (two solstices & two
equinoxes). The beauty of geometry is that the pattern is infinite and can be multiplied as is the Beauty and Mercy of
God.
Artwork 1 Image:
2
3
Artwork 2 Title: Damascus Kitten
Artwork 2 Dimensions: 0
Artwork 2 Medium: Digital photograph
Artwork 2 Commentary: In a place that is full of war and destruction, there is a beauty in humanity when you see a
kitten delicately placed on a shoulder for comfort.
Artwork 2 Image:
4
Catalogue2 ID1068
Artist ID: 1068
Artist Name: James Bingham

Website: jamesbingham.co.uk
IG:
Artist Statement: James Bingham studied at The Royal College of Art and Falmouth College of Art, and was recently
shortlisted for the John Moores painting prize (2018). His paintings explore their relationship with the viewer,
highlighting the illusion of perception and questioning representation. In his recent paintings, these illusions are
emphasised through the combined process of painting, photography and printing. They are in response to a
residency in Oaxaca and the Mexican culture and traditions. The initial paintings, which are either made or
appropriated, are photographed in the studio and the illusion is taken a step further through both the printing
process and the resulting depiction. We often become aware of the space between a depiction of the initial object
and how we combine and define form.
Notes:
1
Artwork 1 Title: Zapotec Diamond (Oaxaca)
Artwork 1 Medium: Oil, acrylic, amate paper and resin on board.
Artwork 1 Commentary: The initial painting refers to Mexican tapestry designs; diamond shapes used by the
indigenous peoples and inspired by those on the rattlesnake. The painting was reflected in a mirror, creating
symmetry and a further diamond design that in the pre-Hispanic Zapotec culture signifies that the reality we see is a
mirror, which reflects our inner self. Notions of perception were taken a step further by layering the two prints in
reflective resin.
Artwork 1 Image:
2
Artwork 2 Title: Madonna (Oaxaca)
Artwork 2 Medium: Oil, acrylic, amate paper and resin on board.
Artwork 2 Commentary: A colonial painting of the Madonna was photographed and printed on amate paper, a pre-
Hispanic bark paper banned after the Spanish conquest. (Materials, image and texture were considered.)
Artwork 2 Image:
3
Catalogue2 ID1070
Artist ID: 1070
Artist Name: Stevie Nicholson

Website: www.stevienicholson.co.uk
IG:
Artist Statement: Stevie Nicholson studied a BA(HON) in Contemporary Art Practice at the city of Glasgow College.
His current working focus is about pushing the boundaries of portraiture. He approaches his work by looking at the
portrait as a structure to execute carefully planned experimentation. While having an outline of the basic features
the space then becomes a playground for his creative urges where he experiments with the paints application by
applying layers of texture, tone, and colour. He is in search for something unique and to experiment is an essential
part of his process. While viewing his work up close you are over whelmed with abstract block markings, drips, and
colour. During this process he is constantly evaluating and analysing what is working and what isn't. His painting
process is a journey and keeps his outcomes fresh and exciting.
Notes:
1
Artwork 1 Title: A Beautiful Encounter
Artwork 1 Commentary: My main goal is to create a contemporary portrait which stands out from the rest. I want
my own style. This kind of thinking leads me to use a spontaneous thought process. I tend to look and stare at the
space I'm working, thoughts racing through my head asking myself repeatedly how I will approach it. When I'm doing
this I will glance around my studio for objects or inspiration. In this painting one of the main attributes is the hair. To
create this It would be as if I had been re enacting an old battle scene were I would be lashing a sword back and
forth but with my brush in a slashing motion. The face is only partially coloured around the eye with the surrounding
area as a monotone grey. This was done to try and create a vocal point around the eye.
Artwork 1 Image:
2
3
Artwork 2 Title: John Lennon
Artwork 2 Dimensions: 100 x 100x 4
Artwork 2 Commentary: Experimentation with found objects in the studio. Found objects to create pattern and
texture. Trying to push the boundaries of portraiture into something no one has seen before. The goal is to create
own unique style.
Artwork 2 Image:
4
Catalogue2 ID1071
Artist ID: 1071
Artist Name: Yan Yin

Website: https://yyan3238.wixsite.com/mysite-1
IG: @yannmakearts
Artist Statement: Yanâ€™s works are comprised by paintings, drawings and collages, which often present a conflict
in perception under the unconscious optic. Combined with the superposition formed by multiple views and
presentations, multiple experiences of watching and sensory are formed. The mysterious atmosphere is interwoven
with his dissociating situation and reflecting his psychological situation at the same time. During his pictorial
introspection, his paintings/collages make use of the organic combination between different views and painting
approach, such as virtual and real, positive and negative, whole and part, continuous and broken, and contradiction
and harmony, to slowly refines the picture by removing the excessive element obstacles in his sight, until his sensory
experience was constructed, the process is full of vitality and tension. He explores the heterogeneous elements
within mundane and use figurative paintings and drawings to transform everyday scenes into examinations of
personal perception and memory.
Notes:
1
Artwork 1 Title: Drunk
Artwork 1 Medium: mix medium on paper and panel
Artwork 1 Commentary: This collage-form installation is meant for being displayed on floor, and it is comprised by 7
pastel drawings on paper, 3 oil paintings on panel, one watercolour on paper and one ball-point pen drawing on
paper.
Artwork 1 Image:
2
Artwork 2 Title: YellowSubmarine
Artwork 2 Medium: oil on panel
Artwork 2 Image:
3
Catalogue2 ID1073
Artist ID: 1073
Artist Name: Fiona Si Hui

Website:
IG: https://www.instagram.com/fiona_sihui/
Artist Statement: Fiona Si Hui (b.1996) is an emerging self-taught painter whose work focuses on introspection,
existentialism, and identity. Of Chinese-Malaysian heritage, Fiona was born in Dublin, Ireland.
Her work draws inspiration from memories and creates to explore the complexity of the human experience and to
question the integrity of memories and the emotions that sculpts our perspective of them.
Notes:
1
Artwork 1 Title: The Fragments We Carry
Artwork 1 Commentary: A portrait of my brother. A collected and stoic character but underneath it all, there is
vulnerability and complexity that rarely is witnessed.
My take on the silent crisis of men's mental health, how often men find difficulty in reaching out and voicing their
struggles.
Artwork 1 Image:
2
Artwork 2 Title: Hongkong Honeymoon
Artwork 2 Commentary: This is a painting of my aunt on her honeymoon after being married for the second time and
hopefully the last.
Her last marriage wasn't a kind one and I wanted to capture the emotion of hopefulness and excitement for a new
chapter in life.
Artwork 2 Image:
3
Catalogue2 ID1075
Artist ID: 1075
Artist Name: Kate Edmunds

Website:
IG: Kate Edmunds artist
Artist Statement:
Notes:
1
Artwork 1 Title: Indigo Orange Coast
Artwork 1 Dimensions: 1m x 1m
Artwork 1 Commentary: A passion for water, sky and moving light has inspired me to capture its ever changing
forms through use of contrasting colours and moving brush strokes. Indido orange coast is an abstract work based
on studies on the South West Coast
Artwork 1 Image:
2
Artwork 2 Title: Cinghiale Serande
Artwork 2 Commentary: Inspired by the colours and composition of old master portraits of Durer and others,
'Cinghiale Serenade' is a humorous tribute
Artwork 2 Image:
3
Catalogue2 ID1076
Artist ID: 1076
Artist Name: Denis Mikhaylov

Website: denismikhaylov.com
IG: www.instagram.com/denis__du/
Artist Statement: Six questions to yourself.
1. What is art to you?

Necessity. I cannot live without painting just as I cannot live without breathing,
2. How do you get ideas for your paintings?

A painting is an outburst of emotions. Too many ideas - if I don't let them out I will explode.
3. Visual or conceptual? Your choice.

Iï»¿'m a Chinaman in my heart. I'd like to think of 3000 hieroglyphs. You can put a whole world in them. In one
hieroglyph you can put the three volumes of War and Peace. So, visual, of course!
4. Your technique?
I use several techniques. They' ve got one thing in common - the color for me is the form, or - as in the latest
techniqie - a splinter, a fragment of the form.
5. Your characters?
For me a painting is the clmax of the story. I like to put together different characters - different in spirit, different in
time and sense - in a painting to see how they manage to live there and communicate.Â
6. There is a lot of black color in your latest paintings. Why?

I agree with Bulgakov - if there is no shadow, then there is no life. The black emphasizes the color and the light.
Notes:
1
Artwork 1 Title: Beyond Here Lies Nothing
Artwork 1 Dimensions: 175Ñ…85 cm
Artwork 1 Medium: canvas / acrylic
Artwork 1 Image:
2
Artwork 2 Title: Birth of Venus
Artwork 2 Dimensions: 130Ñ…100 cm
Artwork 2 Medium: canvas / acrylic / marker
Artwork 2 Image:
3
Catalogue2 ID1077
Artist ID: 1077
Artist Name: Tg Freeson

Website: www.tgfreeson.co.uk
IG: @tg.freeson
Artist Statement: I would like to have the chance to share my perception of things and of their relation to the
surroundings. To me, everything is connected and is made of the same substance. I investigate the reality because it
is more complex then what we are able to see it. There is a neverending transfer of shapes, lights and colors in the
sourrandings. I destructure our visual schema trying to show the "real" shape of nature, life, objects and the
interactions among them.
My work aims to point out that we are all the same and touches on immigration, gender and more current topics
and issues, and lies on the belief that we all share the same substance. I believe we canâ€™t see things for how they
are as we donâ€™t have extensive knowledge on our brains and on their functioning mechanisms so we use
â€˜reassuringâ€™ and â€˜easyâ€™ forms for representing and conceptualising our surroundings and our lives. As
science says, visible matter only amounts to 5%. But the duty of an artist is go over this limit and try to find and show
a path, as an explorer.
Notes:
1
Artwork 1 Title: Cat
Artwork 1 Medium: watercolor, ink, pencil
Artwork 1 Image:
2
Artwork 2 Title: Moon
Artwork 2 Medium: watercolor, ink, rock salt
Artwork 2 Image:
3
Catalogue2 ID1078
Artist ID: 1078
Artist Name: Marc Savior

Website: www.marcsavior.com
IG: www.instagram.com/marc_savior
Artist Statement: Marc Saviorâ€™s paintings describe unseen solitude places on the edge of destruction.
Dark and mysterious environments, where the intimate experience is exposed, unraveling a sense of our inner
discontentment.
While much of the imagery in his work is in fact drawn from things observed during his experiences, the material
itself is often even more so.
Marcâ€™s surfaces are held together by a network of well-understood sequences of color, along with a torturous
process and crude precision.
I have always been intensely focussed on â€œself-transformationâ€•. Itâ€™s a recurring theme found in my work,
which has lately been heavily influenced by personal experiences and observations on life in urban environments.
Notes:
1
Artwork 1 Title: Blue Fish
Artwork 1 Dimensions: 33x41 cm including frame
Artwork 1 Medium: Oil on MDF board with ca. 18th century frame
Artwork 1 Image:
2
Artwork 2 Title: 0
Artwork 2 Medium: 0
Artwork 2 Image:
3
Catalogue2 ID1079
Artist ID: 1079
Artist Name: Ritva Georgiades

Website:
IG:
Artist Statement: Art is my great love. Originally from Finland, I ,made my home in the UK in 1969 where I later
attended the Surrey Institute of Art and Design. After attaining a degree in Fine Art, I participated in group
exhibitions and Art Fairs.
I mainly work in mixed media collage, and enjoy experimenting in different ways to bring a different dimension to
my work. This can range from painting, printing, and hand stitching. I can completely lose myself in my work, and
find great inner peace from creating, and obtaining results that often surprise me by the way they unfold.
My art is an ongoing journey, and one where I can use my inner thoughts to create images either in realism, or
abstract form, and I see my art as a safe haven where I can find peace and calm from inner turmoil.
Notes:
1
Artwork 1 Title: Pansies
Artwork 1 Medium: mixed media collage
Artwork 1 Commentary: Collage on mount board built up in many layers using
papers coloured with acrylic paint and acrylic inks,
ink-jet prints on acid free tissue paper and gampi /silk tissue paper, acrylic mediums and oil pastel.
Artwork 1 Image:
2
Artwork 2 Title: Shadowland
Artwork 2 Medium: mixed media collage
Artwork 2 Commentary: collage on paper, acrylic paint and inks
stencils and hand stitching
Artwork 2 Image:
3
Catalogue2 ID1080
Artist ID: 1080
Artist Name: Jinyan Feng

