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EXHIBITION DATES : Online from 1/8/22
INTRODUCTION :
‘Lughnasadh’ is the eighth and final incarnation in an evolving series of Anima Mundi online mixed exhibitions following this rhythm of the seasons, known as ‘the wheel of the year’. This ‘calendar’ provides a cue for the duration of each show, and inevitably flavours the selection of works presented.
In many traditions, time is considered to be cyclical rather than straight line. Perceived as a perpetual cycle of growth and retreat tied to the Sun’s annual death and rebirth. This cycle is also viewed as a micro and macrocosm of broader life cycles in an immeasurable series of rotations composing the Universe. The days that fall on the landmarks of the yearly cycle traditionally mark the beginnings and middle-points of the four seasons.
The exhibition includes artworks by (in order of appearance) :
Tim Shaw, David Kim Whittaker, David Cooper, Paul Benney, Carlos Zapata, Henry Hussey, Arthur Lanyon, Miles Cleveland Goodwin, Andrew Hardwick, Sax Impey, Gabrielle K Brown, Luke Frost, Efrat Merin, Jim Carter, Chris Anthem, Kate Clark, Marianne Walker, Sam Lock, Faye Eleanor Woods, Jackson Whitefield, Laurence Edwards, Katie Sims, Massimo Angei, Judith Nangala Crispin, Roger Thorp, Simone Pellegrini, Dr Martin Shaw, Alastair & Fleur Mackie, Alice Ellis Bray, Marie Claire Hamon, Rebecca Harper, Lisa Wright, Andrew Litten, Spencer Shakespear, Sam Bassett, Claire Curneen, Phoebe Cummings, Joy Wolfenden Brown, Luke Hannam, Andy Harper.
ONLINE CATALOGUE :
“For many generations… they obeyed the laws and loved the divine to which they were akin…they reckoned that qualities of character were far more important than their present prosperity. So they bore the burden of their wealth and possessions lightly, and did not let their high standard of living intoxicate them or make them lose their self-control… But when the divine element in them became weakened… and their human traits became predominant, they ceased to be able to carry their prosperity with moderation.”
EXHIBITION ARTWORKS :
click on images for caption information, scale view, zoom function and artist biographies
Featured
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Artist : Tim Shaw
Title : Man on Fire (Working Model)
Medium : bronze (edition of 9)
Dimensions : 38 x 40 x 25 cm
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The Imperial War Museums have acquired Tim Shaw’s monumental sculpture ‘Man On Fire’ to be permanently installed at the Imperial War Museum North in front of the museum’s Libeskind building. The work, cast into bronze, was unveiled in July 2023.
‘Man On Fire’ was originally conceived in response to the US-led invasion of Iraq. Larger than life in scale at 4 x 4 x 2.5 m, it captures the horrific moments of a figure on fire, caught in conflict. The sculpture is a powerful image of contemporary conflict and compassionately relates to the human cost of war. Originally shaped by photographs of a soldier diving for his life from a burning armoured vehicle during a riot in Basra, Iraq 2005, ‘Man on Fire’ bears witness to the universal horror of war. War is time old, and conflict does not discriminate between gender, age or country. Russia’s brutal invasion of Ukraine, testifies to the fact that we continually repeat the same tragic mistakes.
Shaw is a British artist, born in Belfast, he currently lives in Cornwall. He was elected an Academician at The Royal Academy in 2013 and made a Fellow of The Royal British Society of Sculptors and a Fellow of Falmouth University the same year. Shaw has had a number of significant public solo exhibition throughout the UK, Ireland and internationally. He has undertaken a number of public commissions including ‘The Rites of Dionysus’ for The Eden Project, ‘The Minotaur’ for The Royal Opera House and ‘The Drummer’ for Lemon Quay, Truro. A more overtly political side to his work became evident through a number of sculptures responding to the issues of terrorism and conflict. ‘Tank on Fire’ was awarded the selectors prize at the inaugural Threadneedle Prize in 2008 and the installation ‘Casting a Dark Democracy’ was reviewed in 2008 by Jackie Wullschlager of The FT as ‘The most politically charged yet poetically resonant new work on show in London’. Shaw has been supported by the Kappatos Athens Art Residency, The Kenneth Armitage Foundation, The British School of Athens,The Delfina Studio Trust through residencies in Greece, Spain and a fellowship in London. Most recently as an Artist Fellow at the Kate Hamburger Centre for Advance Study in the Humanities of ‘Law and Culture’ In Bonn, Germany where he began work on ’The Birth of Breakdown Clown’ an existential sculptural work utilising sculpture, robotics and AI.
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Artist : David Kim Whittaker
Title : Yelena (Victim of War)
Medium : oil, acrylic, pencil, china marker, cloth, torn bible, vinyl, tissue on primed panel
Dimensions : 91 x 91 cm
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Yelena (Victim of War) is a multi-media portrait made of Yelena Bolyachenko. a woman who was badly wounded by a Russian missile strike as she drank tea in her kitchen in the Ukraine.
Most of David Kim Whittaker’s paintings are based upon a metaphysical interpretation of the human head. These portrait portals, are often ambiguous, with the aim of representing the totality of the human condition - both the universal and the empathetic alongside personal experience. The works often juggle dual states of inner and outer calm and conflict, offering a glimpse of simultaneous strength and fragility, conscious and subconscious, masculine and feminine. The paintings express Whittaker’s constant focus on an attempt to express with the compounding global tensions of this particlar moment. A dual reflection of hope and warning stares back at us from the frame.
Whittaker is a British artist born in Cornwall where they still reside. Exhibitions have been held internationally, notably including a major solo exhibition at the prestigious Fondazione Mudima in Milan in 2017. Works are in numerous museum collections, art foundations and international private collections. Whittaker was further acknowledged in 2011 as the recipient of the Towry Award (First Prize) at the National Open Art Competition.
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Artist : David Cooper
Title : War Hed (The Fallen)
Medium : bronze (edition of 3)
Dimensions : 26 cm height
“There are acts of terror that can’t be ignored or cleared from the mind. These ‘War Hed’s’ came about following Russia’s invasion of Ukraine. In this series destruction is the making. Clay, a simple medium from the ground, moulded with taped hands, and bitten, to sculpt the brutal yet fragile pieces. Biting the clay became symbolic of an act of unarmed survival.”
David Cooper’s work deals with disorder. His work is examined inside out, and outside in, through a series of unpremeditated and intuitive processes. The works inquire into a humanity that feels, fears and confronts restriction and control; a state of being often conducive to an abominable sense of desolation and fettered anxiety. These unknown (and unknowable) aspects of the human condition, driven by momentary absences of restraint, structure and control are embodied. Broken happenings, motivated by instinct, assemblage techniques and random thoughts, naivety and energy are exploited to sculpt the identity of these unfathomable aspects of human experience.
David Cooper was born in Wakefield, West Yorkshire in 1972. He currently lives and works in Suffolk. Cooper studied Fashion at John Moores University followed by an MA in Fashion Design at Central Saint Martins where he went on to become lead designer and head of menswear at Alexander McQueen. More recently Cooper attended Fine Art summer school at the Slade School of Fine Art in 2008. Works have been exhibited extensively in the UK.
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Artist : Paul Benney
Title : Deposition (Corpus Delicti Series)
Medium : oil on canvas
Dimensions : 210 x 135 cm
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Paul Benney was born in London and currently lives and works in Suffolk. He rose to international prominence as a member of the Soho and East Village Neo-Expressionist group, whilst living and working in New York City in the 1980s where he worked and exhibited alongside peers Marylyn Minter, Jean-Michel Basquiat and David Wojnarovicz among the many other others who made up the exploding NY art scene. Despite living and working in this extraordinary creative environment Benney’s painting maintained a uniquely English sensibility.
Collections including the Metropolitan Museum of Art in New York, The Brooklyn Museum, The National Gallery of Australia and The National Portrait Gallery in London, The Royal Collection and The Eli Broad Foundation own works. He has exhibited in eight BP Portrait Award Exhibitions and twice won the BP Visitors’ Choice Award. Benney’s portrait subjects have included HM Queen Elizabeth II, Sir Mick Jagger, John Paul Getty III, 7th Marquess of Bath, The State Portrait for Israel, Lord Rothschild, as well as Ben Barnes for the portrait in the feature film ‘A Portrait of Dorian Grey’. Benney was invited to be resident artist at Somerset House in 2010. During his five year residency he held the exhibition ‘Night Paintings’ in 2012 and drew over 15,000 visitors. In 2017 his epic painting and holosonic sound installation ‘Speaking in Tongues’ was a prominent feature of the Venice Biennale.
