MABON

Artist : David Kim Whittaker
Title : The Sisters : Figure of the Nocturns
Medium : oil on acrylic on panel
Dimensions : 76 x 76 cm


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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 something far greater than oneself. Recent works depict the artists deep sensitivity and increasing unease when confronted 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 he still resides. 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.

Artist : Antony Micaleff
Title : Constructing Auras with Red and Ochre
Medium : oil with beeswax on canvas
Dimensions : 40 x 40 x 30 cm


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Antony Micallef is a British contemporary artist working in London, UK.

He first appeared on the British art scene after becoming a prize winner of the BP Portrait Award competition at the National Portrait Gallery. Since then, his oevre fused political imagery with contemporary expressionism winning him worldwide acclaim. Described as a Modern Expressionist, Micallef roots his visually charged figurative paintings in the fields of social commentary and physical and metaphysical self-examination in the search to capture something of the human condition. In his more recent works, he builds up a substantial relief-like surface with extensive paint mass sited upon a benign background. By using significant layering, and heavy impasto, the materiality of his medium is pushed to its extreme, blurring the boundaries between painting and sculpture.

Micaleff was notably taught by the painter John Virtue, who was in turn taught by Frank Auerbach. He has been selected as one of Louis Vuitton’s ‘Visionaries’ and is currently taking part in a world tour showcasing his work. His paintings features in private and public collections across the world, with work exhibited in exhibitions in institutions including The National Portrait Gallery, The Royal Academy, Tate Britain and the ICA.

Artist : Henry Hussey
Title : Prometheus Bound
Medium : oil-based monotype on paper
Dimensions : 42 x 30 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.

Artist : Henry Hussey
Title : Joan
Medium : oil-based monotype on paper
Dimensions : 42 x 30 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.

Artist : Henry Hussey
Title : Judas
Medium : oil-based monotype on paper
Dimensions : 42 x 30 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.

Artist : Henry Hussey
Title : Wound Man
Medium : oil-based monotype on paper
Dimensions : 42 x 30 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.

Artist : Judith Nangala Crispin
Title : On a night of meteor showers and lit uranium mines, Jeremy, released from his chickenhawk body by a passing truck, unfolds his thousand-eyed wings
Medium : lumachrome glass print, cliche-verre, chemigram, drawing. Roadkilled chickenhawk, sand, vegemite, household and decomposition chemicals, rodinal, graphite, biro, bromide, wax, and marbles on Fomapan fibre paper. Exposed 47 hours in rainlight in a geodesic dome
Dimensions : 130 x 82 cm


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Judith Nangala Crispin is an Australian visual artist, poet and musician, and a descendant of Bpangerang people of North East Victoria. Her skin name, Nangala, was given to her by the Warlpiri people of the remote Tanami Desert in northern Australia, a place she has lived for a few months each year for over a decade. Her work includes themes of displacement and identity loss, a reflection on her ancestry, but it is primarily centred on the concept of connection with the land. This work forms a part of Crispin’s ongoing series depicting the transcendent ascending forms of recently deceased fauna. Crispin’s camera-less method of photography incorporates a range of processes. Her own developed alternative process of ‘lumachrome glass printing’, combines elements of lumen printing, cliché verre, chemical alchemy and drawing. She works within a mobile geodesic dome which functions as a giant lens where light streams penetrate its plastic walls. The mobility of her studio allows her to go to the site of her subject, prior to respectful burial. The muse, is raised onto a plastic box, rested on special photographic paper for up to 50 hours as the passage of sun and moonlight exposes its posthumous portrait. Each work is viewed as a collaboration with nature, where honouring the subject is a key objective. In each work the animals are diaphanous where light has literally passed through their bodies. They appear drawn in a primitive motion by a slipstream of spirit, levitating in a space of brooding luminosity that appears sentient and wholly focused on the task of enfolding each creature back into its care. The result offers a profound sense of what lies beyond.

Nangala Crispin has published a collection of poetry, The Myrrh-Bearers (Sydney: Puncher & Wattmann, 2015), and a book of images and poems made while living with the Warlpiri, The Lumen Seed (New York: Daylight Books, 2017). She is a member of Oculi collective, one of the chapter leads of Women Photograph (Sydney), and was the 2021 Artist in residence with Music Viva. She is also the Poetry Editor for The Canberra Times. She has also directed and worked on two major social justice research projects – The Julfa Project, which preserved photographic records of a destroyed Armenian cemetery and digitally reconstructed the site from new and existing images; and Kurdiji 1.0, an Aboriginal suicide prevention app, which strengthens resilience in young indigenous people by reconnecting them with community and culture. Nangala Crispin work has been exhibited internationally.

Artist : Tim Shaw
Title : We Remain at the Mercy of Nature (I)
Medium : bronze (edition of 9)
Dimensions : 74 cm (H)


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Tim Shaw RA’s sculpture is often dualistic, incorporating current affairs, societal complexity and human conflict with ancient, mythical, metaphysical and primal concerns. Shaw’s powerful oeuvre connects these elements to create wider, timeless portraits of humanity. The tension between ancient past and a prosaic presence, between solidity and breakdown, becomes an organic part of his worldview, whether he’s looking at human transgression or the enlightenment of primitive ritual.

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 solo shows throughout the UK, Ireland and internationally. Most recently the major public solo exhibitions ‘What Remains’ and ‘Something is Not Quite Right’ a collaboration between The Exchange and Anima-Mundi, ‘Mother the Air is Blue, The Air is Dangerous’ was held in the F.E McWilliam Gallery in Northern Ireland, ‘Black Smoke Rising’ toured from Mac Birmingham to Aberystwyth Arts Centre and Back From the Front presents: Shock and Awe – Contemporary Artists at War and Peace at the Royal West of England Academy. 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 political side to his work became evident in a number of sculptures responding to the issues of terrorism and The Iraq War. ‘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 Financial Times 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.

Artist : Tim Shaw
Title : We Remain at the Mercy of Nature (II)
Medium : bronze (edition of 9)
Dimensions : 52 cm (H)


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Tim Shaw RA’s sculpture is often dualistic, incorporating current affairs, societal complexity and human conflict with ancient, mythical, metaphysical and primal concerns. Shaw’s powerful oeuvre connects these elements to create wider, timeless portraits of humanity. The tension between ancient past and a prosaic presence, between solidity and breakdown, becomes an organic part of his worldview, whether he’s looking at human transgression or the enlightenment of primitive ritual.