Website:
IG:
Artist Statement: I am the Only Child in my family, and most of the time I live in my own world, so I have to face with
the trouble of interpersonal communication while I growing up.
First of all, I will create a world that only belongs to me, by merging personal experiences, dreams, fairy tales,
medieval art and traditional Chinese painting. Through manipulation, illusion and distortion, I would gladly roam
between the inner world of a lonely girl and reality even if the line between the two worlds are murky.
Secondly, the performance video piece â€œthe pursuit of beautyâ€• that I put unnecessary objects on my body, is
questioning about the aesthetic standards, in which male makes judgments about female body, at contemporary
Chinese Society.
My art works are not talking about grand political and social issues, but rather my personal expressions coming from
sensitive self-observation towards my body, my personal everyday objects and fiction.
Notes:
Youtube = https://www.youtube.com/watch?v=Tt8rP-YZGTs
1
Artwork 1 Title: The pursuit of beauty
Artwork 1 Dimensions: VIDEO'S SIZE CAN BE ADJUST
Artwork 1 Medium: heel shoes, lipsticks, falsies, belt
Artwork 1 Commentary: In China nowadays, is the pursuit of beauty by the girls out of their own self-demand? Or it
only tries to meet the social conventions? Or is it just single aesthetic standards of females?
In this series, I showed peopleâ€™s pursuit of "beauty" by brutally treating the body, using hidden heel shoes,
lipsticks, falsies, belt. Through the lipsticks covering allover, the eyes stacked with layers of eyelashes, the belt too
tightened to breathe, the disproportionate chest pads, and the uncontrollable high heels to keep the balance, I
exaggerated the universal pursuit of beauty and the aesthetic needs, and presented a near "absurd" phenomenon.
VIDEO LINK:
https://www.youtube.com/watch?v=Tt8rP-YZGTs
Artwork 1 Image:
2
3
Artwork 2 Title: we are friend
Artwork 2 Commentary: My painting are like children's drawing. I want to express the complexity of the adult world
through kid's perspective.
The work is created from the inspiration of the things I experienced in my life and my feelings which combined my
dreams.
Artwork 2 Image:
4
Catalogue2 ID1081
Artist ID: 1081
Artist Name: Gavin Nicholls

Website:
IG: gavin.nicholls.art
Artist Statement:
Notes:
1
Artwork 1 Title: Sandringham Forest abstract
Artwork 1 Medium: Oil paint on canvas board
Artwork 1 Commentary: This was an experimental abstract piece created from a photo I took in Sandringham. I used
a palette knife and brush with oil paint using thick and thin layers of paint to give texture.
Artwork 1 Image:
2
Artwork 2 Title: QE2 Portrait
Artwork 2 Medium: Acrylic on canvas board
Artwork 2 Commentary: A piece I created which is more in my natural style. Something I want to develop as I've
done 3 other portraits in a similar style and enjoyed the flow whilst painting them.
Artwork 2 Image:
3
Catalogue2 ID1082
Artist ID: 1082
Artist Name: Georgia Crowther

Website:
IG:
Artist Statement: Depicting cultures and social environments with a fluid filter, I capture the otherworldly and
spontaneous, underpinning our shared reality. Growing up in Dubai, I witnessed heavy urban construction causing
toxic pollution. Swelling populations of human migrants were used like scaffolding, fragile against metal. I seek to
portray the colourful, organic and the ethereal against a backdrop of social dissociation caused by a detachment
with nature. My post-surrealist practice is multi-disciplinary, using oil paints on found materials, sculpture,
performance and film to embody a range of sensitivities in the alienating age of technology.
Notes:
Youtube = https://www.youtube.com/watch?v=6JLNa7INecI&t=354s
1
Artwork 1 Title: Foragers
Artwork 1 Dimensions: 65cmX95cmX2cm
Artwork 1 Medium: Oil Paint on Plywood
Artwork 1 Commentary: Nature grows in my painting, embodied by fragments I discovered while roaming the forest
in the Greek island of Ikaria.
Despite obstacles, roots and light relentlessly dance into the surroundings of my painting, as if pulsating. While in the
wilderness your attention flickers, I was inspired to have no focal point, yet instead allow the viewersâ€™ eyes to
wander, like the people in the painting who search and collect. Technological and expensive objects have been used
to make a shelter, something fundamental to human survival.
The perspective is from above, like peeping into a fantasy, a new reality where simple things are intrinsic part of
lifestyle I want the audience to feel almost conflicted, the varying levels of detail, shadows, light and attention
should isolate yet draw in a viewer, representing how the technological age both promotes connectivity yet divides
us. In contemporary society, gadgets seek to connect us, shrinking the world into something that fits into our hand.
However, Iâ€™m inspired to highlight a more simplistic approach to connection, through an extended and
continuous community.
The complexity of the fort is to highlight patience, graciousness and anti-materialism. A sense of time is perpetuated
in my piece with old and young figures and an overgrowth rising up over devices some new, some vintage. This
disregard for technological progress is meant to show a feeling of being at one with oneâ€™s environment, not
feeling distracted by the past or future but absorbed by the vibrance and surrealism of nature.
My painting is a proposal for a utopia that has the imagery of a dystopia. Either existing as an historical painting or a
portal into a future post-internet, it murmurs the same messageâ€¦ My Grandfather would always say, count your
blessings, when we break our Apple we feel like the juice of our very soul is leaking. So instead of advancing for
streamline, faster, less clunky â€˜iSomethings,â€™ that replace raw human connection, make advancement how far
you venture into that forest or how close you become to your new friend. Devices have become shells we live inside,
they affect us like lovers, glinting our eyes with anxiety. Instead of pixels, stare into eachothers eyes.
The random configuration of the shack, which is a fundamental shelter, mimics the chaotic, randomness of nature,
ironically contradicting the specific mapping of circuit boards.
Layers were crucial in the making of this piece, I began working very spontaneously with a large brush covering the
entirety of the wood, with yellow hues from one corner, drifting to blues then reds. With a base coat, I started
painting intricately, using the back of my paintbrush meant I could scratch away the paint allowing those initial tye-
dye colours could seep through. The painting involved a lot of time and care, a fulfilling experience to create a
psychedelic reality, one that has as much realism as it does fantasy.
Artwork 1 Image:
2
3
Artwork 2 Title: Î¼Î¿Î½Î¿ ÎµÏƒÎµÎ½Î± Î±Î³Î±Ï€Ï‰ (Only You I Love)
Artwork 2 Medium: Movie
Artwork 2 Commentary: Length of Film: 7:11 minutes
Link for the Full Movie:

https://www.youtube.com/watch?v=6JLNa7INecI&t=354s
My footage was collected on the island Ikaria, where radiant Greek festivals play traditional songs, one memorably
had the line â€œÎ¼Î¿Î½Î¿ ÎµÏƒÎµÎ½Î± Î±Î³Î±Ï€Ï‰â€• (only you I love). This lyric echoed in my head during exploring
expansive surreal landscapes. Transitory scenes of young locals venturing through rolling forests portrays the shifting
tensions of masculinity and desires of adolescence.
Ikaria, renowned for its citizensâ€™ longevity, has a lifestyle cushioned by community. For Ikarians, strangers are
more likely to be relatives than tourists, and using â€ãutostopâ€™ (hitchhiking) is a usual form of transport.
Alternative to urban cities, threat arises from caves and cliff edges that Ikarians seek out and enjoy relentlessly.
My soundtrack mimics the naturalistic and ethereal visuals to engage with intensifying feelings of excitement and
fear.
On countless hikes spanning over a month, I followed them through dried up rivers, a metaphor for our flowing
enthusiasm to carve into the earth and leave our metaphysical mark amongst nature. The subtle female presence
depicts the fragility of gender expectations due to social conventions. It also acts as a symbol for fleeting ideals of
â€˜innocenceâ€™ â€“ a curiosity, a space for discovery in an environment that is idyllic as it is treacherous.
Artwork 2 Image:
4
5
Catalogue2 ID1083
Artist ID: 1083
Artist Name: Jae Jo

Website: http://www.jojae.com
IG: @jaejojaejo
Artist Statement: I explore the relationship between artist and materials in my multimedia installations which often
combine painting, sculpture, and movement. My work reflects a process of dismantling and rebuilding, as she invites
the viewer to regard the materials used as â€˜cultural debrisâ€™, improvisational remnants of a larger system,
repurposed within the gallery.
I express my sensual order by randomly extracting debris of the cityscape, so to say, the leftover fragments of the
greater system. I particularly collect vibrant colors from products and outlines from images to recompose them into
drawing, painting, sculpture, animation, sound, and installation. Installation works that combine painting and
sculpture. Each work articulates a spontaneous movement of an image forming into one lump. As a collection, the
unit of time given to each work by myself in accordance with the gallery space as well as the elements of the image
continuously gather and disperse. The result is an unexpected scenery of sensation.
Notes:
1
Artwork 1 Title: Room33
Artwork 1 Dimensions: dimensions variable
Artwork 1 Medium: mixed media installation
Artwork 1 Image:
2
Artwork 2 Title: Summing up Flexibility 12
Artwork 2 Image:
3
Catalogue2 ID1084
Artist ID: 1084
Artist Name: Silvia Delledonne

Website:
IG:
Artist Statement: Nata1971a Brescia Italia.Per motivi famigliari e lavorativi da ragazza non ho potuto frequentare la
scuola d'arte; ma questo non ha influito sulla mia passione di trasformare i miei sentimenti e le mie emozioni in
immagini su diversi materiali.
La scuola d'arte l'ho frequentata da adulta e fatto diversi corsi che mi anno aiutato sempre alla continua ricerca di
me estesa e del Mondo che mi circonda
Le mie opere si evolvono sempre Ã¨ un continuo rispecchiare tutto il mio essere emotivo.
Notes:
1
Artwork 1 Title: Rinascita
Artwork 1 Medium: Tela. gesso stoffa foglia d'oro
Artwork 1 Commentary: Questa opera Ã¨ nata dopo un momento doloroso e difficile della mia vita ,rinascita
perchÃ© dopo tanto buio sentivo che ormai la luce era necessaria e quest' opera rappresenta a pieno la mia luce
Artwork 1 Image:
2
Artwork 2 Title: Amore Profondo
Artwork 2 Medium: Acrilico
Artwork 2 Commentary: Quest' opera rappresenta la essenza dell' amore che va oltre la amore fisico ma la passione
fra due anime quando si incontrano , un esplosione di colori e luci.
Artwork 2 Image:
3
Catalogue2 ID1085
Artist ID: 1085
Artist Name: Aimee Browning

Website:
IG:
Artist Statement: My work is an exploration of human vulnerability and fragility, giving visual representation to the
selfâ€™s constant need to adapt and change in order to survive. Recognising there is little I can do ease the suffering
of others, I attempt to acknowledge the existence of those whose daily lives usually go unnoticed, and by capturing
these figures in moments of rest I hope to frame an image which exists beyond the burden of the the struggle to
survive.
I tread lightly. The stripped-back technique of working with pencil, using subtle colours, minimal palette and delicate
lines, and allowing the white space within and surrounding the image to become a focal point of the work, is an
attempt to highlight the ephemerality of our lives and the silence within which they pass. Many times an individual
cannot shout, so the work wonâ€™t either. This minimal approach is a means of representing the beauty within our
fragility, an unassuming method which mirrors the movements of our lives as they pass through the noise of the
world. The repetition and pattern making is my own self-consumed meditation on these themes, as well as a form of
a repetitive prayer or penance. These marks become the layers that accumulate overtime, forming the cracks and
scars which reveal our inherent vulnerability.
Notes:
1
Artwork 1 Title: Figure I
Artwork 1 Medium: Pencil on paper
Artwork 1 Commentary: A figure lying still, a figure at rest. A time of comfort, a pause, an escape from activity as a
way to heal, to hide, to stop. A simple image which resists disturbance, the tenderness within our vulnerability, so
fragile it can cease to be visible.
Artwork 1 Image:
2
Artwork 2 Title: Figure II
Artwork 2 Medium: Pencil on paper
Artwork 2 Commentary: A figure lying still, a figure at rest; creating a comfort I can seldom give. Using repetitive
lines to spend time with the individual, to listen to what they might have to say. The stripped-back effect creates a
cloistered space for silence and solace.
Artwork 2 Image:
3
Catalogue2 ID1086
Artist ID: 1086
Artist Name: Youngsook Choi

Website: youngsookchoi.com
IG:
Artist Statement:
Notes:
1
Artwork 1 Title: This Is How We Do It - I Love Nature
Artwork 1 Medium: imitated roses and parrot, fabric and acrylic paint on plywood
Artwork 1 Commentary: The first work of the satirical series 'This Is How We Do It' which is about human's idea of
loving nature
Artwork 1 Image:
2
Artwork 2 Title: This Is How We Do It - Oh Empire!
Artwork 2 Medium: Framed map, broom and mobs heads, cleaner's apron with cloth and rubber glove
Artwork 2 Commentary: The second work of the satirical series 'This Is How We Do It' which is about intensely
commodifying human labour on a global scale
Artwork 2 Image:
3
Catalogue2 ID1087
Artist ID: 1087
Artist Name: Klara Spark