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Artist : Carlos Zapata
Title : Ecstacy
Medium : polychrome wood and mixed media
Dimensions : 30 x 6 x 5 cm
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Carlos Zapata predominately makes idiosyncratic carved and painted wooden sculpture alongside mixed media installation. His work deals with many challenging and potent humanist themes including poverty, conflict, religion and race, yet perhaps paradoxically, the overriding characteristics of the work are of emotive empathy and compassion. Zapata’s work belongs to and takes inspiration from folk and tribal artforms from all over the world but specifically from South America, from its indigenous populace and the trade routes and traditions that have fed it over the centuries. Many of his sculptures have evolved from personal experience of living in a foreign land and from his home country where civil issues continue to trouble its people.
Carlos Zapata is a Colombian artist who currently lives and works near Falmouth in Cornwall, UK. He has exhibited extensively internationally with works held in numerous private and museum collections around the world.
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Artist : Henry Hussey
Title : Bleed Me Dry
Medium : digitally printed linen & canvas, dyed hessian & yarn, bleached velvet, screen-print, embroidery
Dimensions : 260 x 130 cm
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Henry Hussey’s artworks are often emotionally and physically raw, yet contrastingly beautiful and intricate, created with force through often paradoxically laboured mediums, including textile, glass, ceramic, paint and film. Whether through an expanding vocabulary of quasi-mythological symbols, or in embellished lines of text extracted from performative situations, Hussey explores personal and national identity in response to aggravating relationships and events. Recent experimentations reveal a deep concern with control and chaos and the sweet spot in between these two distinctive states.
Henry Hussey is a British artist born in London in 1990 where he still resides. Hussey studied Textiles at Chelsea College of Art before completing an MA in Textiles at the Royal College of Art. His work is widely respected and has been exhibited in notable exhibitions including The Textiel Biennale 2017 at Museum Rijswijk in the Hague, a solo presentation at Art Central in Hong Kong, the Bloomberg New Contemporaries in 2014 at the Institute of Contemporary Art in London, the Royal Academy London and Volta New York and the Young Talent Contemporary Prize at the Ingram Collection in 2016. Hussey has participated in residencies at La Vallonea, Tuscany, Italy in 2018 and participated in a residency at Palazzo Monti, Milan in 2020. His work is held in collections worldwide including Simmons & Simmons, Hogan Lovells, The Groucho Club and Soho House.
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Artist : Arthur Lanyon
Title : House Hat
Medium : oil, oil stick, spray paint, charcoal on linen
Dimensions : 190 x 200 cm
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Arthur Lanyon paintings combine intuitive figurative motifs with an emotive, gestural, abstracted language. His energetic works are sited on a physical and metaphysical cross roads, like a belay between numerous visual and emotional pinnacles. They offer a progressive link between the outside world, the inner architecture of the brain, altered states of consciousness, memory and the unencumbered essence of child’s drawing.
Arthur Lanyon is a British artist born in Leicester, England in 1985. He lives and works from a studio near Penzance, Cornwall. Born in to an artistic family, his father was the painter Matthew Lanyon and his grandfather the celebrated, influential and world renowned modernist painter Peter Lanyon. He won the Hans Brinker Painting Award in Amsterdam in 2007 and gained a first class degree in Fine Art from Cardiff University in 2008. Upon graduating he was featured in Saatchi’s ‘New Sensations’ exhibition. In 2014, his work was in the long-list for the Aesthetica Art Prize and was included in the award’s published anthology. His debut Anima Mundi solo exhibition ‘Return to Whale’ opened in 2016, which was followed by ‘White Chalk Lines in 2018, ‘Arcade Laundry’ in 2020 and ‘Coda for an Obol’ in 2022. Works have been exhibited extensively, notably including Untitled Art Fair in Miami; Zona Maco, Mexico City; the Saatchi Gallery London; The House of St Barnabas, London; CGK, Copenhagen; Tat Art, Barcelona and Herrick Gallery, Mayfair. Arthur Lanyon paintings are held in private collections worldwide.
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Artist : Miles Cleveland Goodwin
Title : Lucifer
Medium : oil on canvas
Dimensions : 81 x 79 cm
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Miles Cleveland Goodwin’s upbringing in the American South is a recurring theme in his brooding paintings and sculptures. Goodwin draws parallels between the people he portrays, the rhythm of their rural ways of life, and the rugged landscapes that they inhabit. The artist frequently evokes themes of mortality, decay and solitude with a sense of phantasmagoric realism combined with a haunting stillness. Goodwin’s ‘Southern Gothic’ works conjure the ambivalent beauty of a place that is both simultaneously desolate yet deeply soulful.
Goodwin lives and works in Georgia, USA. He graduated from the Pacific Northwest College of Art in Oregon in 2007 with a BFA in painting and printmaking. His work has been featured in group exhibitions at the Hallie Ford Museum of Art, the Grace Museum and the Amarillo Museum of Art among others and can be found in collections worldwide.
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Artist : Andrew Hardwick
Title : Island, Estuary
Medium : mixed media on panels
Dimensions : 112 x 208 cm
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Andrew Hardwick’s often large scale, sedimentary paintings display his captivation with ever decreasing wilderness zones; both natural and man-made. Playing with and subverting traditional notions of romantic landscape painting and the sublime. The paintings often depict edge-land zones around big industrial conurbations or ports, such as large-scale car storage compounds, redundant factories and polluted waste lands. Other works draw inspiration from the more typically idyllic locations such as Dartmoor and Bodmin Moor. However, these landscapes are also filled with reminders of human interference. Roads criss-cross the moor in deeply scratched lines, a narrow road is etched into an otherwise massive moorland triptych, likewise a real car radiator sits in the surface of another painting as if decaying and buried by the earth. His medium of working is also atypical, paintings are heavily layered with different types of paint (often sourced from recycling centres), plaster, plastics, soils, pigments, roofing felt, hay and other unconventional materials. To this rich surface relevant artefacts are often added, creating reminders, triggering memories or reflecting fears intrinsic to a particular landscape. The concept of layering in the landscape arrived partly a result of the artist’s childhood, during which his family’s farm was first sliced in half by the M5 motorway and then again by the Royal Portbury Dock. The land once filled with sheep has become a pure edge-land wilderness with detritus of continuous development now occupying and obliterating the land. Hardwick’s entire oeuvre makes reference to concepts of change, memory, history, emotion and transience. Ever redolent is the notion that we are but another layer in time.
Andrew Hardwick is a British artist born in Bristol, England in 1961 where he still resides. He achieved an MA in Fine Art at the University of Wales. He is an elected Academician at the Royal West of England Academy. He has featured in four solo exhibitions at Anima Mundi. Works have been exhibited extensively including numerous public shows and have been collected worldwide.
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Artist : Sax Impey
Title : Reason
Medium : mixed media on panel
Dimensions : 122 x 183 cm
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Sax Impey’s artworks are often large scale, immersive and elemental, incorporating intense detail and dexterity and an expressive, behavioural use of medium. Since 2005, Impey has produced works derived predominantly from experiences at sea. A qualified RYA Yachtmaster he has sailed many thousands of miles around the world. His journeys have had a profound impact and subsequent development as an artist. Reconnecting with nature through this powerful element has the almost inescapable effect of calling to question many of life’s existential questions. This epiphanic moment of realisation, of revelation, is at the core of Impey’s oeuvre. Reflecting on and capturing personal moments and making them universal, Impey’s work reaffirms the importance of introspection and confrontation, found specifically when surrounded by the natural world; “A mind can breathe, and observe, and reflect, away from the shrill desperation of a culture that, having forgotten that it is better to say nothing than something about nothing, invents ever new ways to fill every single space with less and less”.
Impey was born in Penzance, Cornwall. He currently works from one of the prestigious Porthmeor Studios in St. Ives. From 2005, he has collaborated with the cross-cultural, environmental art group Red Earth. In 2007 Impey’s work was selected for the ‘Art Now Cornwall’ exhibition at Tate St Ives where he was placed on the cover of the associated publication. The same year he was heralded in The Times as one of the ‘New Faces of Cornish Art’. In 2010 he was featured in Owen Sheers’s BBC4 Documentary ‘Art of the Sea (In Pictures)’ alongside Anish Kapoor, J. M. W. Turner, Martin Parr and Maggi Hambling among others. His work was selected as a finalist the 2013 Threadneedle Prize and the year before was elected an Academician at the Royal West of England Academy. His paintings are in multiple collections including The Arts Council, Warwick University and the Connaught Hotel.
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Artist : Gabrielle K Brown
Title : The Only Lord and Saviour Who is Gonna Save You Is You
Medium : mixed media
Dimensions : 48 x 28 cm
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Embodying a natural and intuitive, seemingly naive, yet extremely complex aesthetic, Gabrielle K Brown is a multi-faceted, multi-media artist who eagerly and energetically seeks new ways to tell stories through her artworks. Her pieces retain an object, often shrine-like quality, utilising materials including wood, various paints, resin, fabrics and even hair - nothing is beyond limits. The works dissect the relationship we have with ourselves, our companions, our society and our past with an awe and celebration of nature and the divine, shedding light on how we grow and how we suffer as human beings. Confrontational imagery is often contrasted with uplifting symbolism, actions and words - emphasising the extremes of the human condition and experience, and yearning within the energetic and fraught times that we live in.