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 solo shows throughout the UK, Ireland and internationally. Most recently the major public solo exhibitions ‘What Remains’ and ‘Something is Not Quite Right’ a collaboration between The Exchange and Anima-Mundi, ‘Mother the Air is Blue, The Air is Dangerous’ was held in the F.E McWilliam Gallery in Northern Ireland, ‘Black Smoke Rising’ toured from Mac Birmingham to Aberystwyth Arts Centre and Back From the Front presents: Shock and Awe – Contemporary Artists at War and Peace at the Royal West of England Academy. 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 political side to his work became evident in a number of sculptures responding to the issues of terrorism and The Iraq War. ‘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 Financial Times 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.

Artist : Tim Shaw
Title : We Remain at the Mercy of Nature (III)
Medium : bronze (edition of 9)
Dimensions : 65 cm (H)


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Tim Shaw RA’s sculpture is often dualistic, incorporating current affairs, societal complexity and human conflict with ancient, mythical, metaphysical and primal concerns. Shaw’s powerful oeuvre connects these elements to create wider, timeless portraits of humanity. The tension between ancient past and a prosaic presence, between solidity and breakdown, becomes an organic part of his worldview, whether he’s looking at human transgression or the enlightenment of primitive ritual.

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 solo shows throughout the UK, Ireland and internationally. Most recently the major public solo exhibitions ‘What Remains’ and ‘Something is Not Quite Right’ a collaboration between The Exchange and Anima-Mundi, ‘Mother the Air is Blue, The Air is Dangerous’ was held in the F.E McWilliam Gallery in Northern Ireland, ‘Black Smoke Rising’ toured from Mac Birmingham to Aberystwyth Arts Centre and Back From the Front presents: Shock and Awe – Contemporary Artists at War and Peace at the Royal West of England Academy. 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 political side to his work became evident in a number of sculptures responding to the issues of terrorism and The Iraq War. ‘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 Financial Times 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.

Artist : David Cooper
Title : War Hed (1)
Medium : clay
Dimensions : 20 x 19 x 17 cm


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“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.

Artist : David Cooper
Title : War Hed (2)
Medium : bitten clay
Dimensions : 32 x 20 x 16 cm


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“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.

Artist : GL Brierley
Title : Untitled (1)
Medium : oil on panel
Dimensions : 30 x 40 cm


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In GL Brierley’s pictorial stages, we often witness simultaneously seductive and grotesque themes tilting over and collapsing into a sort of pantomime-like comedy. In addition to their representational quality, paint remains paint as material oscillating between a form of abstraction and figuration. Brierley symbolically plays with the term ‘base-matter’ as a word rooted in the term ‘mater’, which also means ‘mother’ in Latin and Greek, gracefully fusing two concepts: object and desire. Her exquisite oil paintings feature individual subjects, often appearing engaged in dialogue, positioned alongside fragments that perhaps resemble still life. The paint appears corporeal, organic and almost living, congealing as a result of technical alchemy, casting ambiguous folds in a unique materiality which simultaneously demonstrates a virtuosic use of light and shade. All pictorial elements are given the same ornamental treatment, which means that the viewer’s gaze freely roams across the entire image: filigree inlays in sharp angular shapes are applied, simulating a floor covering that may appear abruptly foreshortened. Broad brushstrokes rich in contrast generate a figurative element, perhaps punctuated with parasitic colour sequences that freely resembles an imaginary covering or garment. In sharp contrast, thick applications of colour dot the surface here and there in an almost violent act of embellishment. Brierley’s paintings serve as a stage for diverse forms of reconciliation and transformation between the male and female, mind and material, body and object.

GL Brierley is a British artist based in London. GL Brierley. She completed her Masters in visual arts at the College of Art in London and graduated with an M.F.A. from Goldsmith College, London. Her works have been presented in numerous exhibition internationally. And are placed in renowned cas numerous private collections.

Artist : GL Brierley
Title : Untitled (2)
Medium : oil on paper
Dimensions : 28 x 38 cm


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In GL Brierley’s pictorial stages, we often witness simultaneously seductive and grotesque themes tilting over and collapsing into a sort of pantomime-like comedy. In addition to their representational quality, paint remains paint as material oscillating between a form of abstraction and figuration. Brierley symbolically plays with the term ‘base-matter’ as a word rooted in the term ‘mater’, which also means ‘mother’ in Latin and Greek, gracefully fusing two concepts: object and desire. Her exquisite oil paintings feature individual subjects, often appearing engaged in dialogue, positioned alongside fragments that perhaps resemble still life. The paint appears corporeal, organic and almost living, congealing as a result of technical alchemy, casting ambiguous folds in a unique materiality which simultaneously demonstrates a virtuosic use of light and shade. All pictorial elements are given the same ornamental treatment, which means that the viewer’s gaze freely roams across the entire image: filigree inlays in sharp angular shapes are applied, simulating a floor covering that may appear abruptly foreshortened. Broad brushstrokes rich in contrast generate a figurative element, perhaps punctuated with parasitic colour sequences that freely resembles an imaginary covering or garment. In sharp contrast, thick applications of colour dot the surface here and there in an almost violent act of embellishment. Brierley’s paintings serve as a stage for diverse forms of reconciliation and transformation between the male and female, mind and material, body and object.

GL Brierley is a British artist based in London. GL Brierley. She completed her Masters in visual arts at the College of Art in London and graduated with an M.F.A. from Goldsmith College, London. Her works have been presented in numerous exhibition internationally. And are placed in renowned cas numerous private collections.

Artist : David Quinn
Title : Cloghan (1)
Medium : mixed media on panel
Dimensions : 21.5 x 13.5 cm


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Working on several pieces at once, David Quinn’s studio is an intimate, white, rectangular space where small scale, inter-related yet instinctively painted works, hang in line or grid. Each piece a self contained unit, both unique and yet part of a greater whole, as if individual words as part of a sentence, notes in a tune or hours in a day. What at first glance appears simple, minimal and understated, reveals itself upon closer inspection to be multilayered and imbued with quiet complexity, where a unique history is accumulated, built like strata in sedimentary rock. A finished painting is the summary of the process of its creation: a concentrated form or essence, containing both purity and imperfection, each tablet a poetic palimpsest, considered by Quinn as a marker of time, spent in contemplation - akin perhaps to a physical embodiment of meditation or a prayer.