Website:
IG:
Artist Statement: I am a 19 year old student currently pursuing a BSc in Politics and Social Policy at the London
School of Economics and Political Science. My passion for art stems from my childhood, when I would wake with the
sunrise to paint abstract pieces, which after remained idly stacked in the corner of my room. I paint for personal
enjoyment; it is a way of expressing how I feel when words fail to do so. Beside depicting my experiences, my works
address social problems through symbolism. I also enjoy leaving a tinge of ambiguity, frequently accomplished
through obscure form or objects, to challenge the viewer in yielding their own interpretation of the piece.
Notes:
1
Artwork 1 Title: Face of Man
Artwork 1 Dimensions: 30.5x61x2.5
Artwork 1 Medium: Acrylics on canvas (cotton)
Artwork 1 Commentary: This piece is a cubist portrait, painted with acrylics on canvas. It depicts a man with a half-
shut eye and different shades of skin, staring blankly into the distance. The patchwork-like skin was purposefully
chosen to illustrate the various tones of mankindâ€™s skin, and to address our unity despite such differences. I
included an earring in the manâ€™s left ear to allude to humanityâ€™s self-destructive nature: the ring, made of
metal, represents our tendency to use environmentally degrading materials which destroy us, symbolised by the
ringâ€™s action of piercing the manâ€™s skin. A key element in the work is the eye hidden inside this same ear. This
is a personal reference to my frequent feelings of being observed; eyes recur in all of my paintings. The ambiguity of
this eye allows the viewer to interpret it as she wishes. The manâ€™s hair has a contrasting texture and both its
colour--metallic silver--and shape is not found in the real world; this is a reference to the significance society
attributes to hair as a symbol of oneâ€™s femininity or masculinity, and overall attractiveness. By making it
unnatural, I intend to draw the viewerâ€™s attention to the fact that the characteristics associated with it are purely
a social construct. The background has been left untouched to focus the viewer on analysing the symbols hidden in
this manâ€™s face and concentration the social questions they raise.
Artwork 1 Image:
2
3
Artwork 2 Title: In His Corridor
Artwork 2 Medium: Acrylics on canvas (cotton)
Artwork 2 Commentary: This painting depicts a slumped, confused woman--modelled after myself--leaning against
the wall of a corridor. It was inspired by a strange surge of emotions I had when I stayed for the first time at a boy's
house overnight. I felt detached and adrift, though also somewhat at peace. In this piece I wanted to address the
theme of coming of age, in particular the challenges associated with society's expectations regarding intimacy and
physical relationships. The ambivalent eye, peaking curiously through the open door on the left, reflects society and
the pressure I often feel as a woman to act a certain way. The central focus of the painting is the aquarium at the
end of the corridor, which spills out onto the wooden floor. This is purposefully equivocal so as to encourage the
viewer's own interpretation. However, for me, it represents the variety of experiences in life; the ocean, one of the
most diverse and unknown environments of the world, symbolises the magical, albeit scary, time of growing up. The
simple, cartoon-like style of the oceanic wildlife is a reflection of the fact that I still feel young and unexperienced. I
included a green, dynamic and thorny plant, which swirls towards me, to symbolise my discomfort in the situation
that this painting describes.
Artwork 2 Image:
4
5
Catalogue2 ID1089
Artist ID: 1089
Artist Name: Michal Raz

Website: https://www.michal-raz.com/
IG: https://www.instagram.com/michalraz/
Artist Statement: My works synthesises painting, screen printing, digital printing, collage, and video, and as such they
may be envisaged as a mirror reflecting the diversity of conceptual, theoretical, and applied arts. The works may be
also grasped as a continues research of ethnology, pattern making, ornamentation, abstract art, pop culture,
computer, and digital aesthetics, avoiding any definition. The philosophical investigation is manifested in my works,
through the creation of images that deal with polarities, diversity, and unification, as well as the concept of non-
separation and lack of hierarchy both through traditional techniques and emerging ways of making. The play of
polarities is the expression of the belief in both seen and unseen ever existent unity in diversity.
My recent body of work is made made by layering and accumulating different ways of making and different
materials- screen print, acrylic paint, tape, vinyl stickers, glitters etc. The paintings are all synthesised together to
create a surface which is both painterly in a traditional way, and at the same time digitally influenced. The process of
layering is a main aspect of the work. The image becomes overloaded by the layers and therefore a noisy and
perhaps confusing experience is created. At the same time the familiarity of the patterns and the vibrant colours are
suggesting an enchanting moment, a celebration of overload and disorientation.The tension between intensity and
exhaustion (paint drips, loose tape bits) is bringing about questions about balance and the ability and roles of the
hand made in the technological age.
Notes:
1
Artwork 1 Title: Come With Me
Artwork 1 Image:
2
Artwork 2 Title: Here We Go
Artwork 2 Image:
3
Catalogue2 ID1090
Artist ID: 1090
Artist Name: Sergei Inkatov

Website: www.inkatov.com
IG: @inkatov
Artist Statement: Sergei Inkatov was born in Baku in 1971

1987 Entered art vocational school in Baku to study
painting.
1992 recived Certificate of Tver high artistic school
after Venitsianov on class of painting
2006 Â«Diploma of excellenceÂ» Global Art Annual,
London, UK
Member Artist`s Union in Estonia
2010 Laureate of fund â€•Cultural PropertyÂ»,
St.Peterburg, Russia
Laureate competition Â«Tallinn Cultural Capital of
Europe 2011â€•
2017 Member Mondial Academia. France. Ambassador
from Academia in Estonia
2018 Gold Medal categorie abstract painting
"PRIX INTERNATIONAL DES GALERIES ET CHOIX DES
PROFESSIONNELS DE L'ART 2017"
Works of S. Inkatov are held in the Art Museum of
Narva, Estonia
Â«Cultural PropertyÂ» of the Art Fund in Russia
St.Peterburg
At the Maardu Administration in Estonia and many
private collections around the word
Notes:
1
Artwork 1 Title: The Coast
Artwork 1 Dimensions: 60-80
Artwork 1 Medium: oil canvas
Artwork 1 Image:
2
Artwork 2 Title: Life Philosophy
Artwork 2 Dimensions: 80-80
Artwork 2 Medium: oil canvas
Artwork 2 Image:
3
Catalogue2 ID1091
Artist ID: 1091
Artist Name: Paulina Jaklik

Website: https://www.behance.net/jaklikpauld416
IG: https://www.instagram.com/paulinajaklik/
Artist Statement: Her art is heavily inspired by the dramaturgy of light and bodies from classical baroque paintings.
She experiments with layers of paint - vary from light glaze to thick impasto, giving them exspanse on many levels.
She depicts entangled human bodies surrounded by semi abstract, semi organic forms. Telling the story of irrational
tension and anxieties, bodily impulses and animalistic notions.
Young Artist from Poland, currently on her senior year at Academy of Fine Arts in Krakow. Her current interests are
traditional oil painting, drawing, illustration and traditional 2D animation.
In her works she experiments with various techniques such as collage, digital art, etching, and more.
Notes:
1
Artwork 1 Title: Burst
Artwork 1 Dimensions: 120X80 cm
Artwork 1 Image:
2
Artwork 2 Title: Tension
Artwork 2 Dimensions: 120X120 cm
Artwork 2 Image:
3
Catalogue2 ID1092
Artist ID: 1092
Artist Name: Nelson Gallardo

Website:
IG: @nelsonandresxu
Artist Statement:
Notes:
1
Artwork 1 Title: Final Inspection
Artwork 1 Medium: oil over canvas
Artwork 1 Commentary: Every Construction project has 3 main phases, design, construction and inspection. With
this piece, I want to grab the moment when the inspection for Lincoln Tunnel Lighting went through. During a
moment the engineers from the city and contractor get together to make sure all the piece is correct. The alteration
of the city space affects everyone, residents, commuters, and the facility. Therefore, each phase of the construction
is greatly important.
The project described on the painting took over a year to develop, but at the end, all come together on the last
hours described in the painting.
Artwork 1 Image:
2
3
Artwork 2 Title: Green, blue and Red (Triptych)
Artwork 2 Medium: oil over canvas
Artwork 2 Commentary: Warnings (Green), Signs (Blue) and the fire extinguishers (Red) are 3 things we may not
think when driving through the city until we need them.
Bridges, Roadways and, tunnels are full of them.
The warnings (Green) are the rules of the road, what can we do or not as we drive through the city, we are pre-
condition to follow each one of them, they are silent referees for the city.
The signs (blue) are silent communicators that if we listen to them we can get to our destination, but if we ignored
them we will looping around with frustration.
Finally, the fire extinguishers (Red) hide in the walls as silent guards for emergency cases, we always ignored them,
or think are too many while looking for parking, but never enough if we ever need one.
Artwork 2 Image:
4
5
Catalogue2 ID1093
Artist ID: 1093
Artist Name: Josefina Ayllã³N

Website: www.joayllon.com
IG: @tediountable
Artist Statement: Colour and material, as main elements, are the drivers of my "imaginary portraits" that I make
modeling the thick paint intuitively, until I find a human expression in the character, and until a living contact occurs.
I see my paintings as the result of a sort of struggle between the paint, as a mere medium, and the emerging
characters. This goes on until I feel that a balance is reached and that none prevails.
Feigning reality, using tricks like perspective or chiaroscuro, does not interest me, but the reality of the painting itself
as a bi-dimensional objet does.
I am deeply attracted by visceral painting where the presence of the artist is tangible. I am fascinated by the fact that
a handful of paint on a piece of canvas can generate something so intense.
Notes:
1
Artwork 1 Image:
2
Artwork 2 Image:
3
Catalogue2 ID1094
Artist ID: 1094
Artist Name: Katie Webb

Website:
IG:
Artist Statement: Suffering an MS 'episode' I lost the ability to use my right hand (I'm right handed) so, spending
every waking moment struggling to draw in an effort to train my brain to hold and control my pencil.
I decided to focus my work on other women who have faced different personal struggles of their own to create raw
but delicate images in pencil.
Fine art has always been my passion and I finally feel brave enough to share my art work with the public - possibly
as my outlook on life has greatly changed in the last 2 years. I am really interested in subjects that do not necessarily
understand their influence on their peers and society as I find this quite beautiful and is reflected in their eyes and
weathered hands.
I want to expand upon this idea and find a wider range of people that I can capture in future work.
I hope that others can see the beautiful souls within my images.
Notes:
1
Artwork 1 Title: Longing to Create
Artwork 1 Dimensions: 37.5X25
Artwork 1 Medium: Graphite Pencil on paper
Artwork 1 Commentary: Working with graphite and drawing pencils.
The determination to conquer something new captured in both her jaw and eyes.
A wonderfully determined woman whom I met for a day out of her comfort zone, on her own, on a creative art
course.
Whatever your age never let your fears stop you from new experiences.
Artwork 1 Image:
2
3
Artwork 2 Title: How loss determines the future.
Artwork 2 Dimensions: 28X40.5
Artwork 2 Medium: Graphite Pencil on paper
Artwork 2 Commentary: Working from a photograph I captured after following the subject for an afternoon. I
created the image with graphite and drawing pencils.
Exhausted and frustrated with life as she takes care of her sister suffering from dementia I capture a fleeting
moment of solitude and reflection.
Every moment of this woman's life has been a struggle with inner demons and yet still she has the fortitude to meet
a group of ladies who have become friends through supporting one another.
An inspiring individual.
Artwork 2 Image:
4
5
Catalogue2 ID1095
Artist ID: 1095
Artist Name: Richard Goold

Website: www.richardgoold.co.uk
IG: richardgoold
Artist Statement: Richards work explores our relationship with digitally manipulated imagery within our culture.
Drawing on a wide range of sources, from old masters paintings, film stills and photos he has taken himself, he seeks
to become â€œthe filterâ€•. His main area of interest is in classical and contemporary illusionistic processes of
image making, within drawing and painting.
Notes:
1
Artwork 1 Title: Qi'ra
Artwork 1 Medium: Acrylic on canvas paper
Artwork 1 Image:
2
Artwork 2 Title: Tidal dreams
Artwork 2 Image:
3
Catalogue2 ID1097
Artist ID: 1097
Artist Name: Ricardo Sommer

Website:
IG: instagram.com/ricardosommer_
Artist Statement: The early experiences in life have a huge impact on one's life. My childhood in a rural area of
southern Brazil often influences the way I portrait reality, tilting it towards a more simple, isolated version. The later
technology access, without internet, led me to explore in a very personal way computers and video games.
Representing a small world in each painting, I try to make clear the proximity I feel it has to a video game level:
outside the frame, there's only an infinite blank space. I long to leave the feeling of this surrounding infinite
emptiness present in the work.
Notes:
1
Artwork 1 Title: sitio
Artwork 1 Medium: Watercolour on paper
Artwork 1 Commentary: This watercolour painting is based on a scene made using photogrametry: in it, the face is a
3d model made from several photos taken from different angles of the head.
Artwork 1 Image:
2
Artwork 2 Title: Batida na janela
Artwork 2 Medium: Watercolour on paper
Artwork 2 Image:
3
Catalogue2 ID1098
Artist ID: 1098
Artist Name: Bims Ayorinde