Born in 1994 on the east coast of Canada in New Brunswick, Brown grew up along the riverside and mountains which is where she connected to art and began painting and sculpting. She has spent much of her life traveling the world and moving throughout Canada which has always reflected in her work, but has recently moved back home to St John, the oldest city in Canada.Work has been exhibited at Art Basel Miami, as well as Montreal and New York and LA in the United States.
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Artist : Luke Frost
Title : Deep Cobalt, Grey Volts
Medium : acrylic on aluminium
Dimensions : 53 x 36 cm
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Luke Frost is a British abstract painter living and working in West Cornwall. Despite his notable heritage, as Son of the English painter Anthony Frost and the Grandson of the celebrated Modernist painter Sir Terry Frost, his paintings could be seen to instead echo a formality found in 1960s American hard-edge, post-painterly, abstraction. However Frost has developed his own means of exploring complex colour relationships, be they harmonious or provocative, and their impact on their surroundings alongside an internal and more contemplative space.
Frost began exhibiting in 2003 following studies at Falmouth and Bath Schools of Art. His work was featured in ‘Art Now Cornwall’ at Tate St Ives in 2007 and in 2008 he was awarded a Tate St Ives artist in residency during which time he worked at Porthmeor Studio No. 5, formerly occupied by Ben Nicholson and Patrick Heron. His solo exhibition ‘Paintings in Five Dimensions’ was shown at Tate St Ives in 2009. He has since exhibited in Cornwall, London and USA, with essays written on his work by Matthew Collings, Tony Godfrey and Michael Klein.
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Artist : Luke Frost
Title : Pale Cerulean & Cobalt Blue Volts
Medium : acrylic on aluminium
Dimensions : 70 x 45 cm
ENQUIRE ABOUT THIS WORK
Luke Frost is a British abstract painter living and working in West Cornwall. Despite his notable heritage, as Son of the English painter Anthony Frost and the Grandson of the celebrated Modernist painter Sir Terry Frost, his paintings could be seen to instead echo a formality found in 1960s American hard-edge, post-painterly, abstraction. However Frost has developed his own means of exploring complex colour relationships, be they harmonious or provocative, and their impact on their surroundings alongside an internal and more contemplative space.
Frost began exhibiting in 2003 following studies at Falmouth and Bath Schools of Art. His work was featured in ‘Art Now Cornwall’ at Tate St Ives in 2007 and in 2008 he was awarded a Tate St Ives artist in residency during which time he worked at Porthmeor Studio No. 5, formerly occupied by Ben Nicholson and Patrick Heron. His solo exhibition ‘Paintings in Five Dimensions’ was shown at Tate St Ives in 2009. He has since exhibited in Cornwall, London and USA, with essays written on his work by Matthew Collings, Tony Godfrey and Michael Klein.
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Artist : Efrat Merin
Title : Transmutations
Medium : cold encaustic on panel
Dimensions : 110 cm diameter
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Efrat Merin is an artist working across multiple mediums, mainly painting, drawing and filmmaking. Her works set forth a retelling of mythical narratives. Gorgons, witches, hybrids, and hermaphrodites fuse into an image of subconsciousness. Nakedness is disengaged from sexuality, binaries of femininity and masculinity are transgressed. Female desire, with its long history of being demonised, is unabashedly celebrated; the female gaze regains its power. In recent works, she uses the sgraffito technique, in which parts of the surface are scratched and removed, thus exposing the layer underneath. The use of cold encaustic paint, readily accepts every mark. Revealing rather than adding, to this archaeological-like process which endows the works with a quality of discovery.
Merin was born in Tel Aviv and currently lives in London. She completed her BA in Fine Art at Hamidrasha Faculty of the Arts, Beit Berl College in Israel and was recently a participant in Turps Studio Programme. Awards include an upcoming residency at Van Gogh AIR, Zundert, NL; the Darbyshire Award for Emerging Art; Artist-in-Residence at Frans Masereel Centrum, Kasterlee; Brixton Art Prize (Shortlisted); Jackson’s Art Prize (shortlisted) and Alpine Fellowship Visual Art Prize (shortlisted). She is included in Bloomberg New Contemporaries 2023.
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Artist : Efrat Merin
Title : Lilith & Eve in One of the Possible Worlds
Medium : cold encaustic on panel
Dimensions : 110 cm diameter
ENQUIRE ABOUT THIS WORK
Efrat Merin is an artist working across multiple mediums, mainly painting, drawing and filmmaking. Her works set forth a retelling of mythical narratives. Gorgons, witches, hybrids, and hermaphrodites fuse into an image of subconsciousness. Nakedness is disengaged from sexuality, binaries of femininity and masculinity are transgressed. Female desire, with its long history of being demonised, is unabashedly celebrated; the female gaze regains its power. In recent works, she uses the sgraffito technique, in which parts of the surface are scratched and removed, thus exposing the layer underneath. The use of cold encaustic paint, readily accepts every mark. Revealing rather than adding, to this archaeological-like process which endows the works with a quality of discovery.
Merin was born in Tel Aviv and currently lives in London. She completed her BA in Fine Art at Hamidrasha Faculty of the Arts, Beit Berl College in Israel and was recently a participant in Turps Studio Programme. Awards include an upcoming residency at Van Gogh AIR, Zundert, NL; the Darbyshire Award for Emerging Art; Artist-in-Residence at Frans Masereel Centrum, Kasterlee; Brixton Art Prize (Shortlisted); Jackson’s Art Prize (shortlisted) and Alpine Fellowship Visual Art Prize (shortlisted). She is included in Bloomberg New Contemporaries 2023.
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Artist : Jim Carter
Title : Cygnus Shapes the Summer King
Medium : wood, magpie & jackdaw feathers, earth, blood, alder & black poplar catkins, wool, deer & fox hair
Dimensions : 24 x 14 x 8 cm
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Often uneasy or tragic, irrational or other, Jim Carter’s work is linked to a real world of suffering and transcendence: making sculpture from organic materials as a means of advocacy, atonement or commemoration; shifting to story and the written word as a way to enter emotional and numinous spaces of memory and dream. What appears on the surface to be a wilful disturbance of the remains of organic life in order to fulfil a creative compulsion is intended to be part of a transforming and re-sanctifying process. Taken materials are reconfigured into new forms to express complex feelings of grief and loss, love and devotion, fertility and renewal. Fundamental in this work is a conviction in an irrepressible spirit for regeneration in the world, an imperishable flame that rises most clearly in landscape and the magic and otherness of animals.
Carter was born in Worcestershire in 1967. He received an MA with distinction in Art and Environment from Falmouth University and an MSc Award in Ecopsychology from the Centre For Human Ecology, Edinburgh. His work has appeared in Dark Mountain, Unpsychology and Earthlines magazine.
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Artist : Chris Anthem
Title : The Telling of Adji Sarr
Medium : charcoal and chalk on paper
Dimensions : 160 x 120 cm
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Chris Anthem is a British artist. He has strong links to Lebanon and East Africa, living and painting in Sudan for the past 4 years, and more recently in Mauritania and Senegal. Anthem studied fine art in Liverpool and then the Slade School of Fine Art London. Projects have included painting dresses for Basil Soda Haute Couture and The Budapest Art Factory Residency. He is presently researching a new body of work in Dakar, Senegal.
“The mark has an ambiguous nature; on the one hand pertaining to be other than its material actuality, whilst it still offers the possibility of being congruent with an honesty of spirit. I recognise that honesty in artworks when I’ve managed to keep its energy there. In some works that honesty dies, it gets lost in its own rhetoric and the energy dies, or rather the works commit their own clichéd suicide, stillborn in the cowl glister of varnish. It still surprises me that honesty and mortality are still so co-dependent and that short-cuts of effect kill paintings. Every successful artwork that I’ve done has had at its core a tangible event, something unresolved and nagging to get itched. That before the idea, the internal image, before the composition and the stitching of sources and technique there is the event. In the painting, in spite of its seductive surfaces and its neurotic baroque, there lies some tender actuality that only a pencil, or brush and oil would soothe, and only a humility of mark can address. The materials are the salve that cures the surface – balm of a meglip scab. And I guess it’s that rupture, that intrusion on the surface tension on the canvas; or paper, or mind, or body, that the rest of the painting dresses – like you would, whether functionally or theatrically, a wound.”