David Quinn was born in Dublin, Ireland in 1971 and currently lives and works in Shillelagh, County Wicklow. His paintings have been exhibited internationally and can be found in collections worldwide.

Artist : David Quinn
Title : Cloghan (2)
Medium : mixed media on panel
Dimensions : 21.5 x 13.5 cm


ENQUIRE ABOUT THIS WORK

Working on several pieces at once, David Quinn’s studio is an intimate, white, rectangular space where small scale, inter-related yet instinctively painted works, hang in line or grid. Each piece a self contained unit, both unique and yet part of a greater whole, as if individual words as part of a sentence, notes in a tune or hours in a day. What at first glance appears simple, minimal and understated, reveals itself upon closer inspection to be multilayered and imbued with quiet complexity, where a unique history is accumulated, built like strata in sedimentary rock. A finished painting is the summary of the process of its creation: a concentrated form or essence, containing both purity and imperfection, each tablet a poetic palimpsest, considered by Quinn as a marker of time, spent in contemplation - akin perhaps to a physical embodiment of meditation or a prayer.

David Quinn was born in Dublin, Ireland in 1971 and currently lives and works in Shillelagh, County Wicklow. His paintings have been exhibited internationally and can be found in collections worldwide.

Artist : David Quinn
Title : Cloghan (3)
Medium : mixed media on panel
Dimensions : 21.5 x 13.5 cm


ENQUIRE ABOUT THIS WORK

Working on several pieces at once, David Quinn’s studio is an intimate, white, rectangular space where small scale, inter-related yet instinctively painted works, hang in line or grid. Each piece a self contained unit, both unique and yet part of a greater whole, as if individual words as part of a sentence, notes in a tune or hours in a day. What at first glance appears simple, minimal and understated, reveals itself upon closer inspection to be multilayered and imbued with quiet complexity, where a unique history is accumulated, built like strata in sedimentary rock. A finished painting is the summary of the process of its creation: a concentrated form or essence, containing both purity and imperfection, each tablet a poetic palimpsest, considered by Quinn as a marker of time, spent in contemplation - akin perhaps to a physical embodiment of meditation or a prayer.

David Quinn was born in Dublin, Ireland in 1971 and currently lives and works in Shillelagh, County Wicklow. His paintings have been exhibited internationally and can be found in collections worldwide.

Artist : Kate Clark
Title : The Sisters’ Embrace
Medium : coyote hide, foam, clay, pins, thread, rubber eyes
Dimensions : 122 x 89 x 36 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.

Artist : Massimo Angei
Title : Ricordi confusi (Confused Memories)
Medium : oil on board
Dimensions : 47 x 40 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.

Artist : Massimo Angei
Title : Linee solide e tenere (Solid and Tender Lines)
Medium : oil on board
Dimensions : 47 x 40 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.

Artist : Massimo Angei
Title : Odore di ruggine (Smell of Rust)
Medium : oil on board
Dimensions : 47 x 40 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.

Artist : Alice Ellis Bray
Title : I am the Stone
Medium : oil and 23.5ct gold on board
Dimensions : 44 x 30 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.

Artist : Alice Ellis Bray
Title : Selfie Under the Elder
Medium : oil and 23.5ct gold on board
Dimensions : 44 x 30 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.

Artist : Alice Ellis Bray
Title : Selfie in Eden
Medium : oil and 23.5ct gold on board
Dimensions : 45 x 30 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.

Artist : Andy Harper
Title : Staghorn
Medium : oil on linen
Dimensions : 90 x 122 cm


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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.

Artist : Simon Averill
Title : Entanglements (1)
Medium : acrylic on panel
Dimensions : 40 x 40 cm


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Albert Einstein’s ‘spooky action at a distance’ theory referred to the subject of ‘quantum entanglement’. This principle has inspired this ongoing series of paired paintings by Simon Averill. Quantum entanglement is a physical phenomenon which occurs when pairs or groups of particles are generated, interact, or share spatial proximity in ways such that the quantum state of each particle cannot be described independently of the state of the other(s), even when the particles are separated by a large distance—instead, a quantum state must be described for the system as a whole. Physicist and feminist theorist Karen Barad coined the term ‘intra-action’ to describe the concept of ‘entanglement’, (not only of fundamental particles but of all material, matter, of nature and of meaning). There is a distinction to be made between intra-action and interaction; when bodies interact they retain a degree of independence, each entity existed before the encounter. When intra-action occurs individuals materialise and agency emerges from within the relationship not outside of it. These works further enhance Averill’s reputation for attempting to record elusive, transitory yet fundamental phenomena. Produced through a multi layered, process of glazing where methodical and repetitive series’ of motifs, are used to describe intangible potentials.

Simon Averill is a British artist born in Brighton, England in 1961. He currently lives and works near Marazion in West Cornwall. Averill studied Fine Art at Brighton Polytechnic and graduated with Honours. In 1986 he established a Printmaking Workshop near Penzance, Cornwall, which he ran until 1990. He has been a member of the Newlyn Society of Artists since the late 1980s. Averill has exhibited widely with exhibitions in the UK, Europe and USA including the Royal Academy of Arts Summer Show, The Discerning Eye exhibition at the Mall Galleries, Royal West of England Academy in Bristol, Sherborne House, Plymouth Museum, Plymouth Arts Centre, Truro Museum, Falmouth Art Gallery, Newlyn Art Gallery and the Festival Hall in Chicago, USA. He has had 12 exhibitions and won the Wells Art Contempory painting prize in 2020.

Artist : Simon Averill
Title : Entanglements (2)
Medium : acrylic on panel
Dimensions : 40 x 40 cm


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Albert Einstein’s ‘spooky action at a distance’ theory referred to the subject of ‘quantum entanglement’. This principle has inspired this ongoing series of paired paintings by Simon Averill. Quantum entanglement is a physical phenomenon which occurs when pairs or groups of particles are generated, interact, or share spatial proximity in ways such that the quantum state of each particle cannot be described independently of the state of the other(s), even when the particles are separated by a large distance—instead, a quantum state must be described for the system as a whole. Physicist and feminist theorist Karen Barad coined the term ‘intra-action’ to describe the concept of ‘entanglement’, (not only of fundamental particles but of all material, matter, of nature and of meaning). There is a distinction to be made between intra-action and interaction; when bodies interact they retain a degree of independence, each entity existed before the encounter. When intra-action occurs individuals materialise and agency emerges from within the relationship not outside of it. These works further enhance Averill’s reputation for attempting to record elusive, transitory yet fundamental phenomena. Produced through a multi layered, process of glazing where methodical and repetitive series’ of motifs, are used to describe intangible potentials.