Website:
IG: wipbee
Artist Statement:
Notes:
1
Artwork 1 Title: Your voice.
Artwork 1 Medium: Digital art
Artwork 1 Commentary: In this piece, I wanted to represent the constraints you can feel as a POC in society today.
The hands show the judgement that we face as soon as we even step into a room; we are unable to speak up
without being labelled immediately. I want to break these stigmas with my art.
The title â€˜Your Voiceâ€™ represents how we need to be able to speak up more and shouldnâ€™t be silenced
because of the fear of what people think of us or what we are going to say. There is a stereotype of who we are, and
you can either live up to that stereotype, or be your own person.
Artwork 1 Image:
2
3
Artwork 2 Title: m e l a n i n
Artwork 2 Medium: Digital art
Artwork 2 Commentary: â€˜m e l a n i nâ€™ is inspired by the beauty and richness that comes with everyoneâ€™s
appearance. I wanted to draw something almost celestial-like and delicate so went for subtle peachy tones. This
drawing should emote a chill-like feeling and it was extremely relaxing to draw!
The multiple heads around the main drawing represent the multiple states of mind and depictions that you have of
yourself. The girl is deep within her thoughts, and untouchable.
There is a lack of representation of darker-skinned women in the media, and being a young darker skinned woman
myself, I want to represent what I havenâ€™t seen.
Artwork 2 Image:
4
5
Catalogue2 ID1101
Artist ID: 1101
Artist Name: Marina Roca Die

Website: www.marinarocadie.com
IG: https://www.instagram.com/marinarocadie/
Artist Statement: A Body is never just a body. Using painting and drawing as an expressive language, the human
body appears distorted, ambiguous, related with other bodies and other beings.
Marina Roca Die understands the human body as a psychological entity, alive, mutable. It begins shapeless but it
acquires a structure, it transforms and it incorporates characteristics of other bodies.
Roca thinks that art should assert our primitive nature. Altering the body she wants to question the systematization
along tradition and Art History. The body is then reformulated through philosophical ideas about human condition,
as our relationship with the other, or what separates us from the rest of nature. The artist uses feminist theories as a
conceptual tool, as well as psychoanalytic theory in regard to the body, sexuality and the other's bodies.
Notes:
1
Artwork 1 Title: The Fear of Falling in Love with a Tree I
Artwork 1 Image:
2
Artwork 2 Title: The Fear of Falling in Love with a Tree III
Artwork 2 Image:
3
Catalogue2 ID1104
Artist ID: 1104
Artist Name: Ilse Mittermeier

Website: www.Ilse-D-Mittermeier.de
IG: ilse_D_Mittermeier
Artist Statement: I am an artist who currently lives and works in Munich, Germany.
After many years of exploring different mediums, like figurative style in oil, I discovered the abstract acrylic painting
and decided to specialize in that technique/artform. Most of my inspiration comes from travelling around the world
with its various sceneries and colours. Even though i'm reducing the landscapes in my works, i'm trying to keep the
spirit of the nature in the picture. So rather than creating an detailed representation of reality, I want to catch the
feeling of the landscape and make it the center by experimenting with forms and colours.
Besides that I'm also experienced in abstract Art, where I can use my canvas as playground for different shapes, lines
and colours. The reason why I love this medium is because it is way more open to interpretation and the posibilities
are endless. Even if i have an idea or mood behind a painting, it is always interesting to hear the different thoughts
and feeling towards it from the viewers.
Notes:
1
Artwork 1 Title: Abstract 1
Artwork 1 Image:
2
Artwork 2 Title: Abstract 2
Artwork 2 Dimensions: 80 x 80 x2
Artwork 2 Image:
3
Catalogue2 ID1105
Artist ID: 1105
Artist Name: Natalie Bennett

Website: natalie-bennett.co
IG: Artloversuk
Artist Statement: We all resonate with each other... it is this resonance, vibration, dynamic that intrigues me.
The feelings, sensations,emotions that are occurring constantly. Driving us, lifting us... the masks we use to hide
behind and sometimes are able to remove, even for just a moment and allow ourselves to be vulnerable.
These are the ideas that underpin my work at the moment.
Notes:
1
Artwork 1 Title: " Before the Show "
Artwork 1 Image:
2
Artwork 2 Title: " Chess Girls II "
Artwork 2 Image:
3
Catalogue2 ID1106
Artist ID: 1106
Artist Name: Marija Kovacevic

Website: https://www.behance.net/gobbledigodb22
IG:
Artist Statement: I would somewhat sum up my work as an expressive play of organic and non-organic forms.
I have always had interest in the science and aesthetics of processes of creation and destruction - changes - within
lithosphere.
Then again, the colouristic vibrancy of graffiti flowing over and opposite dilapidated facades have impacted me
strongly since my first serious artistic endeavours.
In determination to be challenged by the limits - both imposed and those I consciously set upon myself through
insisting on using especially low-budget, repurposed mediums - I attempt to reconstruct and rationalize the
subjective experience of my immediate and distant surroundings.
Notes:
1
Artwork 1 Title: Tektonika
Artwork 1 Medium: Acrylic & pigmented sand on canvas
Artwork 1 Image:
2
Artwork 2 Title: Seism Schism
Artwork 2 Dimensions: Approximately 50x45x15
Artwork 2 Medium: Polyurethane foam, cement & acrylic
Artwork 2 Commentary: Part of the wall sculpture series.
Artwork 2 Image:
3
Catalogue2 ID1107
Artist ID: 1107
Artist Name: Dawn Thomson

Website:
IG:
Artist Statement: Born 1970 Sutton, Surrey. Studied Fine Art at Exeter College of Art. Lives & works in Bournemouth.
Landscape and garden artist. Paints en plein air in oils.
Inspired by colour
Notes:
1
Artwork 1 Title: Lavender Pernes-les-Fontaines
Artwork 1 Commentary: Beautiful landscape of lavender fields in Provence
Artwork 1 Image:
2
Artwork 2 Title: Phare dâ€™ile Dâ€™oleron
Artwork 2 Commentary: Lighthouse on the ile dâ€™Oleron France
Oil on canvas
2014
Artwork 2 Image:
3
Catalogue2 ID1109
Artist ID: 1109
Artist Name: Wai Wong

Website: https://band1009.wixsite.com/waiwongprints
IG: https://www.instagram.com/whywrongwrong/?hl=en
Artist Statement: Different from most of my peers, I will say that I want to be a printmaker instead of an artist. More
precisely, I want to be a craftsman or an artisan focusing on making prints. Ozu Yasujiro is my favourite movie
director, and probably my favourite artist. In an interview, he once said, â€œI only know how to make tofu. I can
make fried tofu, boiled tofu, stuffed tofu. Cutlets and other fancy stuff, thatâ€™s for other directors.â€• Because he
spent his entire career to make nothing else but â€œtofuâ€•, he made the best â€œtofuâ€•. Ozu probably did not
consider himself as an artist, but a craftsman who repeatedly practice the same craft until he reached the perfection.
This is what I want to be - a Tofu maker; a craftsman in printmaking. Except practicing the same craft repetitively and
constantly, I do not know there is any other way to achieve perfection.
Notes:
1
Artwork 1 Title: Strangers
Artwork 1 Dimensions: 40cmX72cm
Artwork 1 Medium: Etching
Artwork 1 Image:
2
Artwork 2 Title: Strangers 2
Artwork 2 Dimensions: 40cmX72cm
Artwork 2 Medium: Etching
Artwork 2 Image:
3
Catalogue2 ID1110
Artist ID: 1110
Artist Name: Robin Clark

Website: www.robinclark.org.uk
IG: @roxyhighroad
Artist Statement: Drawing on histories of fashion, architecture, popular culture, art and design, Robin Clark explores
our encounters with the past through objects and places. Through media such as painting, drawing, photography
and collage, she investigates multiple stylistic and cultural movements, and their visual and social relations to each
other. Cultural cut and paste is often utilised to examine the slippery nature of binary pairings such as modernity and
preservation; futurism and historicism; reality and fantasy; artifice and authenticity. Visual motifs in her work evoke
lifestyles, and play on societal and subcultural preoccupations with personal taste and style.
Notes:
1
Artwork 1 Title: Heat
Artwork 1 Dimensions: 59.5cmx60cm
Artwork 1 Medium: Acrylic on paper
Artwork 1 Image:
2
Artwork 2 Title: To Find You Still
Artwork 2 Dimensions: 59.5cmx60cm
Artwork 2 Medium: Acrylic on paper
Artwork 2 Image:
3
Catalogue2 ID1111
Artist ID: 1111
Artist Name: Alfie Gatt

Website: www.alfiealpha.com
IG: https://www.instagram.com/alfiealpha_art/
Artist Statement: BIO
Alfie was born in 1985, in Malta. His drive and passion for his love of art started in his early childhood years. He
pursued his studies and was successfully awarded a degree from the Institute of Art & Design, in Malta in 2005.
Alfieâ€™s current style is a mix of figurative and surrealism by giving the artworks unique style and visually pleasing
and yet contemporary. He describes his artistic work as a balance and marriage of graphical edge and fine art.
DESCRIPTION OF THE WORK
This new collection of paintings is intended to capture the intimacy of solitude and silence.
The scenes create a dreamlike atmosphere, allowing the viewer to escape into a trance of peace, delving into nature
where one feels most comfortable. The blank spaces are an interpretation of a transition of the state of mind, when
an individual pauses to ponder nostalgically on memories and feelings that cry out to be revived in such senses of
the past.
Notes:
1
Artwork 1 Title: Sweet Dreams
Artwork 1 Medium: watercolours, water-soluble wax pastels on watercolour paper
Artwork 1 Image:
2
Artwork 2 Title: Secret Garden III
Artwork 2 Medium: watercolours, water-soluble wax pastels on watercolour paper
Artwork 2 Image:
3
Catalogue2 ID1112
Artist ID: 1112
Artist Name: Aisling Drennan

Website: http://www.aislingdrennan.com
IG: https://www.instagram.com/aisling_drennan_art/?hl=en
Artist Statement: Aisling Drennan makes abstract oil paintings about the variable properties of oil paint, how it can
be structured and the consequence of mark-making on canvas.
Working analytically the paintings are visual dialogues seeking the delicate balance between chaos and structure
with a ruthlessness in how information is selected and deleted.
Each painting is constructed to a point of completion through a process of paint layering and specific application of
vinyl tape. It is then deconstructed through the removal of vinyl, revealing painted under and over layers; a practice
of finding and loosing the painting until visually robust.
Her practice is influenced by the abstract expressionist movement and the expressive content of her own
experiences as a professional dancer. Artists such as Joan Mitchel, Sean Scully, Fiona Rae and Willem de Kooning
have informed her development arriving at its current state where the onus is on the physical act of painting.
Drennanâ€™s approach to painting is playful even irresponsible at times; a concoction of ultimate strife and ultimate
indulgence.
Notes:
1
Artwork 1 Title: Unknown, Not Forgotten
Artwork 1 Medium: oil paint and charcoal on canvas
Artwork 1 Image:
2
Artwork 2 Title: Conversions (framed)
Artwork 2 Medium: oil paint and charcoal on primed fabriano
Artwork 2 Image:
3
Catalogue2 ID1114
Artist ID: 1114
Artist Name: Malcolm Canvin

Website:
IG:
Artist Statement: I am a visually impaired artist who works mainly in digital media due to its accessible and malleable
nature. The central thrust of my art is to let others see what I see - conveying the visual impression of macular
degeneration for those with conventional sight. In the works submitted I have focused on portraiture, manipulated
in low resolution, as a vehicle to illustrate the effects of my disability.
Notes:
1
Artwork 1 Title: Limited Resolution
Artwork 1 Medium: Original print on canvas with a white cane
Artwork 1 Commentary: This portrait is an original digital print with a white cane attached, designed in deliberate
low resolution, with the aim of conveying the visual impression of macular dystrophy - a progressive form of sight
loss leading to blindness.
Artwork 1 Image:
2
Artwork 2 Title: Mr Grey
Artwork 2 Medium: Original print on canvas
Artwork 2 Commentary: This portrait is an original digital print, designed partially in low resolution, with the aim of
conveying the visual impression of macular dystrophy - a progressive form of sight loss leading to blindness.
Artwork 2 Image:
3
Catalogue2 ID1116
Artist ID: 1116
Artist Name: Nick Marchant