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Artist : Kate Clark
Title : Don’t Break the Spell
Medium : spanish goat, horns, clay, foam, thread, pins, rubber eyes, wood
Dimensions : 66 x 50 x 30 cm
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Kate Clark’s sculptures invite the viewer to experience an instinctive and primal reaction, that encourages further examination of our own humanity. Stitched over a hand-sculpted human face, the material quality of her ethically sourced animal hide brings an authenticity to the final sculpture, through what the artist describes as a unique energy and presence. We identify with animals through both our connection with and separation from them. Recognising these contradictions, Clark’s fusion of human and animal suggests that our human condition is fully realised only when we acknowledge and reconcile our current state and our natural instincts, acknowledging the animalistic inheritance within the human condition. She achieves this through emphasis on the characteristics that differentiate us from the rest of the animal kingdom, and, importantly, the ones that unite us.
Kate Clark lives and works in Brooklyn, New York. She attended Cornell University for her BFA and Cranbrook Academy of Art for her MFA and has been awarded fellowships from the Jentel Artists Residency in Wyoming, The Fine Arts Work Center Residency in Provincetown, MA, and the Marie Walsh Sharpe Studio Program in New York. Clark was nominated for a USA Fellowship, a Louis Comfort Tiffany Award and an American Academy of Arts and Letters award. She was awarded a grant from The Virginia Groot Foundation in 2013 and a New York Foundation For the Arts (NYFA) Fellowship Award in 2014. Clark has exhibited in solo museum exhibitions at the Mobile Museum of Art, The Newcomb Art Museum and the Hilliard Museum and in group museum exhibitions at the Aldrich Museum of Contemporary Art, The Islip Art Museum, and The Bellevue Arts Museum, MOFA: Florida State University, Cranbrook Art Museum, Frist Center for the Visual Arts, The Winnepeg Art Gallery, the Glenbow Museum, the Musée de la Halle Saint Pierre, Paris, The Art Gallery at Cleveland State University, the Hudson Valley Center for Contemporary Art, the Nevada Museum of Art, the David Winton Bell Gallery at Brown University, the Bemis Center for Contemporary Arts, the Biggs Museum of American Art, the Royal Melbourne Institute of Technology, and the J. Paul Getty Museum. Her work is collected internationally and is in public collections such as the JP Morgan Chase Art Collection, the 21c Collection, the David Roberts Art Foundation and the C-Collection in Switzerland. Clark’s sculptures have been featured in the Wall Street Journal, New York Times, New York Magazine, Art21:Blog, The Village Voice, PAPERmag, The Atlantic, Hyperallergic, NYArts, Huffington Post, Hi Fructose, the BBC World News Brazil, Hey! Magazine, Time Out, ID Paris, Cool Hunting, Wallpaper, Creators Project/VICE, Sculpture Review and many other publications. In addition she was filmed by National Geographic in her studio over a 2 month period for a short documentary about her work.
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Artist : Sam Lock
Title : Peak Line
Medium : mixed media on canvas
Dimensions : 240 x 150 cm
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Artist : Marianne Walker
Title : Foremothers Feet
Medium : ink and pencil on sculpted paperclay
Dimensions : 25 x 25 x 5 cm
ENQUIRE ABOUT THIS WORK
Marianne Walker makes three-dimensional drawings that are heavily informed by the material remains of the past. She uses paper-clay to make fragmentary body parts that she then draws across using ink and pencil. She see’s drawing as a process of materialisation, a dynamic enlivening that infuses potency and presence into the work. Her objective is to escape the rectangular page and push the two-dimensional medium of drawing into becoming a three-dimensional entity that can further confront the viewer.
Marianne Walker was born and raised in Yorkshire, then Hong Kong. She now lives and works in London. She gained an MA in Sculpture from Wimbledon College of Art and received the Observer Magazine New British Artist Award for her final exhibition. Her work has been featured in national and international exhibitions including the Jerwood Drawing Prize, Romantic Detachment (PS1, Moma New York), Contemporary British Drawing 2015 (Xi’an Academy of Fine Arts, China) and Artworks Open 2018 (Barbican Arts Group).
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Artist : Faye Eleanor Woods
Title : I Have Sold My Soul For This Pint & I Have No Regrets
Medium : ink and pencil on sculpted paperclay
Dimensions : 25 x 25 x 5 cm
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Faye Eleanor Woods is a Scottish artist currently living and working in West Yorkshire. Her symbolic artwork acts as a love letter to her own experience, full of life’s joy, absurdity, humour, loss and fear. Recent works explore her own personal journey through grief, one she describes as dark, weepy and often hilarious. She hails her work as a tangilble form of inner catharsis. Using raw pigments and acrylic ink she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds creating an ethereal presence. As Woods says “I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I’m sick and everything I spew out ends up in my work.”
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Artist : Jackson Whitefield
Title : Imprint III
Medium : etching on paper with silver gelatin prints in polished aluminium frame
Dimensions : 87 x 91 cm
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Mild steel forms were buried, embedded or secured to the earth at various pertinent sites and left to be imprinted by the elements. After a three month period the steel shapes were photographed, removed and then etched to paper. These forms are presented alongside photographic images of the sites where each form was left to weather.
Jackson Whitefield is a British artist born in St. Ives, Cornwall in 1991. Whitefield works with a diverse range of media including photography, film, drawing, book making and site-specific earthworks. Themes which run through his work include geology, anthropology, process and language. While his choice of media and interests are diverse, his inspiration is rooted firmlyin his immediate surroundings. Always allowing his environment to lead his immediate enquiry his approach to making the work is more about reacting and engaging with the subject rather than seeking out ideas that were already formed in the mind.
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Artist : Laurence Edwards
Title : Gathering of Uncertainties
Medium : bronze (edition of 12)
Dimensions : 100 x 100 x 65 cm
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Laurence Edwards’ sculptural practice has long been concerned with the physical and metaphysical, orderly and entropic, entwining of man, nature and time. Organic matter is often built into the casting process, perhaps a detritus of leaves, branches, stone and / or rope. One of the few sculptors who casts his own work, he is fascinated by the metamorphosis of form and matter that governs the lost-wax process which is an inherent part of his process. It is a method of working which also registers symbolically and conceptually. His primary working material is bronze, an alloy that physically and metaphorically illustrates the natural tendency of any system in time to tend towards disorder and chaos. His sculptures express this raw material potential, harnessing molten liquid versatility to achieve solid mass. Each process mark is both embraced and retained, telling the story of how and why each work came to be.
Based in Suffolk, Edwards studied sculpture at Canterbury College of Art and bronze casting at the Royal College of Art with Sir Antony Caro. After winning a Henry Moore Bursary, the Angeloni Prize for Bronze Casting and an Intach Travelling Scholarship, he studied traditional casting techniques in India and Nepal, an experience that not only influenced his treatment of form and technique, but also gave him the necessary tools to establish his own atelier and foundry. In November 2019, ‘Man of Stones’ was unveiled at the Sainsbury Centre in Norfolk. In 2018, Edwards was commissioned by Doncaster Council to create a sculpture that celebrates the lives of those who worked in the collieries around Doncaster. ‘A Rich Seam’ was unveiled in Print Office Street in 2021. In November 2021, Edwards installed a 26-foot-high sculpture, alongside the A12 highway in Suffolk, called ‘Yoxman’. This colossal figure embodies his fascination between the human figure and the environment; he is part tree, cove, cliff and figure. In February 2023 “A Gathering of Uncertainties” a solo exhibition of large scale works and studies opened at Orange Regional Museum, NSW, Australia. In May 2023 “Five Walking Men” on loan from the Nock Art Foundation New Zealand where unveiled on the new extension to the Art Gallery of New South Wales. Edwards is represented by Messums Wiltshire.
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Artist : Katie Sims
Title : The Green Ray
Medium : oil on panel
Dimensions : 30 x 24 cm
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Painting, for Katie Sims, is the closest thing to an act of communion. Her work reinforces the complexities of engagement, of seeing beyond first appearances and in questioning the origins and absolutes presented. Constraints are an integral part of her process, from a conceptual, painterly and physical stance. These limitations help her pare back to the essential, towards a directness of emotional statement and to silence; the silence the process facilitates and the silence the work is trying to get at. It is a simplifying, but not in the sense as to reduce complexity for it is layered with complexity and thus demands more from the viewer. Maintaining a balance around the transition point requires great focus akin to any devotional practice. The repetition and movement between prior intention and intention-in-action supports the virtues of listening and humility as she ‘assists’ something into being. Her work is a process that leads to a resolve. She places herself in an in-between space, between two opposing poles, challenging what resolve is through the middle ground until these two states are in a complete tension. Each resolution is different; chromatically, compositionally, through colour or light, yet each involves a circular dialogue of adding and removing. Thus her resolve sustains an instability of form, which manifests as hesitant and uncertain of itself. Sims sees this liminal space as the place where distinctions dissolve and the best opportunity for renewal is found. It is a fluid, malleable situation that enables new customs and identities to be unconcealed.
Katie Sims was born in Shropshire, England in 1988 and currently lives and works on the small island of Gozo, Malta. Her paintings have been exhibited internationally and can be found in collections worldwide.