Simon Averill is a British artist born in Brighton, England in 1961. He currently lives and works near Marazion in West Cornwall. Averill studied Fine Art at Brighton Polytechnic and graduated with Honours. In 1986 he established a Printmaking Workshop near Penzance, Cornwall, which he ran until 1990. He has been a member of the Newlyn Society of Artists since the late 1980s. Averill has exhibited widely with exhibitions in the UK, Europe and USA including the Royal Academy of Arts Summer Show, The Discerning Eye exhibition at the Mall Galleries, Royal West of England Academy in Bristol, Sherborne House, Plymouth Museum, Plymouth Arts Centre, Truro Museum, Falmouth Art Gallery, Newlyn Art Gallery and the Festival Hall in Chicago, USA. He has had 12 exhibitions and won the Wells Art Contempory painting prize in 2020.

Artist : Amy Gillian Wilson
Title : I Opened Myself And You Were Born For You Yourself
Medium : mixed media wall hanging
Dimensions : 90 x 61 cm


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“I used to be a woman who knew how to make things out as I saw them, but I have since committed the pathetic error of thinking. Wanting to understand was one of the worst things to have happened to me. I care too much about the utter darkness, the void of unfulfillment, to receive and eat back the lives that have been tossed forth from the womb to fail, to kiss and bestow them all a second chance. I’m sending my true love back to the bitch that bore you. She is the world-generating spirit who all creatures rise through: space, time, and causality – the shell of the cosmic egg. She is the enticement that budged the self-brooding absolute to the act of creation. All information inside her is systematized around an enigma invisible even in its most private nucleus. I’m handing you a world on fire. I’ve given up on figuring out how to figure things out. Every lure seems to be an expanding vortex. Fear comes from what surpasses me, and I fear myself becomes I’m always ready to suffer. To protect me who persecutes me, I’ll float in emptiness and become air, energetic air, or maybe I’ll be more like an instant of air. Yes, I want to be an instant. Rather than a soul in a body, I’ll be a body in a soul.” - Amy Gillian Wilson, 2021

Amy Gillian Wilson was born in Boston, Massachusetts in 1997. Her interdisciplinary approach consists of sculpture, painting, installation, writing, video and performance. She earned her undergraduate degree from the School of the Art Institute of Chicago and is currently completing the Masters of Fine Arts program in Ceramics at Cranbrook Academy of Art in Bloomfield Hills, Michigan. She has exhibited her artwork widely in the USA and beyond.

Artist : Luke Hannam
Title : The Betrothed
Medium : oil and acrylic on canvas
Dimensions : 220 x 166 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.

Artist : Luke Hannam
Title : The Pathway to Being and Time Remains Hidden
Medium : oil and acrylic on canvas
Dimensions : 120 x 90 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.

Artist : Claire Curneen
Title : The Martyr
Medium : porcelain
Dimensions : 30 x 27 x 26 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 Studio, Philadelphia, USA; Mint Museum of Craft + Design, Charlotte, North Carolina, USA; Icheon World Ceramic Centre, Gyeonggi-do, Korea; Taipei Ceramics Museum, Taiwan.

Artist : Rebecca Harper
Title : The Shell of the Sacred Water
Medium : acrylic on canvas
Dimensions : 180 x 130 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.

Artist : Arthur Lanyon
Title : Sunny Luster
Medium : mixed media on linen
Dimensions : 117 x 110 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.

Artist : James E Crowther
Title : Backstroker
Medium : oil on bespoke panel
Dimensions : 27 x 15 cm


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James E Crowther has earned his reputation for painting his idiosyncratic signature ‘cut out’ portraits, rendered in oil on panel. It is through his attention to detail and his skill at ‘capturing’ his subject that the sensitivity of their inner psyche is revealed.

Crowther is a British figurative painter living and working in rural Oxfordshire with his two daughters, three dogs and partner. He was born in Southampton in 1974 and grew up on the River Hamble Hampshire where his father ran a boatyard. He secured a place at Brighton art college in 1993 where the world opened up for him. He graduated under principle tutors of Andrzej Jackowski and Brendan Neiland and continued to live in Brighton for the next ten years embracing the rich club scene. In 2004 he had his first painting accepted for BP Portrait Prize. The highly acclaimed writer Blake Morrisson said on seeing James’ painting at the National Portrait Gallery, “A good portrait painting does not merely capture a likeness, but connects with the inner energy of the sitter, showing the ‘flickers of feeling, shadows of thought, or what Leonardo da Vinci called The motions of the Mind”. Crowther has been shortlisted for the Sequested Art Prize 2021/22 at Unit Gallery and has had several solo shows in London and exhibited at the Royal Academy Summer Exhibition, the BP Portrait Prize, Figurative Art Now at the Mall Galleries, Lynn Painter Stainers Prize, The Discerning eye, The Threadneedle Art Prize and art fairs in London, New York, Miami, Paris, Switzerland and Greece. Works are in numerous private collections internationally.

Artist : James E Crowther
Title : Rare Red Flame
Medium : oil on bespoke panel
Dimensions : 22 x 21 cm


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James E Crowther has earned his reputation for painting his idiosyncratic signature ‘cut out’ portraits, rendered in oil on panel. It is through his attention to detail and his skill at ‘capturing’ his subject that the sensitivity of their inner psyche is revealed.