Website:
IG:
Artist Statement: My current work is focussed on man-made waste â€“ including the discarded rubbish in our towns,
countryside and seas and also waste electronic components. In the early mornings I go for walks, often collecting
leaves and other flora to use in my art and always scanning the ground in search of visually interesting litter or other
discarded items â€“ squashed drinks cans, packaging, twine or small pieces of plastic or rusty metal. Sometimes at
night, I have vivid dreams of my â€œfindsâ€• combined together in a way that later becomes the basis for a picture.
My aim is to encourage a little more thinking about how we can view this detritus as an opportunity rather than just
a problem.
At its most superficial level, my work aims to demonstrate the intrinsic aesthetic of waste products by reducing them
to pure form and placing them in a harmonised relationship within a representation of the natural world.
Most of these artefacts have a development history involving great ingenuity and expense over a long period
followed by a short lived close relationship with man. Therefore, at a deeper level, I seek to encourage more creative
thought so that so-called waste products can acquire extrinsic value in new sustainable lives.
Notes:
1
Artwork 1 Title: Another Life
Artwork 1 Medium: Mixed (Acrylic paint and mediums, leaves and flora, beer can, cigarette packet, electronic waste)
Artwork 1 Commentary: This work aims to explore the relationships between 3 disparate groups of entities:
â€¢ man made waste â€“ discarded packaging, a

drinks can and a cigarette packet
â€¢ low value waste electronic components
â€¢ natureâ€™s sustainable â€œwasteâ€• â€“leaves and
berries.
All these entities have attained an end of life state but we normally view them quite differently. I have aimed to
create a level playing field between them by changing their colour and surface treatment and allowing them to be
read and compared as pure forms. In this way, we may begin to afford more value to man made waste and consider
how it may be harmonised with the natural world in a more sustainable future.
Artwork 1 Image:
2
3
Artwork 2 Title: DRIVEbye2
Artwork 2 Dimensions: 62.5 x 62.5 x 3
Artwork 2 Medium: Mixed (Acrylic paint and mediums, emulsions, electronic waste)
Artwork 2 Commentary: This work focuses on the issue of low value discarded electronic components the creation of
which demanded great ingenuity, expense and effort and yielded significant benefits for a short time. Safe,
sustainable disposal now brings significant problems for mankind.
This work aims to help reorient our thinking a little from how to destroy this waste to how to find value in it.
The components here have been visually simplified so that they can be read purely as forms independent of their
original purpose but placed against a background representing the complexities of the context in which they exist.
Although these are the same artefacts that we seek to crush and burn, this work aims to make them seen as objects
to be valued.
Artwork 2 Image:
4
5
Catalogue2 ID1119
Artist ID: 1119
Artist Name: Yuliia Nikolaienko

Website: www.juliafine.art
IG: https://www.instagram.com/juliafineart/
Artist Statement: Hello! I am Yuliia Nikolaienko and I am artist from Ukraine. I'm 29 years old. I live in Kyiv. I have
been painting for more than 20 years. I graduated from art school and got a master's degree in Urban Architecture.
Participated in the Parallax Art Fair (23-25 â€‹â€‹November 2018 in Manchester) and will take part in the Parallax
Art Fair London 22-24 February 2019. I want my creativity to bring positive emotions.
Notes:
1
Artwork 1 Title: Carnival
Artwork 1 Medium: oil, canvas
Artwork 1 Image:
2
Artwork 2 Title: Elements
Artwork 2 Medium: oil, canvas
Artwork 2 Image:
3
Catalogue2 ID1120
Artist ID: 1120
Artist Name: Vasileia Anaxagorou

Website: www.vasileia-m-anaxagorou.com
IG: http://hotsta.net/vasileia_anaxagorou_studio
Artist Statement: Objectification and idealization of the female body has often been a subject of feminist art
criticism. The importance in our time to re-define and overthrow the â€œmale gazeâ€• in a still phallocentric society
is hence unquestionable. As a result, self-knowledge and awareness of the aforementioned issue are important focal
points to access and conceive the female authorship needed, especially in the process of this re-definition. Any
theatrical glorification or a sexual sensation of the body, interpreted in the project is not deliberate. On the contrary,
it is put aside and purposely ignored. If a spectator chooses - consciously or not - to devour a bait of the body in
sexual means, heightens the importance of artists to elaborate on the female body. A pictorial imagery of war and
abuse of the female body and beyond can remind us how important freedom is in our fragile reality.
Notes:
1
Artwork 1 Title: The day I got diagnosed
Artwork 1 Medium: Oil paints on canvas
Artwork 1 Image:
2
Artwork 2 Title: The Women that Have To Lose
Artwork 2 Medium: Oil paints on canvas
Artwork 2 Image:
3
Catalogue2 ID1121
Artist ID: 1121
Artist Name: Esme Horne

Website:
IG:
Artist Statement: For me creativity is about taking control, constructing systems of productivity, utilising constraints
and playing games to establish a way to synthesise my environment and experience of the world.
My current practice explores the relationship between digital data files and physical tangible artwork.
I am excited by the potential digital sources offer and the myriad ways they can manifest themselves as artworks.
I am interested in the physical properties of artwork; weight, surface and texture. Working with my hands; cutting,
rolling and folding are all important aspects of the exploratory stages of the work.
My phone has become a portable â€˜studioâ€™. I use it as a tool to capture and collect source material and imagery,
whilst exploiting itâ€™s inherent technology through magnification and pixilation.
The â€˜Rainbowâ€™ installations document my journey of magnification using the iPhone. One end of each strip
shows the beginning of the journey, the initial photograph every subsequent screenshot is extracted from. The final
images at the opposite end of the strip conclude my journey, they are â€˜pureâ€™ colour distilled through this
process of magnifying.
The â€˜Rainbowsâ€™ are sculptural objects that can be infinitely rearranged in a space. They are physical records of
the digital processes by which they were made. This is suggested in their scale (9cm x 5.1cm) referring to the
distinctive size of an iPhone screen.
This is an ongoing body of work that continues to oscillate between digital and physical manifestations, in doing so
the space between these two forms becomes more abstract.
Notes:
1
Artwork 1 Dimensions: Height varies (see commentary on artwork 1) x 5.1cm x 0.2cm
Artwork 1 Medium: Semi gloss satin inkjet paper
Artwork 1 Commentary: One photographic document recording installation of multiple Rainbows temporarily fixed
to white wall (left to right):
#Rainbow 18, measuring 540cm in height

Artwork 1 Image:
2
3
Artwork 2 Dimensions: Height varies (see commentary on artwork 2) x 5.1cm x 0.2cm
Artwork 2 Medium: Semi gloss satin inkjet paper
Artwork 2 Commentary: Five photographic documents recording installation of five Rainbows temporarily fixed to
white wall (clockwise, starting top left):

Artwork 2 Image:
4
5
Catalogue2 ID1122
Artist ID: 1122
Artist Name: Lily Senner

Website:
IG: https://www.instagram.com/lilyjaynesenner_/
Artist Statement: Inspired by fragments of childhood memories, half remembered-half imagined, my work explores
the tension between reality and unreality. The resultant images are ambiguous and psychological welcoming the
viewer into its dreamscape, encouraging individual self reflection. My process is anchored in my drawings, they are
my starting points for larger works and often my most experimental artworks. My work often references graphic and
illustrative art, utilising synthetic vibrant colours and stylised figuration. I often combine a variety of mediums in my
work including oil paint, Acrylic, marker pen and spray paint- the differing marks these mediums make create an
interesting contrast and is important to the aesthetic of my images.
Notes:
1
Artwork 1 Title: Midnight Swim
Artwork 1 Medium: oil paint, acrylic on canvas
Artwork 1 Image:
2
Artwork 2 Title: Rainy Summer
Artwork 2 Medium: Acrylic, oil paint, felt tip pen on canvas
Artwork 2 Commentary: This is an experimental canvas in which I have utilised a few unusual techniques. For
instance some areas of the canvas have been left un-primed to create varying textures on the surface. I also used felt
tip pen to create contrasting mark to that of the paint.
Artwork 2 Image:
3
Catalogue2 ID1123
Artist ID: 1123
Artist Name: Stephanie Mills

Website: www.stephaniemillsart.com
IG: instagram.com/stephaniemillsart
Artist Statement: Stephanie is a UK based classically trained artist who works mainly from life. Using pencil (graphite)
and oils, Stephanie's interest lies in producing drawings and paintings which represent an honest depiction of the
subject and capture something of their inner personality, through the use of light and form modelling.
Notes:
1
Artwork 1 Title: Margaret
Artwork 1 Medium: Graphite, charcoal and chalk on hand toned paper.
Artwork 1 Image:
2
Artwork 2 Title: Daniel II
Artwork 2 Medium: Graphite on hand toned paper.
Artwork 2 Image:
3
Catalogue2 ID1124
Artist ID: 1124
Artist Name: Yechen Wu

Website:
IG:
Artist Statement: I draw what I feel.
Notes:
1
Artwork 1 Title: Sunsets
Artwork 1 Commentary: I had journeys in Scotland, and catch the moment of sunset.
Artwork 1 Image:
2
Artwork 2 Title: Edinburgh closes
Artwork 2 Dimensions: 16.5x10.5
Artwork 2 Medium: Bleach,ink,watercolor
Artwork 2 Commentary: After the people have finished their chill out, itâ€™s around 4oâ€™clock, the whole
Edinburgh become completely silent and peaceful.
Artwork 2 Image:
3
Catalogue2 ID1129
Artist ID: 1129
Artist Name: Elisa Colombin

Website:
IG:
Artist Statement: Painting is a new adventure for me.

Every day I see things that catch my imagination, trigger my creativity and that spark colourful ideas in my head, if I
can I try to grab some of them and put them on canvas, paper, wall or wherever it is available.
I do not apply any specific rules or methods as I have no academicals training; I just go with the flow, the emotion,
the idea. Sometimes it works exactly as I have pictured it in my mind and others time I surprise myself.
Street art is one of my main inspiration, but so are theatre, music and movies.
I love the way words, shapes and colours are linked, it intrigues me very much and I like to explore the connections
they have.
Notes:
1
Artwork 1 Title: It's ok
Artwork 1 Dimensions: 61cm x 45.7cm x 1.5
Artwork 1 Medium: Arcrylic Painting on Canvas
Artwork 1 Commentary: For this medium size acrylic on canvas on the background, I used bright neon yellow and
pink with different shades of the same green, dotting around the colours and blowing them to get them to mix in
order to create a beaming contrast that catches the eyes.
I have used an airbrush medium to help the colours flow.
The inspiration behind the colours I have used came from the graffiti that often our streets.
At the central subject of the painting is the word ok that stands out in black. For that I have used I have used Posca
Markers to draw dark thick and thin outlines of the ok.
The vivid background is meant to work with the word to lift it up and to bring out its positivity.
Ultimately I wanted to create a cheerful picture to brighten up the day as after all... life is ok.
Artwork 1 Image:
2
3
Artwork 2 Title: The crown
Artwork 2 Dimensions: 20cm x 20cm X
Artwork 2 Medium: Acrylic painting on board canvas
Artwork 2 Commentary: My inspiration for this painting was the crown that appears on many of Jean-Michel
Basquiat paintings and that has been reproduced on many graffitis.
I just want to make my own version of the crown, how I see it.
I choose red, orange, yellow and copper as liked how they work together and in my opinion, they give a sense of
warmth to the painting.
I did not want the sharp lines of the crown to me a cold and far away symbol.
The central focal point is the crown with its thick and thin lines and dots drawn with a Posca Marker and underlined
with red, yellow and orange Posca Markers.
On either side of the crown covering the white background I have dotted red, orange and bronze mixed with an
airbrush medium and then blown them together.
Artwork 2 Image:
4
5
Catalogue2 ID1130
Artist ID: 1130
Artist Name: Ink Agop

Website: http://inkagop.com/
IG: https://www.instagram.com/inkagop/
Artist Statement: My works visualize greed of modern human by 3D printing and Japanese biological fermentation
technology.
I am from Japan and now working in Berlin. I had suffered from indigestions since European dietary culture is not
suitable for me. Therefore, I have started to make fermentation foods myself bringing â€œKoji bacteriaâ€• from
Japan, which is designated as Japanese â€œnational fungus.â€• Koji bacteria have played an important role in Japan
since B.C. while being tamed and bred. Basic seasonings which are necessary for Japanese food such as soy source,
miso and sake, are made with fermentation using â€œKoji bacteria.â€• They are currently investigated as bacteria
decomposing plastics.
When being in a sport gym, a feeling came up to me that people there have narcissistic personality disorder
regarding their bodies promoted by current Internet Society.
Strength training can make their dreams come true to become something totally different from themselves, only on
a superficial level. Training machines have no productivity and practicability as they are made only for adding
resistance to human body. Their forms make me feel attached and melancholy similar to fetishism. How could
people living in the future understand the purpose of the training machines being made when they would find
them?
In the future, bacteria tamed by us would grow on meaningless shells made of human greed. I am seeking for the
image of such an utopia.
Notes:
1
Artwork 1 Title: Polysion 02
Artwork 1 Image:
2
Artwork 2 Title: Polysion 01
Artwork 2 Image:
3
Catalogue2 ID1131
Artist ID: 1131
Artist Name: Steven Sola A. Fajana