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Artist : Massimo Angei
Title : Il suono delle piante che crescono (The sound of Growing Plants)
Medium : oil on board
Dimensions : 80 x 70 cm
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Massimo Angèi’s elemental, tempestuous yet ethereal oil paintings reflect varied emotional states whilst remaining open to physical and metaphysical interpretation. Tableaus and forms are suggested but never fully established, perhaps evoking landscape, weather patterns, natural systems, inner psychology or spiritual connectedness. Voluptuous cloud-like billows intersperse with delicate spiralling marks forming an ecstatic unity reminiscent of both renaissance grandeur and primitive automatic drawing.
Massimo Angèi was born in La Spezia, Italy, he currently lives and works in Sarzana, near the borderline between Liguria and Tuscany. Following art school, he collaborated with various institutions and museums exhibiting early representational depictions of flora and fauna. After finishing his degree at the Fine Arts Academy in Carrara/Painting (Accademia di Belle Arti\Pittura), he participated in his first exhibitions, and the creation of the Idioma group along with Marco Casentini, Fabio Linari, Jacopo Bruno, Andrea Geremia. He then began to work as an independent freelance photographer working for photo agencies including Grazia Neri of Milan, and Bilderberg of Hamburg, publishing his images in both Italian and international magazines. A vivid dream in the spring of 2006 made him realise that his destiny was as a painter, and he vowed to never again abandon it.
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Artist : Roger Thorp
Title : The Shaman’s Tears
Medium : single channel video
Duration : 01:17
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Roger Thorp is a British artist born in Derbyshire. He currently lives and works in Cornwall. He previously worked as a producer on music videos before directing / producing programmes for NGO’s such as WWF, ILO, Greenpeace and the Red Cross, working in Australia, Mongolia and the USA. He has also made two feature films. Other work by Thorp as a writer / director has been screened in Rome, Barcelona, Berlin, Oslo, Copenhagen, Istanbul, USA, Cornwall and London. In 2015 he founded ‘The Olive Network’ a sophisticated web platform built to foster tolerance and understanding throughout diverse global communities by focusing on the positive long-term contributions of charity, the arts and humanities. Thorp’s artwork has been exhibited extensively.
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Artist : Simone Pellegrini
Title : Usuato droma
Medium : mixed media on hand made paper
Dimensions : 93 x 180 cm
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Simone Pellegrini’s visionary works appear as timeless artefacts describing complex systems of interconnectivity. The works are made through a process of pressing motifs, painted on to discarded paper fragments, on to a rich parchment-like paper, which is then hand-coloured and distressed with oil to create a rich and deep patination of age and wear. Their compositional arrangements echo an archaic sensibility, depicting dreamlike symbology and structures where figures float or wander either lost or found, consumed or enraptured. Whilst remaining cryptic Pellegrini’s paintings make tangible, more elusive philosophical, mystical and spiritual aspects of universal relatedness.
Simone Pellegrini was born in Ancona, Italy in 1972, and he is currently based in Bologna, Italy. His works have been exhibited internationally and are in numerous public collections including the Museum of Modern Art in Bologna; the Civic Museum in Monza; Volker Feierabend in Frankfurt; Bologna Fiere; Maramotti Art Collection, Reggio Emilia; Unicredit Art Collection, Milan and Museum Kunstpalast Duesseldorf.
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Artist : Dr Martin Shaw
Title : Sabbath Christ
Medium : charcoal on paper
Dimensions : 30 x 21 cm
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Dr Martin Shaw tells stories and explored wild ideas about how myth used to be a kind of language that spoke-across-species. That myth itself can be a place where we witness not just narratives about the earth, but moments where the earth itself speaks through these stories. With inspirations ranging as far as Gaston Bachelard to Islamic Cosmology to the work of Joseph Beuys, Shaw celebrates electrifying storytelling and thought-stimulating ideas.
Dr. Martin Shaw’s first book, ‘A Branch From The Lightning Tree’ was awarded the Nautilus prize for non-fiction, and was followed by ‘Snowy Tower’ and ‘Scatterlings’ to complete a trilogy of works on mythology, landscape and the nature of soul. An international teacher, he has designed andLife’ courses at Stanford University, and, lead both the ‘Oral Tradition’ and ‘Mythic Life’ courses at Stanford University and as a fellow of of Schumacher College in Devon, co-created their MA in Myth and Ecology. His school of independent scholars in mythopoetic’s and wilderness studies is just entering its fourteenth year. Recent collaborations have included Mark Rylance, Coleman Barks and David Abram. He is a painting scholar from The British School in Rome, and his translations of Gaelic and Welsh folklore (with Tony Hoagland) have been published in The Mississippi Review, Poetry International, Kenyon Review, Orion, and Poetry Magazine. 2018 will see the release of his new book, ‘Courting the Dawn: Poems of Lorca’ (with Stephan Harding), with several more in completion: all involving a revisioning of the word romanticism in the early twenty first century. is essay and conversation with Ai Weiwei on myth and migration was released by the Marciano Art Foundation.
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Artist : Alastair & Fleur Mackie
Title : Cast
Medium : bronze, steel, copper
Dimensions : 58 x 5 x 5 cm
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“When early humans ceased their nomadic existence as hunter-gatherers and settled down to cultivate the earth and produce food, they believed that the success of their labours was dependent on deities who would oversee the fruitfulness of their crops. In Britain it was believed that a spirit lived amongst the crop and that at harvest time it retreated before the oncoming reapers, taking refuge in the last of the standing corn. The final sheaf was personified, revered, and its fall marked with a formal ceremony and display. The sheaf was then fashioned into an effigy, a talisman believed to contain the spirit, and taken into the farmer’s home to be kept safe indoors throughout the winter, only to be returned to the earth with the coming of the new season. Giving the spirit a refuge during the dark and cold winter months was believed to ensure good luck for the forthcoming crop. In some cases the ‘trophy’ was burnt at the end of the winter as a way of releasing the spirit. As the earliest cultivated crops in human history, cereals continue to be among the most important food sources for us today. With a predicted world population of 9 billion by 2050, demand is expected to increase by 60% while their vulnerability to climate change leaves us precariously exposed. In keeping with historical convention we took hold of the corn spirit and in collaboration with one of the few remaining true practitioners of the craft, produced a traditional spiral plait which, in turn, has been encased within a mould, burnt out, and cast. The remnant ash from the effigy has then been used to make ‘The New Season’.”
Alastair and Fleur Mackie’s practice is one of contrasts. It is as labour-intensive as it is formally effortless, as grounded in ideas of nature as it is in the intrinsically human struggle to define a role within the environment; it is as intellectually ambitious as it is aesthetically understated. Alastair grew up in an agricultural community in Cornwall, UK while Fleur’s childhood was split between Cameroon, France, and the UK. They met at art school in London in the late 90’s. Initially their creative practices were separate, but over time their work has evolved into a natural collaboration. In 2011 they moved to live and work in Cornwall, the landscape of which has played a key role in the shaping of their vocabulary. Naturally occurring elements (native metals, wood, sea shells) are meticulously rearranged and transformed in a knowingly quixotic attempt to make sense of the primordial. Each work is something of an enigma, enriched by the loaded associations of its material and the story behind its making. Ally and Fleur operate by reduction; materials are pared down to their core. In their work, process dictates form, no matter how poetic or Romantic the piece’s origin. Alastair and Fleur Mackie have shown extensively in the UK and internationally, including exhibitions at the Saatchi Gallery in London, the Venice Biennale and the Reykjavik Art Museum. They have worked on a number of public commissions and their work is held in collections including The Olbricht Collection in Berlin, the Salsali Private Museum in Dubai and the Wellcome Collection in London.
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Artist : Alastair & Fleur Mackie
Title : The New Season
Medium : ash retrieved from foundry mould of ‘Cast’, calico, wood, glass
Dimensions : 40 x 36 x 5 cm
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“When early humans ceased their nomadic existence as hunter-gatherers and settled down to cultivate the earth and produce food, they believed that the success of their labours was dependent on deities who would oversee the fruitfulness of their crops. In Britain it was believed that a spirit lived amongst the crop and that at harvest time it retreated before the oncoming reapers, taking refuge in the last of the standing corn. The final sheaf was personified, revered, and its fall marked with a formal ceremony and display. The sheaf was then fashioned into an effigy, a talisman believed to contain the spirit, and taken into the farmer’s home to be kept safe indoors throughout the winter, only to be returned to the earth with the coming of the new season. Giving the spirit a refuge during the dark and cold winter months was believed to ensure good luck for the forthcoming crop. In some cases the ‘trophy’ was burnt at the end of the winter as a way of releasing the spirit. As the earliest cultivated crops in human history, cereals continue to be among the most important food sources for us today. With a predicted world population of 9 billion by 2050, demand is expected to increase by 60% while their vulnerability to climate change leaves us precariously exposed. In keeping with historical convention we took hold of the corn spirit and in collaboration with one of the few remaining true practitioners of the craft, produced a traditional spiral plait which, in turn, has been encased within a mould, burnt out, and cast. The remnant ash from the effigy has then been used to make ‘The New Season’.”