Crowther is a British figurative painter living and working in rural Oxfordshire with his two daughters, three dogs and partner. He was born in Southampton in 1974 and grew up on the River Hamble Hampshire where his father ran a boatyard. He secured a place at Brighton art college in 1993 where the world opened up for him. He graduated under principle tutors of Andrzej Jackowski and Brendan Neiland and continued to live in Brighton for the next ten years embracing the rich club scene. In 2004 he had his first painting accepted for BP Portrait Prize. The highly acclaimed writer Blake Morrisson said on seeing James’ painting at the National Portrait Gallery, “A good portrait painting does not merely capture a likeness, but connects with the inner energy of the sitter, showing the ‘flickers of feeling, shadows of thought, or what Leonardo da Vinci called The motions of the Mind”. Crowther has been shortlisted for the Sequested Art Prize 2021/22 at Unit Gallery and has had several solo shows in London and exhibited at the Royal Academy Summer Exhibition, the BP Portrait Prize, Figurative Art Now at the Mall Galleries, Lynn Painter Stainers Prize, The Discerning eye, The Threadneedle Art Prize and art fairs in London, New York, Miami, Paris, Switzerland and Greece. Works are in numerous private collections internationally.

Artist : Carlos Zapata
Title : Stigmata
Medium : polychromed carved wood
Dimensions : 53 cm height


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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.

Artist : Gabrielle K Brown
Title : Hot Steel & A Block of Ice
Medium : mixed media on canvas
Dimensions : 105 x 80 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.

Artist : Gabrielle K Brown
Title : Birth Comes In Many Forms
Medium : mixed media on canvas
Dimensions : 105 x 80 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.

Artist : Jamie Mills
Title : Memory and Space (Vestige)
Medium : perforated paper, ink, beeswax
Dimensions : 25 x 21 cm


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Jamie Mills is a musician, sound and visual artist. His practice is underpinned by investigation surrounding the dissemination of gesture between materiality and environments – referencing both internal and external landscapes. These concerns are reinforced by an interdisciplinary approach to working and are made manifest through the renderings of sounds or materials often sourced or retrieved via immersion into nature or borderlands, and with particular reference to his aural works, articulated and manipulated through unorthodox instrumental preparations and the incorporation and processing of field recordings. The term ‘gestalt’ refers to a concept within psychotherapeutic fields, inferring that the nature of a whole is greater than the sum of its parts. Mills’ employment of the mediums of photography, sound and mark-making can be read in this sense whereby a reality is constructed not by the sole surface representation of any individual element alone, but instead there is a sense that the artists reality is presented through the relationships and the spaces between elements. In other terms, it is work that requires both on one hand a stepping away from, and on the other an immersion into, in order to extract an empathetic understanding of the essence of the work that presides from both a conscious and subconscious framework of mind. Universally inherent within his process of rendering, there is a conscious dialogue between, on one hand material intent (or ‘essence’) and on the other, control (or the relinquishing of control), so as to make work that negotiates thresholds and occupies at times a liminal status. In this sense Mills’ “intuitively composed” sound works, and his images or assemblages become markers to a series of internal journeys or rituals informed by an often poetic dialogue between material, form and environment.

Artist : Jonathan Michael Ray
Title : Sylvan Crop 1 & 2
Medium : photogram, gelatine silver print on resin-coated paper
Dimensions : 38 x 31 cm


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Jonathan Michael Ray’s ‘mono no aware’ artworks examine the multilayered histories, fictions and beliefs assigned to artefacts, materials and the places he encounters. A practice comprising of stained glass, photography, sculpture, print, drawing, video and installation, much of his work is deeply connected to his surroundings. He regularly uses found objects and images imbued with their own histories, as well as material direct from the landscape, appropriating their symbolism while creating a new context and meaning. By layering and combining material, he is interested in looking beyond the surface of a purely physical existence and breaking down the institutions by which we are taught to see and experience the world. His work alludes to the sublime power that inanimate material and objects can contain when we give them space, time and authority to do so.

Jonathan Michael Ray was born in High Wycombe, UK and has been based in West Cornwall since 2018. He studied at Nottingham Trent in 2007 and at Slade School of Fine Art in 2016. Earlier this year Ray was selected to take part in Masterclass at Zabludowicz Collection, London, he and Verity Birt organised “Gathering” a group exhibition at Grays Wharf, Penryn, and has been shortlisted for the National Sculpture Prize which is currently on show at Broomhill Estate in Devon. His work will be subject of a two person presentation with Willeminha Barnes Graham at Tate St Ives in 2022.

Artist : Richard Nott
Title : Integument (1)
Medium : mixed media floating panel
Dimensions : 106 x 106 cm


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Richard Nott’s paintings are unique. There are no oil or acrylic paints in his studio, he works with industrial materials, bitumen, emulsions and varnishes, building them up layer upon layer, often over intimately drawn or gouged grids, lines or marks, into a textural palimpsest, before courageously scraping or burning them back to reveal what lies underneath. Viewing Richard Nott’s artwork is witnessing a protracted collision of creative and destructive processes. An evolution of matter, exposed, concealed, exposed, concealed, continuously. His paintings become the consequence of protracted time spent where Nott’s history merges with the history of the elements used. He has little interest in illusionistic ‘texture’, the work must be its own entity, have its own story and be its own statement. His objective is to create an organic object that evolves like a living thing with truth and imperfection. His process of working allows for a contemplation of a cycle of existence to become imbued in to the work. Not a beginning with an end but a journey where genesis leads to dissolution, and on once again to genesis. Something eternal akin to alchemy.

Richard Nott is a British artist born in 1963, who lives and works in west Cornwall. Nott gained his Fine Art degree at Lancashire Polytechnic and his MA in fine art at Reading University. In 1985 he worked as an assistant to Andy Goldsworthy on site-specific sculptures in the Lake District. He was gallery assistant at the Royal Academy from 1986-7 and at Oldham Art Gallery from 1991-2. He won the South West Arts Visual Arts and Photography Award in 1994. He gained a residency at the 12th International Weeks of Painting in Slovenia. Exhibitions have been extensive and international notable included numerous solo exhibitions at Anima Mundi over a long and fruitful working relationship, ‘Art Now Cornwall’ at the Tate St Ives and Chashama, Avenue of the America’s, NYC.

Artist : Richard Nott
Title : Integument (2)
Medium : mixed media floating panel
Dimensions : 106 x 106 cm


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Richard Nott’s paintings are unique. There are no oil or acrylic paints in his studio, he works with industrial materials, bitumen, emulsions and varnishes, building them up layer upon layer, often over intimately drawn or gouged grids, lines or marks, into a textural palimpsest, before courageously scraping or burning them back to reveal what lies underneath. Viewing Richard Nott’s artwork is witnessing a protracted collision of creative and destructive processes. An evolution of matter, exposed, concealed, exposed, concealed, continuously. His paintings become the consequence of protracted time spent where Nott’s history merges with the history of the elements used. He has little interest in illusionistic ‘texture’, the work must be its own entity, have its own story and be its own statement. His objective is to create an organic object that evolves like a living thing with truth and imperfection. His process of working allows for a contemplation of a cycle of existence to become imbued in to the work. Not a beginning with an end but a journey where genesis leads to dissolution, and on once again to genesis. Something eternal akin to alchemy.