Website: www.danceartprojects.com
IG:
Artist Statement:
Notes:
1
Artwork 1 Title: Phoenix hair portrait: 020215
Artwork 1 Medium: Oil & Gesso on Canvas
Artwork 1 Commentary: My frame of mind at the time of this piece, my mum was diagnosed 2 years prior with
ovarian cancer, which she took treatment for and was given a clear. 2015 she died from a surgical bypass to remove
the new cancer growth in her kidney, I lost my mum this year and my eyes tear duct had a triggering water works for
a whole year. This is represented in the painting by closing the eyes, the colours choices of red, grey and layering
represent the state of loss and the constant rush of emotions and memories; This indicated from the title of the
piece as a metaphor for rebirth and loss.
Artwork 1 Image:
2
Artwork 2 Title: Look at my cool: 150814
Artwork 2 Medium: Acrylic and charcoal pencil on Canvas
Artwork 2 Commentary: I am an avid comics collector and have in the years collected a lot. This painting is
influenced by this hobby without being too literal and also the artist â€˜Roy Lichtensteinâ€™ has an influence on this
piece; this is represented with the bold 2 types of colours.
This piece combines some small pictorial narrative and direct gaze
The line strokes are conceived as an expression of the subject, therefore the compositional elements serve as the
subject matterâ€¦
Artwork 2 Image:
3
4
Catalogue2 ID1134
Artist ID: 1134
Artist Name: Safira Taylor

Website: www.safirataylor.com
IG: www.instagram.com/safira.taylor
Artist Statement: On the tangible:

My work, both written and visual is abstract. Abstraction allows viewers to dive into a negative space, where the
goal is not meaning or understanding, but a deeper more individual experience. Art should be meaningless to the
masses but overwhelmingly relatable to the individual that takes time to look with eyes that neglect to solely seek
sense.Â
Â
Colour has always been my starting point.Â Something as simple as two colours touching can ignite a blurred
mystery within the viewersâ€™ eyes. My recent work is combination of sculpture and painting; in an attempt to
inject a perfect shape of colour onto another I began cutting and folding. Recently I have used my body to interact
with the installations, blurring the line between viewer, the artwork, the space and the artist.
Â
On the intellectual:
I am not an intellectual. To attempt to reference intellectual ideas within my artistic practise would destroy it. I am
simply a pedestrian. I know that everything is informative, even when you are not paying attention. Wondering with
eyes wide open, creating a catalogue that I consciously and unconsciously reference as I work.
Â
Rather than writing, most of my research is done through photography. I photograph visual representations of my
thoughts, and look deeper into them through further recreation and photographs. Although I appreciate the art of
writing I have always struggled to acceept the idea that written language is the most recognised communication for
visual practises. These ideas came to light when I had to write my bachelor thesis. It was difficult for me to
comprehend writing a text about art, a practice that is from another dimension than that of explanation. In the text I
challenge the value placed on intellect within the art world.
Â
Notes:
1
Artwork 1 Title: unlyke, but your squares will forever tickle my eye
Artwork 1 Medium: oil and acrylic on canvas and plywood
Artwork 1 Image:
2
Artwork 2 Title: you have reached the edge, you have forgotten to begin
Artwork 2 Dimensions: 77x 70
Artwork 2 Medium: oil on Fabriano 200gsm paper
Artwork 2 Image:
3
Catalogue2 ID1135
Artist ID: 1135
Artist Name: Tony Griffin

Website: tonygriffin.co.uk
IG: tonygriffinartist
Artist Statement: As a figurative artist, my work explores the age old question of "what it is to be human."
I have a strong appreciation of the physical form, huge respect of our capacity for endurance and am intruiged by
the mystical aspect of our nature.
Notes:
1
Artwork 1 Title: Ancestor
Artwork 1 Medium: mixed media on canvas mounted on board
Artwork 1 Image:
2
Artwork 2 Title: Seeing
Artwork 2 Medium: mixed media on canvas mounted on board
Artwork 2 Image:
3
Catalogue2 ID1138
Artist ID: 1138
Artist Name: Ryoko Hamaguchi

Website:
IG:
Artist Statement: Medical illustrations not only give shape and color to physiology and pathology, but also expresses
the humanity of illness that is too often muted in the technical language of medicine. As a medical student and self-
taught artist, Ryoko Hamaguchi has been drawing and painting since childhood, primarily producing works in
watercolor and ink while exploring other mediums such as graphite, charcoal and digital illustration. She began to
explore the intersection of art and medicine during her undergraduate career at Stanford University, where she
pursued an honors distinction in the interdisciplinary arts through a collection of pieces situated around the themes
of the human body and illnessâ€”some weaving a visual narrative of disease through paintings of patients, others
drawing inspiration from her basic science research in cardiovascular regenerative medicine. Currently preparing for
a combined career in plastic and reconstructive surgery, art and medical education, she strives to harness her work
toward creating common spaces of discussion, where individuals from all niches of patient care may glean novel
perspectives that broaden their understanding of illness and healing.
Notes:
1
Artwork 1 Title: Chambers
Artwork 1 Dimensions: 51cmx41cm (each panel 25.4cmx 20.32cm)
Artwork 1 Medium: Watercolor and ink on paper
Artwork 1 Commentary: â€œChambersâ€• is a collection of four renditions of the four chambers of the human
heart, highlighting the intricacies of its microscopic and gross anatomy. Featuring a whimsical cameo appearance of
the artist's research thesis in cardiovascular research and an experimental use of tracing paper in creating the
illusion of depth, this piece is a figurative and literal representation of the intersection of art and medicine, which
has since become the artist's lifelong creative focus.
Artwork 1 Image:
2
Artwork 2 Title: Sunflower Brigade
Artwork 2 Medium: Watercolor and ink on paper
Artwork 2 Commentary: In â€œSunflower Brigade,â€• the patientâ€™s portrait is overlaid with the her own visual
representations of their illness narrative (in this case, her grueling yet transformative journey through a chronic
malignancy), also depicted on opaque tracing paperâ€”curating the human nuances of the illness experience while
also grappling with the â€œlayersâ€• of interpretation, abbreviation and medicalization that can shroud the
patientâ€™s true narrative.
Artwork 2 Image:
3
4
Catalogue2 ID1140
Artist ID: 1140
Artist Name: Zbigniew Nowak

Website:
IG:
Artist Statement: Zbigniew Nowak

Graduated from Academy of Fine Arts in Cracow, Poland, Faculty of Painting, 1985
Fields of artistic activity: painting, drawing, applied arts.
I go on with my narrative from human daily life with image as Pop-art film frames. Also playing with colours as
emotional carrier it is essence of my artistic activity.
Notes:
1
Artwork 1 Title: no title
Artwork 1 Dimensions: 120 x 100 cm.
Artwork 1 Medium: acrylic colours on fibreboard
Artwork 1 Commentary: I quite often in my pictures extend to theme where she-man, he-man in relationship with
himself, somebody else or just with any kind of prosaic objects are hero of narration. Sometimes depiction from
interesting film become inspiration.
I create my pictures in respect of form; starting from streamline drawing, later on is colourway with flat spots.
Looking for appropriate tonality, colours saturation, right in picture, it poses essence of my artistic activity. By
playing with colours and with line of contour I decide to catch attention the viewers and communicate them some
emotions.
Artwork 1 Image:
2
3
Artwork 2 Title: no title
Artwork 2 Dimensions: 120 x 100 cm.
Artwork 2 Medium: acrylic colours on fibreboard
Artwork 2 Commentary: I quite often in my pictures extend to theme where she-man, he-man in relationship with
himself, somebody else or just with any kind of prosaic objects are hero of narration. Sometimes depiction from
interesting film become inspiration.
I create my pictures in respect of form; starting from streamline drawing, later on is colourway with flat spots.
Looking for appropriate tonality, colours saturation, right in picture, it poses essence of my artistic activity. By
playing with colours and with line of contour I decide to catch attention the viewers and communicate them some
emotions.
Artwork 2 Image:
4
5
Catalogue2 ID1141
Artist ID: 1141
Artist Name: Georgia Lindow

Website:
IG:
Artist Statement: Frantically built and desperately crafted; loose threads, half hammered nails, frayed edges and
splintered wood â€“ my work emits an air of frenzy.
By using unexpected materials I attempt to force the audience to consider new and potentially unknown territories. I
like to take things not normally exhibited â€“ such as the contents of oneâ€™s pockets â€“ and put it on display, or
use materials that elicit an immediate emotional response from the audience â€“ such as soft toys.
In my current practise I take parts of soft toys and arrange them with other objects, or found materials, to create a
sense of discomfort and dysfunction. This could be sewing sections of different animals together to create a new
object, stuffing an almost whole animal with found materials or mounting sections onto a plank of wood. As well as
dismembering these toys, I also like to play with ideas of separation, I began by photocopying a combination of
animals and found objects, then moved into the 3rd dimension, generating pieces where the audience is physically
separated from the animals.
With each piece that I make I attempt to further explore why people find these inanimate objects so emotive, even
(perhaps especially) in adulthood, and why I myself was so reluctant to let go of this staple of childhood.
Notes:
1
Artwork 1 Title: Empty Your Pockets
Artwork 1 Medium: Found Objects/Materials
Artwork 1 Commentary: A small rabbit stuffed with rubbish, perches atop a crudely constructed wooden structure.
Empty Your Pockets is â€“ at its heart â€“ a piece about intimacy. The intimacy of the toy that lives in a bedroom,
and the intimacy of that which lives in your pockets. It takes something close to you, something normally hidden
away that only you touch and puts it on display, spilling out of the stuffed bunny. The jagged edges of the rubbish
contrast with the soft fur and toy stuffing it has replaced. The filter packet and condom are very objects that you
typically associate with adulthood, shoved inside what is typically a childâ€™s possession. This combines to make an
object that is at odds with itself and its environment, itâ€™s self-conscious and becomes awkward to view. It aims to
provoke uncomfortable emotion and prompt questions of the viewer.
Artwork 1 Image:
2
3
Artwork 2 Title: Spread-Eagle
Artwork 2 Medium: Found Materials/Objects, Wood, Paper, Thread
Artwork 2 Commentary: The front half of a stuffed tiger protrudes from a plank of wood jutting out of a crassly
constructed wooden frame, an explosion of toy stuffing and thread billows out behind it, stretching sideways
towards the edges of the frame. The planks that make up the frame are aged and well used, just as the tiger is,
slightly jagged with nails and rusty screws sticking out, immediately giving the work an uncomfortable feel. Mounted
on the wall at eye level, the tiger stares directly at the viewer almost accusingly. One of the front legs is detached
from the rest of the torso, dangling limply from the board, it gives the tiger an almost forlorn feel. The toy is worn
and discoloured, implying it was once well loved, but it has been left behind, and torn in half. The jagged edges
where the toy has been ripped apart imply a sense of violence in its creation, almost as though an attempt has been
made to reject and â€“ to an extent â€“ destroy the past. With this piece I aim to showcase an inner turmoil - the
confrontational nature of the accusatory eye contact, versus the dejected stance and ragged texture of the tiger. By
showcasing this, I hope to force the viewer to think introspectively about their own experiences and relationship
with their childhood.
Artwork 2 Image:
4
5
Catalogue2 ID1143
Artist ID: 1143
Artist Name: Danny Fitzpatrick

Website: dannyfitzpatrickart.com
IG: @dannylfitzpatrick
Artist Statement: Iâ€™m a figurative painter who has always been fascinated by the mysterious quality of human
skin to reveal subtle, fleeting colours and textures reflected by changes in light and the unique properties of paint to
render the tangible realities of human flesh. My work examines mortality, masculinity and the vulnerability of our
bodies as they age and deteriorate, and how engaging with the surface reality can allow the artist to reveal the rich
interior world of the sitter. Iâ€™m particularly drawn to older faces; mapping the terrain of their lifetimeâ€™s
experience through their sinewy lines and wrinkles, utilising the endlessly expressive possibilities of oil to explore the
imperfections and fragility of the human body, often juxtaposed with the sitter's outwardly tough, defiant
countenance. Most of my recent paintings are intensely personal, expressive portraits of family members imbued
with quiet dramatic tension, weighted with an accumulation of years of knowledge and familiarity, vibrating invisibly
but palpably between the artist and the portrait sitter.
Much of my latest figurative painting examines the frailty of the human body and the aging process; how the slow
deterioration of skin and organs can mirror the decay of the mind. My own family tree has been an important
resource and starting point for my work, using my grandfather, father, nephews, myself and other family members
and relatives to explore the history and hereditary nature of dementia, Alzheimerâ€™s and autism prevalent in my
lineage.
Notes:
1
Artwork 1 Title: James with black eye
Artwork 1 Dimensions: 16 X 20 X 1 inch
Artwork 1 Image:
2
Artwork 2 Title: The Boxer
Artwork 2 Image:
3
Catalogue2 ID1144
Artist ID: 1144
Artist Name: Aimee Curran