Alastair and Fleur Mackie’s practice is one of contrasts. It is as labour-intensive as it is formally effortless, as grounded in ideas of nature as it is in the intrinsically human struggle to define a role within the environment; it is as intellectually ambitious as it is aesthetically understated. Alastair grew up in an agricultural community in Cornwall, UK while Fleur’s childhood was split between Cameroon, France, and the UK. They met at art school in London in the late 90’s. Initially their creative practices were separate, but over time their work has evolved into a natural collaboration. In 2011 they moved to live and work in Cornwall, the landscape of which has played a key role in the shaping of their vocabulary. Naturally occurring elements (native metals, wood, sea shells) are meticulously rearranged and transformed in a knowingly quixotic attempt to make sense of the primordial. Each work is something of an enigma, enriched by the loaded associations of its material and the story behind its making. Ally and Fleur operate by reduction; materials are pared down to their core. In their work, process dictates form, no matter how poetic or Romantic the piece’s origin. Alastair and Fleur Mackie have shown extensively in the UK and internationally, including exhibitions at the Saatchi Gallery in London, the Venice Biennale and the Reykjavik Art Museum. They have worked on a number of public commissions and their work is held in collections including The Olbricht Collection in Berlin, the Salsali Private Museum in Dubai and the Wellcome Collection in London.
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Artist : Alice Ellis Bray
Title : The Cords Have Been Cut
Medium : oil and 23.5ct gold on board
Dimensions : 65 x 38 cm
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Alice Ellis-Bray is an artist from Lamorna in Cornwall. She works with self made costume, painting, performance and script to explore the infinite possibilities of identity and experience. Through learning the properties of nature and the nature of people, Bray seeks to portray an interconnectedness she feels with all things. Painting has assisted her as a tool to transmute stubborn emotions laying dormant within, painting the strength she seeks in the eyes of her paintings, helping her to find a way through life with painting as her remedy. With her oeuvre she has created something of a temple to mythical women, using arch-shaped boards tinged with gold in an allusion to religious iconography, which frame ‘selfie’, ‘alter -ego’, subjects that are either direct references to well-known figures, looser notions of the primitive.
Alice Ellis-Bray has exhibited her work widely, most recently at Tate St Ives. She has also taught at a number of art galleries and schools including Newlyn Art Gallery, Tate St Ives and CAST in Helston, Cornwall. She was selected as an ‘Artist to Watch’ by Elephant Magazine in August 2022.
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Artist : Rebecca Harper
Title : Spellbind Reflecting
Medium : acrylic on unprimed canvas
Dimensions : 102 x 80 cm
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Much of Rebecca Harper’s work has revealed itself through a diasporic consciousness which can often involve a multiplicity of belonging and a sense of difference, often one of ‘otherness’ and displacement. The identity of the displaced positioning is a paradox between location and dislocation, out of place everywhere and not completely anywhere. Generally, the work frames expressions of ‘being’ and manifests itself within an unfolding, wondering, allegoric commentary on the locations that she inhabits and those which inhabit her.
Recent work explores a cast of reoccurring characters that rotate around the outskirts of the house that she grew up in, where she also found herself locked down during Covid. This work is a part of a body of work that acknowledges the human and worldly capacity to live at the edge of the precipice. The characters are never seen as portraits as such, more like actors that play a role, filling in for particular people, as they fill a stage. As Rebecca says of the figure who resembles herself; “It feels like perhaps this woman, has almost become a guiding spirit of myself, one of vulnerability and strength in the dealings of uncertainty, instability loss, and grief. She shows up reliably again and again during terrible turbulence.”
Harper was born in London in 1989, where she continues to live and work. She studied at UWE Bristol then The Royal Drawing School and Turps Art School (Postgraduate’s). Rebecca was Artist in Residence at The Santozium Museum, Santorini, in summer 2019, and Artist in Residence for the Ryder Project Space at A.P.T Studios, Deptford in 2018-19 before becoming a studio and committee Member in 2019. She was winner of the ACS Studio Prize in 2018. Chameleon, her debut solo show at Anima Mundi met with great acclaim including a review in the FT by Jackie Wullshlager. Most recently Rebecca was selected for The John Moore’s Painting Prize 2021, and previously selected for Bloomberg New Contemporaries in 2018 at South London Gallery, Other curated shows include Huxley Parlour, Public Gallery, The Royal Academy Summer Show, Christies London and NYC, Flowers Gallery’, Paul Stolper Gallery, Turps Art Gallery and Arusha Gallery. Her work is on long term display in the Albright Collection at Maddox Street Club in London curated by Beth Greenacre and at the Santozeum Museum in Santorini. Harper is represented in many public and private collections internationally including the Ullens and the Royal Collections.
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Artist : Lisa Wright
Title : Balance of Control
Medium : oil on canvas
Dimensions : 45 x 35 cm
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Lisa Wright’s work talks about the truth of things, and how it anchors us to the very essence of human experience. Nature, nurture, truth and wonderment are all aspects that she is capable of conjuring. For her, the act of drawing is a reminder of the power of line and form to distil the complexity of the world into a single image. Painting, is an act of suspension, capturing fleeting moments of her deepest thoughts, rendering them eternal. The aspiration for Wright is for the work to evoke emotions that verbal language cannot express. Wrights practice is rooted in the rigour of observational drawing. Using her sketchbook and camera she records the everyday creating visual narratives for later paintings. Wright has spent the majority of her career chronicling the growth and development of her relationship with her children, from pregnancy to adulthood. These drawings and paintings are not just a representation of Wright’s experiences, but rather their embodiment, bringing their intangible reality into the visible world for all to recognise and relate to.
After studying at The Royal Academy Schools, London, 1990-1993, Wright moved to Cornwall, in the south west of England, where she currently lives and works. Her work has featured in numerous solo and curated group exhibitions both nationally and internationally and is held in many important corporate and private collections. Notable achievements include her appointment as the Royal Shakespeare Company artist in residence throughout the two year period of the RSC’s acclaimed ‘Histories’ cycle of plays, culminating in an exhibition at the Roundhouse- which ran concurrently with the plays- and subsequently at the Royal Academy of Arts London; consistent selection for the Royal Academy’s Summer Exhibition for over 20 years; inclusion in the significant ‘Art Now Cornwall’, exhibition at Tate St Ives 2008 and winning The National Open Art Prize, the Hunting Art Prize, the 2013 Threadneedle Prize and most recently Future Forest- a collaborative project with Tom Piper to celebrate the centeniary of The Forestry Commission.
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Artist : Lisa Wright
Title : Balance of Surrender
Medium : oil on canvas
Dimensions : 50 x 40 cm
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Lisa Wright’s work talks about the truth of things, and how it anchors us to the very essence of human experience. Nature, nurture, truth and wonderment are all aspects that she is capable of conjuring. For her, the act of drawing is a reminder of the power of line and form to distil the complexity of the world into a single image. Painting, is an act of suspension, capturing fleeting moments of her deepest thoughts, rendering them eternal. The aspiration for Wright is for the work to evoke emotions that verbal language cannot express. Wrights practice is rooted in the rigour of observational drawing. Using her sketchbook and camera she records the everyday creating visual narratives for later paintings. Wright has spent the majority of her career chronicling the growth and development of her relationship with her children, from pregnancy to adulthood. These drawings and paintings are not just a representation of Wright’s experiences, but rather their embodiment, bringing their intangible reality into the visible world for all to recognise and relate to.
After studying at The Royal Academy Schools, London, 1990-1993, Wright moved to Cornwall, in the south west of England, where she currently lives and works. Her work has featured in numerous solo and curated group exhibitions both nationally and internationally and is held in many important corporate and private collections. Notable achievements include her appointment as the Royal Shakespeare Company artist in residence throughout the two year period of the RSC’s acclaimed ‘Histories’ cycle of plays, culminating in an exhibition at the Roundhouse- which ran concurrently with the plays- and subsequently at the Royal Academy of Arts London; consistent selection for the Royal Academy’s Summer Exhibition for over 20 years; inclusion in the significant ‘Art Now Cornwall’, exhibition at Tate St Ives 2008 and winning The National Open Art Prize, the Hunting Art Prize, the 2013 Threadneedle Prize and most recently Future Forest- a collaborative project with Tom Piper to celebrate the centeniary of The Forestry Commission.