Richard Nott is a British artist born in 1963, who lives and works in west Cornwall. Nott gained his Fine Art degree at Lancashire Polytechnic and his MA in fine art at Reading University. In 1985 he worked as an assistant to Andy Goldsworthy on site-specific sculptures in the Lake District. He was gallery assistant at the Royal Academy from 1986-7 and at Oldham Art Gallery from 1991-2. He won the South West Arts Visual Arts and Photography Award in 1994. He gained a residency at the 12th International Weeks of Painting in Slovenia. Exhibitions have been extensive and international notable included numerous solo exhibitions at Anima Mundi over a long and fruitful working relationship, ‘Art Now Cornwall’ at the Tate St Ives and Chashama, Avenue of the America’s, NYC.

Artist : Jim Carter
Title : The North and South Star : 1. Not Descended from a Common Father / 2. I Cast the Lots from the Left Hand
Medium : fox, crow and jackdaw marks, crow feathers, wood from the brook, clay, charcoal, inks, brook water, fox tooth, deer and sheep bone, bracken and willow herb, earth and debris
Dimensions : 66 x 42 x 12 cm / 35 x 33 x 17 cm


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break open the chest
if you desire gold, oil, bleach.
let it smother you and see how
your skin blisters, your eyes turn
to dust, the rib cages nothing.
ask him what he has gained,
and he will say / everything.

burrow into his palm and
drain your milk; the North Star
thrashes in his paper folds.
let it blind you and you will see
the narrow skull of a boy, his
hollow cheeks ruddy, the bullet
between his eyes bleeding light.
ask him what he regrets,
and he will say /

Polaris, Brigitta McKeever


Jim 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, Centre For Human Ecology. Carter’s work has appeared in The Dark Mountain, About Place Journal, Unpsychology and Earthlines magazine.

Artist : Dr Martin Shaw
Title : Flowering Owl
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.

Artist : Dr Martin Shaw
Title : Winnowing Fork
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.

Artist : Dr Martin Shaw
Title : Merlinus
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.

Artist : Shiri Mordechay
Title : Untitled (1)
Medium : watercolour on paper
Dimensions : 36 x 28 cm


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Shiri Mordechay’s extraordinary painted works have a cinematic quality, where expansive imagery seemingly passes through time and space, like fleeting scenes in a film or interconnected snippets of dream. Both 2D and 3D painted installation works are made piece by piece, where a narrative unfolds, like a trail of instinct. Imagery seems to arrive with fluidity, through the artist as conduit, moving within an unguarded realm, seemingly free of structured morality or logical confine, conjuring what Julia Kristeva calls an “oceanic feeling”. Mordechay’s form of ambiguous realism is revealed through an intuitive rendering of unmediated internal psychology or event, which through her translation offers up a wider metaphysical and perhaps spiritual context. She attains a preservation of the enigma of the unconscious, where constructed ego is eroded or absorbed into something more widely connected, not necessarily at one with beauty, yet seductive none the less, like a forbidden fruit promising to lure us towards darkness or light. As expressed by Alfred Lord Tennyson, Mordechay paints an inner and outer world where nature is “red in tooth and claw”. Acclaimed American art critic Jerry Saltz wrote “Shiri Mordechay gives us a topsy-turvy world of mundane and mad images... It’s Charles Adams meets Edgar Allen Poe meets Animal Planet. Mordechay never allows us to look at any one thing; chaos and tumult reign.”

Mordechay was born in Israel and raised in Nigeria. She received her BFA from the San Francisco Art Institute and an MFA from School of Visual Arts in New York, where she now lives and works. In 2013, he was named as one of “25 Artists to Watch & Collect” by Artvoices Magazine. Solo exhibitions have occurred in San Francisco, Los Angeles, New York and Italy.

Artist : Shiri Mordechay
Title : Untitled (2)
Medium : watercolour on paper
Dimensions : 51 x 41 cm


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Shiri Mordechay’s extraordinary painted works have a cinematic quality, where expansive imagery seemingly passes through time and space, like fleeting scenes in a film or interconnected snippets of dream. Both 2D and 3D painted installation works are made piece by piece, where a narrative unfolds, like a trail of instinct. Imagery seems to arrive with fluidity, through the artist as conduit, moving within an unguarded realm, seemingly free of structured morality or logical confine, conjuring what Julia Kristeva calls an “oceanic feeling”. Mordechay’s form of ambiguous realism is revealed through an intuitive rendering of unmediated internal psychology or event, which through her translation offers up a wider metaphysical and perhaps spiritual context. She attains a preservation of the enigma of the unconscious, where constructed ego is eroded or absorbed into something more widely connected, not necessarily at one with beauty, yet seductive none the less, like a forbidden fruit promising to lure us towards darkness or light. As expressed by Alfred Lord Tennyson, Mordechay paints an inner and outer world where nature is “red in tooth and claw”. Acclaimed American art critic Jerry Saltz wrote “Shiri Mordechay gives us a topsy-turvy world of mundane and mad images... It’s Charles Adams meets Edgar Allen Poe meets Animal Planet. Mordechay never allows us to look at any one thing; chaos and tumult reign.”

Mordechay was born in Israel and raised in Nigeria. She received her BFA from the San Francisco Art Institute and an MFA from School of Visual Arts in New York, where she now lives and works. In 2013, he was named as one of “25 Artists to Watch & Collect” by Artvoices Magazine. Solo exhibitions have occurred in San Francisco, Los Angeles, New York and Italy.