Website: https://aimeecurran.wixsite.com/portfolio
IG: https://www.instagram.com/advntrs_la/
Artist Statement: Growing up in San Francisco, my mother raised me on museum visits and gallery openings,
constantly exposing me to a wide spectrum of art and creativity.
I moved to Los Angeles to pursue a career in entertainment, but recently gave up my editorial career to focus on
production design and building assemblage sculptures.
Telling stories through objects most see as trash is a challenging and rewarding medium and aspire to have a sliver of
success that my biggest inspiration Robert Rauschenberg had.
Notes:
1
Artwork 1 Title: Consequence
Artwork 1 Dimensions: 60.96HX22.86WX16.51D
Artwork 1 Medium: Assemblage
Artwork 1 Image:
2
Artwork 2 Title: Combine 1
Artwork 2 Dimensions: 40.64HX5.08WX1.27D
Artwork 2 Image:
3
Catalogue2 ID1147
Artist ID: 1147
Artist Name: Oleksandr Bashynskyi

Website:
IG: baszynski_sasha
Artist Statement: Sasha Baszynski

Born in 1993, I live and study in Wroclaw. I graduated (MA) Painting at the Academy of Fine Arts in Kiev. Presently, I
continue studies in Wroclaw. In 2016 I participated in the project "Loving Vincent" as a painter animator.
I often paint based on materials presenting already processed reality: photographs, files from the Internet, memory
,imagination. I gladly operates synthetic acronym, reduces to a simple painted shapes - graphic signs. On my
paintings appear cadres stopped on the canvas as a stop-frame film, narrative fragments devoid of context, which
folded together could create an epic story of our time. The pretext for painting a picture can be a single detail or an
important event. I draw inspiration from the realism, abstraction, minimalism, and even surrealism.
Notes:
1
Artwork 1 Title: The Lake house
Artwork 1 Dimensions: 140/140
Artwork 1 Image:
2
Artwork 2 Title: Give birth
Artwork 2 Dimensions: 100/100
Artwork 2 Image:
3
Catalogue2 ID1148
Artist ID: 1148
Artist Name: Natalie Chapman

Website: www.nataliechapmanart.com
IG:
Artist Statement: My history my past and my present. I paint portraits that engage with family identity and issues
based around dysfunctional relationships and social documentary. I am influenced by the work of photographers
Richard Billingham and Nan Golding, and have similarly focused on spontanious snapshot compositions, saturated
colour space and incidental objects in order to set the scene of everyday life.
I have returned to the same old childhood photographes, to re-arrange my memories and work through family
history and its daily struggle. I want my work to seduce the viewer into contemplating ambiguous tension, a sence of
emptiness, boredome and anxiety.
My process involves capyuring memories using small collages of family portraits with interior scenes recalled from
childhood. These studies are then scaled up on large canvases to create presence and identify personal stories using
gritty expression and garish colour. I want to create images about human relationships that are simultaniously
tender and dysfunctional.
Notes:
1
Artwork 1 Title: kitchen daze
Artwork 1 Dimensions: 100 sq
Artwork 1 Image:
2
Artwork 2 Title: coffee mourning
Artwork 2 Dimensions: 122 sq
Artwork 2 Image:
3
Catalogue2 ID1149
Artist ID: 1149
Artist Name: Gem Burnett

Website: https://www.gemburnett.art/
IG:
Artist Statement: Gems works are all mixed media ranging from spray paint to acrylic with a vibrant colour palette.
Her current subject focus is on jewellery and the high glamour outer surface that it conveys, mixed with the
sometimes ugly and humorous side taking inspiration from her past/current jobs and conversations. Interested in
the relationship people have with jewellery and the message that they portray, Gem tries to showcase this in her
work with a added touch of humour.
Notes:
1
Artwork 1 Title: 'she only has a 1ct'
Artwork 1 Medium: spraypaint,acrylic,pencil,pen on canvas
Artwork 1 Image:
2
Artwork 2 Title: thumb rings are a no darling
Artwork 2 Medium: spraypaint,acrylic,pencil,pen on canvas
Artwork 2 Image:
3
Catalogue2 ID1151
Artist ID: 1151
Artist Name: Hieu Le Huu

Website:
IG: www.facebook.com/Contemporaryartvn
Artist Statement:
Notes:
1
Artwork 1 Title: Migration
Artwork 1 Dimensions: H230cmxW120cmXD350cm
Artwork 1 Medium: Mix Media on gain bag & steel
Artwork 1 Commentary: commentary in the attached photo
Artwork 1 Image:
2
Artwork 2 Title: 0
Artwork 2 Medium: 0
Artwork 2 Image:
3
Catalogue2 ID1152
Artist ID: 1152
Artist Name: Emanuel Eichler

Website: www.eeichler.de
IG:
Artist Statement: Emanuel Eichler is a young artist (30) focusing mainly on abstract painting. He lives and works in
Zurich, Switzerland.
He has found his way to painting during his leucemia therapy, which was diagnosed in 2016. Within the last two
years he has been continously developing his style further by painting several hours almost every day.
As he always said: "The way to improve your style is to paint. If that doesnt work, paint more."
As an autodidact he gets his inspiration of the artwork of temporary artists, as well as from well known painters. His
favorite artists are Franz Marc, Wassily Kandinsky and Gerhard Richter.
Emanuel Eichler paints acrylic on canvas, preferrably on large squares. In his works he deals with the topic of
contrasts and tension regarding to colors, objects and techniques. His aim is to create viewers attraction by leaving
interesting details in his paintings behind, which make joy while discovering and make thought when interpretating
it.
Notes:
1
Artwork 1 Title: Prometheus
Artwork 1 Image:
2
Artwork 2 Title: Pan
Artwork 2 Image:
3
Catalogue2 ID1153
Artist ID: 1153
Artist Name: Alex Cave

Website: https://www.alexcave.com/
IG:
Artist Statement: These canopy series paintings explore an ongoing interest in depth,composition,lighting and
mathematics.They are intended to appear as if they are constructed from different types of folded paper, some parts
containing colour and pattern and other areas being made from translucent materials to allow the effects of light to
diffuse through the work.
Notes:
1
Artwork 1 Title: Canopy series blue 01
Artwork 1 Medium: Acrylic and pen on canvas
Artwork 1 Image:
2
Artwork 2 Title: 2018 Canopy series blue 02
Artwork 2 Medium: Acrylic and pen on canvas
Artwork 2 Image:
3
Catalogue2 ID1154
Artist ID: 1154
Artist Name: Filip Blommaert

Website: www.lemurvision.com
IG: Lemurvision
Artist Statement:
Notes:
1
Artwork 1 Title: Lapland on fire
Artwork 1 Medium: Drone photography
Artwork 1 Image:
2
Artwork 2 Title: Ali, Ranger at the Virunga national park, Cong
Artwork 2 Image:
3
Catalogue2 ID1155
Artist ID: 1155
Artist Name: Danciu Adina

Website:
IG:
https://www.instagram.com/danciu_giurgiu_adina/?fbclid=IwAR1SCTv3cNIcuTfo1fzihwve0Ku1SUWyEskqxzWujlSaIt
Pp68afaHACiCI
Artist Statement: I am an contemporary Romanian artist from Brasov born in 1980.

I most like working in oil on canvas but I also work with pastel and charcoal on paper.
Notes:
1
Artwork 1 Title: LAST MOMENT
Artwork 1 Image:
2
Artwork 2 Title: EAVNING'S BREATH
Artwork 2 Image:
3
Catalogue2 ID1157
Artist ID: 1157
Artist Name: Lucy Morris

Website:
IG: lucymorrisillustration
Artist Statement: The inspiration for my illustrations comes from the beautiful scenery, food, and smells of my
summers. I express these elements of travel in the colour and lighting choices I make. I want people to get a sense of
the place and to see the narrative in each image. I work with water colour pencils as I love the waxy texture and
variation of line thickness. I then use colour ink to create the washes.
Notes:
1
Artwork 1 Title: Taking a Photo
Artwork 1 Medium: Watercolour Pencils and Ink
Artwork 1 Image:
2
Artwork 2 Title: Agia Effimia Port
Artwork 2 Medium: Watercolour Pencils and Ink
Artwork 2 Image:
3
Catalogue2 ID1158
Artist ID: 1158
Artist Name: Oscar Fouz Lopez

Website: www.oscarfouzlopez.com
IG:
Artist Statement: Lopez's work is influenced by mythological stories which provide him with a combination of real
historical facts, metaphors and philosophical teachings to draw from. According to Carl Jung, myths are embedded in
the human psyche in the form of archetypes. Lopez's paintings focus on the Hero archetype that endures personal
challenges, which acts as a metaphor for self improvement.
Lopez tries to understand these kinds of writings within a contemporary frame, and questions to what extent they
are still meaningful in the 21st Century. His paintings explore personalities and interactions between characters.
Lopez understands that real connection between people could be seen as one of the challenges facing today's Hero
archetype; a figure who can exist in various shapes and colours. The compositions are infused with uneasiness and
anticipation, and at times it seems that something crucial is just about to happen. In these awkward and humorous
scenarios, the characters also seem to find it difficult to make connections among themselves. Lopez's characters
play out the Hero archetype in a world that is a reflection of our own culture.
Notes:
1
Artwork 1 Title: I have a good hand
Artwork 1 Image:
2
Artwork 2 Title: Sap sample
Artwork 2 Dimensions: 91x86.5cm
Artwork 2 Image:
3
Catalogue2 ID1159
Artist ID: 1159
Artist Name: Silvia Schuergers

Website: silviaghiaur.com
IG: @silviaforrealart
Artist Statement:
Notes:
1
Artwork 1 Title: Selfportrait
Artwork 1 Medium: Acryl on canvas
Artwork 1 Image:
2
Artwork 2 Title: Selfportrait
Artwork 2 Medium: Acryl on canvas
Artwork 2 Image:
3
Catalogue2 ID1160
Artist ID: 1160
Artist Name: Daniel Wirths

Website: https://www.saatchiart.com/zeee
IG:
Artist Statement:
Notes:
1
Artwork 1 Title: Blind Faith- Twist flux Infraduction
Artwork 1 Dimensions: 3000cmx3000cmx
Artwork 1 Medium: light tubes,bamboo,light ladder
Artwork 1 Commentary: This is a flux of lights moving in a mexican wave of an abstract replication too a particle
accelerator of great forces frusting through bamboo & bisymetrical parallel multi-universal collidoscopic light
creating after glowing fluxes in patterns & time delayed spaces to paths present & fading transmutant journeys in
time.
Artwork 1 Image:
2
Artwork 2 Title: Wave of Equilibrium
Artwork 2 Medium: Bronze patinated on top half
Artwork 2 Image:
3
Catalogue2 ID1161
Artist ID: 1161
Artist Name: Yunah Seo

Website:
IG: https://instagram.com/yunah.seo/
Artist Statement: I use all types of media and materials to make paintings, sculptures and installations. I am inspired
by my self-religious meditation to see hidden metaphors beyond physical phenomenon. In my current paintings,
most are modelled by one figure: my husband. Although I am painting the portrait of one person, the process causes
me to encounter surreal strangers and different persona that I do not expect. Every decision regarding colours, lines,
shapes and space brings me to discover somewhere else. They are presented in the form of not only my husband but
also an unknown woman or new narratives that surprise me. Who are they? Where are they from? It feels like when
I investigate one human being deeper, it could connect with others like a bridge to change my views to be connected
with new experiences. In addition, I try to picture spiritual portraits from the inside out, so figures are fluid and
expressional. I believe this is an early stage to develop my practice to analyse why I keep doing it in this way. I am
excited to see what the next stage could be. On the other hand, I also paint my husband by natural feeling, such as
the â€˜Babo seriesâ€™, because he inspires me in love.
Notes:
1
Artwork 1 Title: A man under the light.
Artwork 1 Medium: Oil pastel, oil painting, charcoal on canvas.
Artwork 1 Image:
2
Artwork 2 Title: A woman who is in a blue jumper
Artwork 2 Medium: 0
Artwork 2 Image:
3
Catalogue2 ID1163
Artist ID: 1163
Artist Name: Josie Laidman