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Artist : Andrew Litten
Title : Contained (Study for Returned)
Medium : oil on board and frame)
Dimensions : 42 x 35cm
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Andrew Litten’s life size bronze sculpture ‘Listening’ recently formed the focal point of The Samaritans’ medal winning ‘Listening Garden’, at this years RHS Chelsea Flower Show, in celebration of the Samaritans’ 70th Birthday. The highly emotive piece, sat in a quiet corner of the garden, waiting to hear the thoughts of those who passed through. Andrew’s expressionist style strives to reflect the conflict and vulnerability of human existence. His work draws on the obscure, with his figures often appearing in some form of isolation. However, with ‘Listening’, Andrew also wanted the figure to encourage deep rooted human connection - empathetically encouraging people to sit, talk, listen, and be heard.
Andrew Litten is a British artist, born in Aylesbury, Buckinghamshire in 1970. He currently works from his studio in Fowey, Cornwall. He is a self-taught artist leaving art college as a teenager having found it to be too restrictive to his aspired method of working. For a decade he created mostly small-scale works using humble domestic or found materials (including envelopes and assembled furniture parts). The work made at this time deliberately challenged ideas of art elitism and art as commodity. He then moved to Cornwall in 2001 and chose to begin exhibiting. Early success came when his work was included in an exhibition titled ‘Nudes’ in New York City, (along with Jacob Epstein and Pierre-Auguste Renoir), where his work was highlighted and reviewed by the New York Times. Shortly after he had four consecutive solo exhibitions at Goldifsh Fine Arts in Penzance, Cornwall. Other notable exhibitions included ‘Move’ at Vyner Street, London, during Frieze Art Week 2007, where his work ‘Dog Breeder’, created as a twisted and emphatic anti-art statement, was exhibited. He was also included in ‘No Soul For Sale’ at Tate Modern Turbine Hall, London in 2010. In 2012 he held a major solo exhibition at Millennium in St Ives, Cornwall and that year was given a guest solo exhibition at L13 Light Industrial Workshop, London. He has also held large-scale solo exhibitions at Spike Island and Motorcade FlashParade in Bristol. ‘Ordinary Bodies, Ordinary Bones’ was conceived with support from The Arts Council, UK and was exhibited at Anima Mundi in 2018. Works have been included in numerous international curated mixed exhibitions in Berlin, Dublin, Siena, Milwaukee and New York City and in Venice during the 54th Biennale. Most recently paintings have been exhibited in four major museums in China. Andrew Litten paintings feature in numerous international private and public collections.
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Artist : Andrew Litten
Title : Sequence of Destinations (Study for Returned)
Medium : oil on board and frame)
Dimensions : 46 x 30 cm
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Andrew Litten’s life size bronze sculpture ‘Listening’ recently formed the focal point of The Samaritans’ medal winning ‘Listening Garden’, at this years RHS Chelsea Flower Show, in celebration of the Samaritans’ 70th Birthday. The highly emotive piece, sat in a quiet corner of the garden, waiting to hear the thoughts of those who passed through. Andrew’s expressionist style strives to reflect the conflict and vulnerability of human existence. His work draws on the obscure, with his figures often appearing in some form of isolation. However, with ‘Listening’, Andrew also wanted the figure to encourage deep rooted human connection - empathetically encouraging people to sit, talk, listen, and be heard.
Andrew Litten is a British artist, born in Aylesbury, Buckinghamshire in 1970. He currently works from his studio in Fowey, Cornwall. He is a self-taught artist leaving art college as a teenager having found it to be too restrictive to his aspired method of working. For a decade he created mostly small-scale works using humble domestic or found materials (including envelopes and assembled furniture parts). The work made at this time deliberately challenged ideas of art elitism and art as commodity. He then moved to Cornwall in 2001 and chose to begin exhibiting. Early success came when his work was included in an exhibition titled ‘Nudes’ in New York City, (along with Jacob Epstein and Pierre-Auguste Renoir), where his work was highlighted and reviewed by the New York Times. Shortly after he had four consecutive solo exhibitions at Goldifsh Fine Arts in Penzance, Cornwall. Other notable exhibitions included ‘Move’ at Vyner Street, London, during Frieze Art Week 2007, where his work ‘Dog Breeder’, created as a twisted and emphatic anti-art statement, was exhibited. He was also included in ‘No Soul For Sale’ at Tate Modern Turbine Hall, London in 2010. In 2012 he held a major solo exhibition at Millennium in St Ives, Cornwall and that year was given a guest solo exhibition at L13 Light Industrial Workshop, London. He has also held large-scale solo exhibitions at Spike Island and Motorcade FlashParade in Bristol. ‘Ordinary Bodies, Ordinary Bones’ was conceived with support from The Arts Council, UK and was exhibited at Anima Mundi in 2018. Works have been included in numerous international curated mixed exhibitions in Berlin, Dublin, Siena, Milwaukee and New York City and in Venice during the 54th Biennale. Most recently paintings have been exhibited in four major museums in China. Andrew Litten paintings feature in numerous international private and public collections.
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Artist : Spencer Shakespear
Title : Red Kite Revival
Medium : oil, acrylic, charcoal, graphic on canvas
Dimensions : 170 x 195 cm
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Born in in London, Spencer Shakespeare discovered his addiction to the natural world in his yearly holidays to Cornwall with his family, which, after 20 years of living on Australia’s Gold Coast he has returned to, residing near Penzance where he says the bird song is at its most beautiful. Being an obsessive and automatic drawer since the age of seven, Shakespeare completed a degree in Illustration at Bournemouth College of Art and Design. He enjoys transcribing places of intersection; the coastline, the edge of forests - places where a transition of boundaries takes place. The garden is significant in his work because of the element of interchange between the domestic boundary and the beginning of wilderness. Although he is inspired by such places, he never strives to capture the specifics of the landscape around him, instead drawing and exposing his own imaginary world upon it. His work connotes a kind of mystery and magic - a world where high contrast colours inject life force: vibrating with an emotional energy. His semi-abstract canvases show the blurred boundaries of the humming world he witnesses.
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Artist : Sam Bassett
Title : Together With Bird
Medium : mixed media on canvas
Dimensions : 76 x 102 cm
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Sam Bassett artworks display a boundless zeal, sharp humour and honest pathos made with a creative, experimental, freedom. His language of mark-making varies from raw sweeping gestures to draughtsman-like drawn or sgraffitto schematics. His dexterity enables him to effortlessly capture scattered images of his inner monologue - often erratic, often pinpoint. The ups and downs, the highs and lows. His paintings could be described as a form of ‘psychological cubism’, where the inner and the outer self reveal themselves and coalesce. His autobiographical work maps a fast paced and over-active mind searching for the personal and universal meaning and in turn reflect both positive and negative concerns about 21st century society and the wider human condition. Bassett’s most recent works imbue a deep rooted connection to place, the sea and landscape, as well as community and heritage. The localised placement of these cautionary tales become allegorical for broader more universal hopes and wider loss, fear and disconnection.
Bassett is a British artist born Cornwall where he still lives and works. St Ives has been his family’s home since 1695. The artistic traditions of the town had an undoubted influence over his development, but his Grandfather, a fisherman by trade was also a keen amateur painter, as was his other Grandfather in Newlyn. The young Bassett was supported early on with encouragement and painting materials. Bassett ’s studio space is part of a complex that coincidently sits above his Grandfather’s former net loft. He studied in Bournemouth, England and then lived in London but the pull of the sea brought him home. In addition to his own practice Bassett founded LETH projects, a curatorial platform for emergent artists. Bassett has exhibited internationally including solo exhibitions with Vigo in London, Kornfeld Gallery in Berlin and Anima Mundi, solo presentations have also featured at START at the Saatchi Gallery in London and CODE Art Fair, Copenhagen. Works are held in an increasing number of collections worldwide including the acquisition of the work ‘Lost Karensa’ by Tremenheere Sculpture Park which is permanently exhibited alongside James Turrell, Kishio Suga, Richard Long and David Nash among others. Bassett has been featured in numerous articles included Christies magazine and The New York post which is indicative of a notable and rapid increase in the artists popularity and ambition.
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Artist : Claire Curneen
Title : Angel
Medium : tin glazed terracotta
Dimensions : 63 x 30 x 23 cm
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Claire Curneen’s iconic sculptures are poignant contemplations on the liminal and precarious nature of the human condition; exploring themes around death, rebirth and the sublime. Universal and profound states of fear, loss, suffering and sacrifice fuse with devotion, desire, wonder and mystery to underlie each intricate, porcelain figure. Their translucent and fragile qualities offer potent, metaphoric abstract narratives. Porcelain, terracotta and black stoneware create a grounded vulnerability to these works, with dribbles of glaze and flashes of gold to embellish denoted sacred qualities.