Artist : Luke Routledge
Title : Woodland Sprite
Medium : mixed media
Dimensions : 50 x 28 x 18 cm


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Luke Routledge creates a phantasmagoric caste of grotesques constructed a re-assembled from an ever growing body of figures. Routledge’s sculptural output is focused on the description of an alternate society of nonsensical, protohumans, anthropomorphic beings and the speculative fictional multiverse that they call home. This multiverse is used as a framework within which to explore and unite diverse research topics, creating a living, collage territory. The hypothetical beings that these sculptures represent are positioned as a band of travellers exploring and striving to understand the cosmos they inhabit. They are building their cultures and communities as Routledge, through research, stitches new information into the fabric of their reality. As his research expands to include new topics, the beings transition from place to place - with each presentation they are simultaneously charting the boundaries of their existence. Central to both the material nature of his sculptures and the narrative setting is the idea of assemblage. His sculptures are constructed in a modular method that allows them to be dismantled and reassembled in new configurations, resulting in new narrative threads emerging across the installations and feeding the stories that he creates. The sculptures, their tools, possessions and elements of their landscape are predominantly made from an air dry clay material that he has been developing for a number of years. This material can be manipulated to achieve a diverse range of finishes and is used alongside other clays, silicones and CAD components. He combines these elements with altered electronics, treating them as found objects; utilising them to create a semblance of the technology and architecture of this other space, brought to life by animatronic elements.

Artist : Andrew Litten
Title : Nurture
Medium : oil on canvas
Dimensions : 90 x 80 cm


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Andrew Litten’s dynamic and gestural figurative paintings express a strong interest in the universal complexity of everyday existence. Dealing with humanistic themes such as love, sensuality, fear, anger, loss, nostalgia, mundanity, personal growth and perceived identity normality or disturbance. Works are created with an unguarded, empathetic attitude, like so many expressionistic artists, a rawness of approach combined with an often viscous application of paint is also key to the extreme experience felt from the work. Gesture and nuance inspire extreme emotive reading, perhaps subversive, tender, passionate, ambivalent, malevolent or compassionate, our response becomes one of allure or repulsion.

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.

Artist : Andrew Litten
Title : Dog Idol
Medium : oil on canvas
Dimensions : 70 x 60 cm


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Andrew Litten’s dynamic and gestural figurative paintings express a strong interest in the universal complexity of everyday existence. Dealing with humanistic themes such as love, sensuality, fear, anger, loss, nostalgia, mundanity, personal growth and perceived identity normality or disturbance. Works are created with an unguarded, empathetic attitude, like so many expressionistic artists, a rawness of approach combined with an often viscous application of paint is also key to the extreme experience felt from the work. Gesture and nuance inspire extreme emotive reading, perhaps subversive, tender, passionate, ambivalent, malevolent or compassionate, our response becomes one of allure or repulsion.

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.

Artist : Trevor Bell
Title : Sharpie
Medium : mixed media on canvas
Dimensions : 56 x 80 x 16 cm


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“I feel that what we should get from art is a sense of wonder, of something beyond ourselves, that celebrates our ‘being’ here.”

Trevor Bell, (1930-2017)

Trevor Bell was a British artist, born in Leeds, England in 1930. He passed away in 2017 in West Cornwall. Bell’s creative interest focussed primarily, on painting’s power to evoke sensation, which for him superseded any illusionistic properties. Ambitious in scale and dynamic in form, the range of work is diverse. His focus was a celebration of mutable energy, elemental forces and a quest for contemplative stillness. He achieved significant critical acclaim and recognition for his direct, abstract forms which emphatically represent the conflic and harmony found in the natural world to the spiritual concerns which connect the inner with all that surrounds us. Chris Stephens (former head of displays at Tate Britain) said “Bell’s art is, in the loosest sense, spiritual. It evokes, or reflects, an idea of some abstract force that exceeds material reality... The dangers and losses of the modern world would be compensated through the rediscovery of natural order and process, and a renewed sense of individual identity would be established through the exploration of forces larger than ourselves. Bell’s work, one might say, has always derived in one way or another from this new sublime.”

Bell attended Leeds College of Art from 1947 to 1952 and, encouraged by Terry Frost, moved to Cornwall in 1955, where he made his reputation as a leading member of the St Ives School, who helped establish British Art on the international stage. Waddington Galleries gave Bell his first solo exhibition in 1958. Patrick Heron wrote the essay for the exhibition, stating that Bell was ‘the best non-figurative painter under thirty’. In 1959 Bell was awarded the Paris Biennale International Painting Prize, and an Italian Government Scholarship and the following year was offered the Gregory Fellowship in Painting at the University of Leeds. Throughout the 1960’s Bell showed work in major exhibitions in the UK and USA and during this time his work was first purchased for the Tate collection. In 1973 he presented his work at the Whitechapel Gallery, having just taken part in a major exhibition at the Corcoran Gallery in Washington DC. Over the course of the next thirty years Bell combined painting with teaching eventually moving to Florida State University to become the Professor for Master Painting. He went on to spend the next 20 years in America. Important exhibitions were held at the Corcoran Gallery; the Academy of Sciences in Washington, the Metropolitan Museum in Miami, The Cummer Gallery and the Museum of Art at Fort Lauderdale, Florida. In 1985 Bell was included in the London Tate Gallery’s St Ives 1939-64 exhibition and in 1993 he was part of the inaugural show of the Tate St Ives. Bell had a major solo exhibition at the Tate St.Ives in 2004 and, in 2011, a further 14 works were obtained by the Tate for their permanent collection. Bell has works in numerous public and private collections internationally.

Artist : Marcelle Hanselaar
Title : Under My Skin
Medium : oil on canvas
Dimensions : 110 x 130 cm


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Marcelle Hanselaar was born in Rotterdam, the Netherlands. Growing up in the formal atmosphere of a protestant, postwar country, proved, thanks to her drop-out/turn-on rebellion, a profound source of inspiration for the recurring subject matter in Hanselaar’s work; namely the fierce and sometimes troubled cohabitation with those raw desires, secret fantasies and uncultivated instincts and our functioning in a civil society. Although Hanselaar studied briefly at the Royal Academy of Arts in The Hague, her lust for adventure, guided by a quest for self-discovery, led her to years of travel, until, in the early 1980’s she settled down in her studio in London where she still lives. Self-taught, she started out as an abstract painter before turning to figuration. At the same time she became fascinated by etching, its harsh, bitten line seemed to perfectly suit her subject matter. As an artist Hanselaar looks for ways to express those illusive questions of who and what we are when the mask is off, and how we appear when the mask is on. The shock effect of her work lies in the contrast of combining her outspoken subject matter with the conventional medium of oil painting or etching. Both her paintings and her prints display her delight and fascination with theatrical illusions and although often peppered with a biting sense of humour, the works reveals her own vibrant understanding of human nature, in all its animosity and fragility.