Website:
IG: @j.laidman
Artist Statement: I have loved art, and I have loved portraiture in particular, because of how much small
manipulations to a piece can have a very dramatic effect on the perception of the piece of work, and of the person
portrayed. I currently use digital technology to create my artwork because my day job involves moving from court
room to court room across the country. My current works explore this manipulation in the form of colour. I love to
use bold colours and leave lines of colour throughout portraits to explore the impact that has on the subject. Each
piece I create has subtle undertones of continuity in the base colour, or colour theme given to it. But at the same
time, the subject is brought to life, is made more real and relatable by the brazen and intrusive use of colours that
perhaps should be seen nowhere near the skin tone of the subject. The un-subtlety of the contrast between light
and shadow in my portraits is intended to create a stronger atmosphere, drawing the viewer in to making particular
assumptions about the subject. This is my aim, at least.
Notes:
1
Artwork 1 Title: The Modern Pearl Earring
Artwork 1 Medium: Digital painting
Artwork 1 Image:
2
Artwork 2 Title: The Empty Quarter
Artwork 2 Medium: 0
Artwork 2 Image:
3
Catalogue2 ID1165
Artist ID: 1165
Artist Name: Jingze Du

Website: www.dujingze.com
IG: @kooqy
Artist Statement:
Notes:
1
Artwork 1 Title: Hans and Klaus
Artwork 1 Image:
2
Artwork 2 Title: Care
Artwork 2 Image:
3
Catalogue2 ID1166
Artist ID: 1166
Artist Name: Yelena Safronova

Website:
IG: @yelena_e_safronova
Artist Statement: Iâ€™m intrigued by the contrasts of how people look and how we perceive and remember each
other. These two portraits are part of a series of my observations of people in conversation, what the conversations
were about, and how it felt to be in that company. The results are distorted faces, but I take care to preserve the
likeness of the features. If you meet these people in life, I hope youâ€™ll first recognize the personality.
Notes:
1
Artwork 1 Title: A Dream
Artwork 1 Dimensions: 76 cm tall x 56 cm wide x 2.5 cm deep
Artwork 1 Image:
2
Artwork 2 Title: Sometimes you have to be your own sunshine
Artwork 2 Dimensions: 51 cm tall x 40.5 cm wide x 2.5 cm deep
Artwork 2 Image:
3
Catalogue2 ID1167
Artist ID: 1167
Artist Name: Lauren Collier

Website:
IG: @laurencollierprint
Artist Statement: Lauren Collier is a London based Artist, graduating with a BA(Hons) in Printmaking from the
University of Brighton in 2018 and currently undertaking an MA in Printmaking at Camberwell College of Arts.
Laurenâ€™s prints explore the materiality of space and the ways in which perception of place may be altered
through disrupted imagery. Using hybrid halftone processes, the work aims to sit between the analogue and the
digital, combining photography with traditional linocut. This linear distortion serving as both referent and abstract,
the reading of a seemingly static image can be altered by the distance of the viewer. Lauren has exhibited across the
UK and Europe, recently including the National Original Print Exhibition and the upcoming Haugesund International
Festival of Artistic Relief Printing in Norway.
Notes:
1
Artwork 1 Dimensions: 60X40CM
Artwork 1 Medium: Linocut
Artwork 1 Image:
2
Artwork 2 Dimensions: 30X25CM
Artwork 2 Medium: Linocut
Artwork 2 Image:
3
Catalogue2 ID1169
Artist ID: 1169
Artist Name: Alix Mair Cragg

Website:
IG:
Artist Statement: My whole life could be seen as a series of excuses. Paralysed and blinded by the dark, I remained
too scared to put the light on. But when unforeseen circumstances thrust me from my comfort zone last year, I feel
that I was finally able, as clichÃ©d as it sounds, to step into the open, and to express myself proudly and honestly.
Now that I am finally appreciating my work as an artist, I value this opportunity to share my art more than ever
before; I am ready to face whatever life has to offer and look forward to showing my work.
Notes:
1
Artwork 1 Title: Locked Out
Artwork 1 Image:
2
Artwork 2 Title: The Man in My Eye
Artwork 2 Medium: Ink on Canvas
Artwork 2 Commentary: Of late I have been aware of a persistent, recurring and very strong image in, what I can
only describe as, my mind's eye. Strangely enough it turns out that I had been suffering a series of mini strokes that
affected my right eye but which amounted to a very serious warning of imminent major stroke. A week later I had
major surgery to unblock my jugular. This has all happened in the last six weeks and I am still reeling from the
experience and the knowledge that I have to undertake huge lifestyle changes in order to live. About that little figure
whose presence served to warn me of impending disaster by messing with my vision very briefly on four occasions; I
feel only gratitude and a strong desire to put the image on canvas in the best way I could.
Artwork 2 Image:
3
4
Catalogue2 ID1174
Artist ID: 1174
Artist Name: Sabrina Shah

Website:
IG:
Artist Statement: The environment my paintings portray is inhabited by groups of animal-faced anthropomorphic
figures who are unique in appearance â€“ composites of animal/human parts. They donâ€™t quite fit. Offering a
comment on intolerance of mistakes/imperfections in contemporary life.
The environmental atmospheric tension within the work is heightened through the composition as the group is
pressed together; in close and uncomfortable proximity. The figures don masks.
As a group looking at the viewer, their collective stare produces a combative adversarial air of confrontation. As if
caught in a moment of mischief, seemly aware that they are being judged. Theyâ€™re not happy at the thought of
this prospect and its potential conclusion.
My use of masks/composite figures evokes ideas of undecided value. This notion is informed by sociologist Erving
Goffmanâ€™s idea of the performed self: the multiple roles we act out depending on our situation and the masks we
wear.
Another key influence is theatre; the experiences captured in my practice are often reimagined through the prism of
theatrical performance.
Importantly, given my experiences of the last year, the point of creation for my work is very often memory of a
personal experience. I initially document this through photography and drawing, and then build up the painting. By
layering, reworking and repainting I often discover surprising marks and gestures. My painting responds not only to
dialogue and character, but also the stage space and how the characters interact with these spaces. In the future,
Iâ€™d like my work to engage further with performance and the performativity of art. My latest works build on
these concerns in new ways, focusing on the masked human figure and the role of the mask in relation to the inner
child. Iâ€™m increasingly working with more complex compositions, involving wider ranges of
forms/figures/interactions and bigger spaces that emphasise the workâ€™s theatricality.
I am interested in contrasts, in acceptance and knowing when to stick your neck out like a turtle. Indeed, I think it is
motivation to continue after making mistakes that is key to success and progress. I would like to educate and
represent women, to help in ways that can inspire. I like to explore this and find answers through painting.
Notes:
1
Artwork 1 Title: Owl and the Pussy Cat
Artwork 1 Medium: Acrylic and oil on canvas
Artwork 1 Image:
2
Artwork 2 Title: Sandwiched
Artwork 2 Image:
3
Catalogue2 ID1175
Artist ID: 1175
Artist Name: Kate Walker

Website:
IG:
Artist Statement: Kate Walker is a naive artist, born in 1977 in Mottram in Longdendale former home of L.S. Lowry.
I depict largely, often in skilled detail, with people, animals and other aspects of the observed world, sometimes
combined with fantasy images.
I believe this creative expression forms awareness to seek out individuality, both in appearance and directness of
expression, bringing together visual creation at its purest
Notes:
1
Artwork 1 Title: Comedy Genius
Artwork 1 Medium: Ink
Artwork 1 Image:
2
Artwork 2 Title: Maypole
Artwork 2 Medium: Ink
Artwork 2 Image:
3
Catalogue2 ID1176
Artist ID: 1176
Artist Name: Nick Johnson

Website:
IG:
Artist Statement: Finding a vehicle to carry the colour forward has been and continues to be part of the journey.
How to treat the substance of paint and interplay of colour to gain a visual voice and state of mind that can structure
a dialogue and expand a range of unpredictable possibilities? To find a form of language that others are hopefully
able to translate and engage with.
I am currently creating simple matrix grid systems to orchestrate, construct, compose, deconstruct and fragment.
This enables elements of risk and chance to unfold, rather like playing some kind of bizarre game, and structures an
improvised off the grid framework of colour and space that fits where it falls in a non-tech haphazard manner.
The studio process is to set up an evolving scenario of problems and solutions, which amplify and orchestrate the
strands and grids of colour into some form of sense or nonsense. They feel at times like a psycho kind of formalism,
born of frustration and unease. Making pictures has never been easy or lacking in tension and I am not sure it ever
should be.
There is a constant need to find the resources to activate and transform everyday visual phenomena and the hum
drum stuff we see and experience. There is usually no obvious reason or idea as to why, just that there is both the
need and the itch to do it! To create something which conveys potential for the next, is generally the game.
Notes:
1
Artwork 1 Title: Lockdown
Artwork 1 Image:
2
Artwork 2 Title: Wired Red
Artwork 2 Dimensions: 63cm x 60 cm x 2cm
Artwork 2 Image:
3
Catalogue2 ID1181
Artist ID: 1181
Artist Name: Tony Berkman

Website:
IG:
Artist Statement: My art is concerned predominately with colour, light and movement and is inspired through a wide
range of life experiences including travel and the natural world. I enjoy the spontaneity of painting in abstract form
and consider each painting to be a journey and exploration of the past and present and a chapter in an ongoing story
which has no ending yet numerous beginnings.
Notes:
1
Artwork 1 Title: Spring Morning
Artwork 1 Medium: Acrylic on canvas with texture
Artwork 1 Image:
2
Artwork 2 Title: Spring Afternoon
Artwork 2 Medium: Acrylic on canvas with texture
Artwork 2 Image:
3
Catalogue2 ID1182
Artist ID: 1182
Artist Name: Reem Alyahya

Website:
IG:
Artist Statement:
Notes:
1
Artwork 1 Title: The best place
Artwork 1 Medium: Medium
Artwork 1 Image:
2
Artwork 2 Title: In another time
Artwork 2 Medium: Mudium
Artwork 2 Image:
3
Catalogue2 ID1183
Artist ID: 1183
Artist Name: Caroline Chambers

Website:
IG:
Artist Statement:
Notes:
1
Artwork 1 Title: In Love
Artwork 1 Dimensions: 73x56x1cm framed
Artwork 1 Image:
2
Artwork 2 Title: Together
Artwork 2 Image:

AEAP2019 All Entries Catalogue 4B

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AEAP2019 All Entries Catalogue 4B

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Private & Confidential:

Document Owner/Originator: Conrad Carvalho

Artist Name: Jolene Liam

Artist Name: Zheni Warner

Artist Name: Sara Bantran

Artist Name: Katie Mcguire

Artist Name: Warren King

Artist Name: Vanessa Freitag

Artist Name: Elena Helfrecht

Artist Name: Yuting Cai

Artist Name: Christophe Denoux

Artist Name: Chris Shaw Hughes

Artist Name: Nadja Ellinger

Artist Name: Malcolm Koch

Artist Name: Stella Kapezanou

Artist Name: Maud Whatley

Artist Name: Steve Chapman

Steve is at his best when he doesn't quite know what he is doing.

This piece was recently exhibited in Guildford.

Artist Name: Orsina Pasargiklian

Artist Name: Glynis Lamond

Artist Name: Tom Voyce

Artist Name: Lesley Hilling

Artist Name: Hiroko Lewis

Artist Name: Caroline Hiron

Artist Name: Charlie Hawksfield

Artist Name: Kate Kelly

Artist Name: Albeiro R. Tomedes

Artist Name: Sarah Spencer

Artist Name: Conor Collins

Once I had finished itâ€¦ I was free again.

Artist Name: Rachel Arif

Artist Statement: Rachel Arif Fine Art

Artist Name: Nadav Drukker

Artist Name: Melissa Wraxall

Artist Name: Secil Erel

Artist Name: Michael Cole

Artist Name: Jenna Brady

Artist Name: Tom Beardwell

Artist Name: Chiho Iwase

Artist Name: Laura Cowley

Artist Name: Valeria Abendroth

Link to the video on WeTransfer:

Link to the video on my webpage:

Link to the video on vimeo:

Artist Name: Poppy Briggs

Artist Name: Beatriz Arteaga

Artist Statement: (digitalmedia, digitalart)

Artist Name: Molly Brocklehurst

Artist Name: Carly Englander

Artist Name: Sarah Core

Artist Name: Miles Johnson

Artist Name: Askild Winkelmann

Introduction to the Video Installation:

Just in case here are the links to the Videos:

To see all three videos:

Artist Name: Jack Coleman

Artist Name: Megan Preston Elliott

New Media Award:

Artist Name: Helen Withington

Artist Statement: The narrative of night-time

My process begins with an idea

The insomniac's point of view:

Artist Name: Hassan Vawda

Artist Name: Christina Marshall

Artist Name: Adam Razvi