Claire Curneen was born in Tralee, Co. Kerry, Ireland in 1968 and currently lives and works in Wales, UK. Works have been exhibited internationally and appear in many notable public collections including The Crafts Council, London; Shipley ArGallery, Gateshead; National Museum & Gallery of Wales, Cardiff; Victoria and Albert Museum, London; The Fitzwilliam Museum, Cambridge; Manchester City Art Gallery, Manchester; National Museum of Scotland, Edinburgh; Aberystwyth Arts Centre, Aberystwyth, Wales; Cleveland Craft Centre, Middlesbrough; Oldham Art Gallery and Museum, Manchester; York City Art Gallery, York; Middlesbrough Institute of Modern Art, Middlesbrough; Crawford Art Gallery, Cork, Eire; Limerick City Gallery of Art, Limerick, Eire; Ulster Museum, Belfast, Northern Ireland; Benaki Museum, Athens, Greece; Clay Stud
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Artist : Joy Wolfenden Brown
Title : Over the Storm
Medium : oil on paper
Dimensions : 24 x 37 cm
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Joy Wolfenden Brown’s intimate oil paintings feel hauntingly familiar possessing a raw, emotional, honesty. She captures fleeting fragments of memory, moments in time where the inherent vulnerability of the figures depicted, often in isolation, is palpable. These are lovingly yet spontaneously executed reflections on the human condition, which have an unnervingly, yet simultaneously comforting, unguarded quality.
Joy Wolfenden Brown is a British artist born in Stamford, Lincolnshire. She currently lives in Bude, North Cornwall. She graduated from Leeds University then completed a post-graduate diploma in Art Therapy at Hertfordshire College of Art & Design which she worked as an for ten years before moving to Cornwall in 1999. Since then she has had numerous solo exhibitions and was the First Prize Winner in The National Open Art Competition, 2012. She was also awarded the Somerville Gallery painting prize in 2003 and first prize winner at the Sherborne Open in 2007 and the Revolver Pricze at The RWA in 2019. Works were acquired by the Anthony Pettullo Outsider Art Collection in Milwaukee with further works held in collections worldwide.
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Artist : Phoebe Cummings
Title : Study
Medium : unfired clay
Dimensions : 20 x 15 x 20 cm
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Phoebe Cummings’ works predominantly using unfired clay to make poetic and performative sculptures and installations that emphasise materiality, fragility, time, creation, loss and decay. Her impressive interventions are often constructed directly on site, allowing an instinctive development of tensions between object and location. Cummings questions what we will carry forward into the future by producing intricate, hand made and exquisitely delicate sculptures based on ancient plants and primitive ritual, imbued with a sense of magic and mysticism. Drawing together elements of English Paganism as well as the aesthetic excess of Baroque and Rococo design, the resultant objects could be considered as dystopian ornaments of a future anthropology or fragile relics of an almost forgotten past.
Cummings is a British artist born in Walsall, England and currently resides in Stafford. She studied ceramics at Brighton University in 2002 before completing an MA in ceramics and glass at the Royal College of Art in 2005. She has undertaken a number of international artist residencies including a six month residency at the Victoria & Albert Museum in 2010. In 2017 she won first place at the inaugural Woman’s Hour Craft Prize with work exhibited at the V&A Museum, before touring to venues around the UK. Cummings was selected as the winner of the British Ceramics Biennial Award in 2011 and awarded a ceramics fellowship at London’s Camden Arts Centre (2012–13). ‘Supernatural’ was her first solo exhibition at Anima-Mundi. In addition, Cummings’ work has been featured in numerous group exhibitions, including ‘60|40 Starting Point Series’ at Siobhan Davies Studios, London, ‘Formed Thoughts’ at Jerwood Space, London; and ‘Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design’ at the Museum of Arts and Design, New York. In 2013, she had a solo show at the University of Hawaii Art Gallery in Honolulu and The Newlyn Art Gallery.
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Artist : Luke Hannam
Title : The Apple Peelers
Medium : oil on canvas
Dimensions : 90 x 120 cm
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Luke Hannam describes his work as the result of an ‘ordered chaos’ where poetic paintings are made ‘in the eye of the storm’, where creativity spins wildly, through bursts of impulse around a silent meditative deep well of meaning. Ideas emerge out of an energetic dedication to drawing and a relentless desire to explore images and motifs. His work is instantly recognisable through his strong punch of colour and definite use of line which weaves its way sensuously across the surface, denoting both the delicacy and strength of the form and spirit of the subject. Hannam’s paintings expressively offer a singular view on how what he sees, how he thinks and pivotally how he feels about the human condition and what lies beyond our materiality. His work could be seen to continue the Romantic tradition, embracing reality and mysticism with the wonder of experience.
Luke Hannam was born in 1966 and currently lives in East Sussex, UK. He studied Fine Art in the 1980s and whilst others of his generation faithfully chanted the conceptual mantra of the time, Hannam focussed on perfecting his expressive drawing skills seeking inspiration from the earlier masters. Works have been exhibited and collected internationally, including the collections of Stefan Simchowitz and David Kowitz.
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Artist : Andy Harper
Title : Seriquel
Medium : oil on board
Dimensions : 60 cm diameter
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Andy Harper’s intricate oil paintings deal with the fruits of labour in the shadow of uncertainty. On one side they are concerned with the immediate process of painting, the mechanical, almost automated act of laying down mark after mark on a wet surface. On the other hand, they are subject to long-term strategy, each mark developed over time and embedded into a composition that provides an architectural structure for the work. While this framework may be logically ordered, the marks themselves are organic entities, forming a broad visual library that has taken on a life its own, growing through repetition and recombination in each new work. The paintings act like a Petri-dish for the culturing of this visual language, and a greenhouse for its cultivation. The forms may seem organic, but upon closer inspection they are not specific to anything the natural world has to offer. Rather they appear as a synthetic form of nature, generated from compulsive repetition and subjective reinterpretation, a world that has somehow evolved beyond the point of progeny to become its own independent alien entity.
Andy Harper lives in St Just, the most westerly town in Cornwall and works from a studio at the renowned Porthmeor Studios in St Ives. He studied his BA in Fine Art: Painting & Printmaking at Brighton Polytechnic and then MA Fine Art: Painting at the Royal College of Art, London. In 1996, with some peers from the RCA, Harper co-founded NotCut which ran a studio and photographic darkroom in London and curated ‘Lightness & Weight’ in Birmingham. During this time he also studied part time at Middlesex University for an MA in Visual Culture and had his first solo exhibition in London in 1998. After attending the Braziers International Artist Workshop in 2000, Harper became a member of the organising committee until 2008. Harper has taught in many institutions nationally and internationally, and had teaching posts at Central St. Martins, The City Lit and is currently a Senior Lecturer on the MFA Fine Art programme at Goldsmiths, University of London. Harper has exhibited widely in Europe, North America and
South Korea.
THE WHEEL OF THE YEAR :
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Featured
Artist : Tim Shaw
Title : Horror of War (Cast Head of Man on Fire (Imperial War Museum North))
Medium : resin (edition of 8)
Dimensions : 66 x 60 x 58 cm
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The Imperial War Museums have acquired Tim Shaw’s monumental sculpture ‘Man On Fire’ to be permanently installed at the Imperial War Museum North in front of the museum’s Libeskind building. The work, cast into bronze, was unveiled in July 2023.
‘Man On Fire’ was originally conceived in response to the US-led invasion of Iraq. Larger than life in scale at 4 x 4 x 2.5 m, it captures the horrific moments of a figure on fire, caught in conflict. The sculpture is a powerful image of contemporary conflict and compassionately relates to the human cost of war. Originally shaped by photographs of a soldier diving for his life from a burning armoured vehicle during a riot in Basra, Iraq 2005, ‘Man on Fire’ bears witness to the universal horror of war. War is time old, and conflict does not discriminate between gender, age or country. Russia’s brutal invasion of Ukraine, testifies to the fact that we continually repeat the same tragic mistakes.
Shaw is a British artist, born in Belfast, he currently lives in Cornwall. He was elected an Academician at The Royal Academy in 2013 and made a Fellow of The Royal British Society of Sculptors and a Fellow of Falmouth University the same year. Shaw has had a number of significant public solo exhibition throughout the UK, Ireland and internationally. He has undertaken a number of public commissions including ‘The Rites of Dionysus’ for The Eden Project, ‘The Minotaur’ for The Royal Opera House and ‘The Drummer’ for Lemon Quay, Truro. A more overtly political side to his work became evident through a number of sculptures responding to the issues of terrorism and conflict. ‘Tank on Fire’ was awarded the selectors prize at the inaugural Threadneedle Prize in 2008 and the installation ‘Casting a Dark Democracy’ was reviewed in 2008 by Jackie Wullschlager of The FT as ‘The most politically charged yet poetically resonant new work on show in London’. Shaw has been supported by the Kappatos Athens Art Residency, The Kenneth Armitage Foundation, The British School of Athens,The Delfina Studio Trust through residencies in Greece, Spain and a fellowship in London. Most recently as an Artist Fellow at the Kate Hamburger Centre for Advance Study in the Humanities of ‘Law and Culture’ In Bonn, Germany where he began work on ’The Birth of Breakdown Clown’ an existential sculptural work utilising sculpture, robotics and AI.