Hanselaar has exhibited her paintings and prints internationally, and can be found in private and public collections worldwide including British Museum Prints Collection, London; The Metropolitan Museum of Art, Print Collection, New York; V & A Prints & Drawings Collection, London; V & A National Art Library, London; Whithworth Art Gallery and Museum; Ashmolean Museum, Oxford; Fitzwilliam Museum, Cambridge; Clifford Chance Art Collection, London; The Viktor Wynd Museum of Curiosities, London; Swarthmore College, Pennsylvania, US; University of Arizona, Tucson, US; Sakimi Art Museum, Okinawa, Japan; Guandong Fine Art Museum, Guandong, China; Iraq National Library, Baghdad; Meermanno Museum-House of the Book, The Hague; Soho House Amsterdam; AMC, Amsterdam; Amsterdam Arts Council; Kunstcollectie; Gemeente Haaksbergen, NL; University of Aberystwyth Print Collection, Wales; New Hall Art Collection, University of Cambridge; Clare Hall, Cambridge; The Ned, London; Rabo Bank, London; Merrill Lynch, London; Risk Publications, London; Mitsukoshi Ltd., London and Paintings in Hospitals, London.

Artist : James Seow
Title : These Fiery Times (1)
Medium : archival print (ed 15)
Dimensions : 21 x 32 cm


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James Seow was born in Malaysia and has resided in the UK since moving there in the late 90s. He received an MA in Printmaking from the Royal College of Art in 2014, where he developed work across a range of media and techniques, including print, photography, sculpture and installation. He explores connections between traditional Eastern art and the contemporary, using digital techniques and modern visual language to interrogate these connections. The relationship between nature and urban life is a key focus in Seow’s practice. His work is informed by his early life experience, witnessing the huge transformation of Malaysia through its massive deforestation and urban planning policies of the 90s. Seow plays with how ideals of universal equality and harmony can be communicated, often drawing on the imagery of parks and gardens, illustrating the dichotomy between constructed environments and the ephemerality of the natural world. Working with the interplay between the natural and the artificial, the rational and the instinctive, he encourages a critical rethinking of contemporary reality.

James Seow’s work has been exhibited internationally and is in various private collections including Central Saint Martins School of Art and Design, Royal College of Art, Brookfield Asset Management Inc. and St James, Berkeley Group, UK.

Artist : James Seow
Title : These Fiery Times (2)
Medium : archival print (ed 15)
Dimensions : 21 x 32 cm


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James Seow was born in Malaysia and has resided in the UK since moving there in the late 90s. He received an MA in Printmaking from the Royal College of Art in 2014, where he developed work across a range of media and techniques, including print, photography, sculpture and installation. He explores connections between traditional Eastern art and the contemporary, using digital techniques and modern visual language to interrogate these connections. The relationship between nature and urban life is a key focus in Seow’s practice. His work is informed by his early life experience, witnessing the huge transformation of Malaysia through its massive deforestation and urban planning policies of the 90s. Seow plays with how ideals of universal equality and harmony can be communicated, often drawing on the imagery of parks and gardens, illustrating the dichotomy between constructed environments and the ephemerality of the natural world. Working with the interplay between the natural and the artificial, the rational and the instinctive, he encourages a critical rethinking of contemporary reality.

James Seow’s work has been exhibited internationally and is in various private collections including Central Saint Martins School of Art and Design, Royal College of Art, Brookfield Asset Management Inc. and St James, Berkeley Group, UK.

Artist : James Seow
Title : These Fiery Times (3)
Medium : archival print (ed 15)
Dimensions : 21 x 32 cm


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James Seow was born in Malaysia and has resided in the UK since moving there in the late 90s. He received an MA in Printmaking from the Royal College of Art in 2014, where he developed work across a range of media and techniques, including print, photography, sculpture and installation. He explores connections between traditional Eastern art and the contemporary, using digital techniques and modern visual language to interrogate these connections. The relationship between nature and urban life is a key focus in Seow’s practice. His work is informed by his early life experience, witnessing the huge transformation of Malaysia through its massive deforestation and urban planning policies of the 90s. Seow plays with how ideals of universal equality and harmony can be communicated, often drawing on the imagery of parks and gardens, illustrating the dichotomy between constructed environments and the ephemerality of the natural world. Working with the interplay between the natural and the artificial, the rational and the instinctive, he encourages a critical rethinking of contemporary reality.

James Seow’s work has been exhibited internationally and is in various private collections including Central Saint Martins School of Art and Design, Royal College of Art, Brookfield Asset Management Inc. and St James, Berkeley Group, UK.

Artist : Kristoffer Axen
Title : Entropy
Medium : oil and acrylic on canvas
Dimensions : 30 x 24 cm


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Kristoffer Axén’s atmospheric paintings are often auto-biographical as a means of tapping into the wider human condition. Works revolve around themes including the utopia of childhood, the temporary, dreamlike, quality of reality and the unconscious search for something oblique or unspecified. A sense of nostalgia is often tinged with an overarching feeling of the melancholy of transience. Inspired by cinematic imagery, anonymous photographs from the internet and childhood snapshots, Axén’s paintings and drawings are often bordering the dreamstate and the inner world. While contemporary and historic references include Michael Borremans, Mamma Andersson, Vilhelm Hammershoi and Richard Diebenkorn, his use of textured mechanical pencil for the drawings and the juxtaposed realism with the simplified blocks in his paintings are uniquely his own.

Kristoffer Axén was born in Stockholm, Sweden where his still resides. He is a selfself-taught painter, who studied fine-art photography at the International Center of Photography in New York between 2008-2009, a city in which he lived and worked until 2013. Axén’s works have been exhibited internationally in solo exhibitions in New York, Copenhagen, Stockholm and in numerous group shows around the world, notably at Liljevalchs Spring Show in Stockholm, Sweden, Aperture Gallery in New York, USA and at Musée de l’Elysée in Lausanne, Switzerland. Axén’s works are included in many private and public collections including as the ICP collection, Michaelis School of Fine Arts and MONA and he has been published in articles from magazines including Zoom Magazine, The New York Times and Vogue Italia.