OSTARA

Artist : Danny Fox
Title : Irrelevant Man
Medium : acrylic on canvas
Dimensions : 213 x 183 cm


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Danny Fox’s rhythmic canvases vividly display unlikely heroes of the 21st century. His subjects never shy from tragedy, promise, heat, violence and sex. Entangled amongst all these elements is a lyrical, yet fragmented vision. His works incorporate local buildings, bars, inhabitants, and folklore, conjuring wild and wonderful scene’s of coastal Britain, in a lucid story telling fashion. The conscious influence and in depth knowledge of St Ives life is ever present. 

Danny Fox was born in St Ives, Cornwall in South West England. He has lived and worked in both UK, and LA where he lived and worked alongside his contemporary Henry Taylor. His work is held in the Start Museum, Shanghai and Denver Museum, Colorado. Selected recent exhibitions include: The Sower & Other Paintings, Saatchi Yates, London; Spring without End, Hannah Barry Gallery, London; Holy Island-Danny Fox & Kingsley Ifill, Hannah Barry, London; Brown Willy, Saatchi Yates, London; The Sweet and Burning Hills, Alexander Berggruen, New York; Eye For a Sty, Tooth For the Roof, Eighteen Gallery, Copenhagen;  Crowd, Hannah Barry Gallery, London; Some Mornings Catch a Wraith, Berggruen Gallery, San Francisco; Doped, Roped, and Horoscoped, Eighteenth Gallery, Copenhagen; Punch, Curated by Nina Chanel Abney, Jeffrey Deitch, Los Angeles; Blood Spots On Apple Flesh, Zidoun-Bossuyt Gallery, Luxembourg; Boy Meets Girl, Choi & Lager, Cologne; Mitre Delta, Bill Brady Gallery, Miami; Folklore, Sade Gallery, Los Angeles; Iconoclasts, Saatchi Gallery, London; Horses, Eighteen Gallery, Copenhagen; What Is This Place?, Newlyn Art Gallery, Cornwall.

Artist : Simon Averill
Title : Entanglements
Medium : acrylic on panel
Dimensions : 40 x 40 cm each


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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 : Miles Cleveland Goodwin
Title : Narcissus
Medium : oil on linen
Dimensions : 61 x 76 cm


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Miles Cleveland Goodwin’s upbringing in the American South is a recurring theme in his brooding paintings and sculptures. Goodwin draws parallels between the people he portrays, the rhythm of their rural ways of life, and the rugged landscapes that they inhabit. The artist frequently evokes themes of mortality, decay and solitude with a sense of phantasmagoric realism combined with a haunting stillness. Goodwin’s ‘Southern Gothic’ works conjure the ambivalent beauty of a  place that is both simultaneously desolate yet deeply soulful.

Goodwin lives and works in Georgia, USA. He graduated from the Pacific Northwest College of Art in Oregon in 2007 with a BFA in painting and printmaking. His work has been featured in group exhibitions at the Hallie Ford Museum of Art, the Grace Museum and the Amarillo Museum of Art among others and can be found in collections worldwide.

Artist : Miles Cleveland Goodwin
Title : Old Man & The Sea
Medium : oil on canvas
Dimensions : 152 x 102 cm


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Miles Cleveland Goodwin’s upbringing in the American South is a recurring theme in his brooding paintings and sculptures. Goodwin draws parallels between the people he portrays, the rhythm of their rural ways of life, and the rugged landscapes that they inhabit. The artist frequently evokes themes of mortality, decay and solitude with a sense of phantasmagoric realism combined with a haunting stillness. Goodwin’s ‘Southern Gothic’ works conjure the ambivalent beauty of a  place that is both simultaneously desolate yet deeply soulful.

Goodwin lives and works in Georgia, USA. He graduated from the Pacific Northwest College of Art in Oregon in 2007 with a BFA in painting and printmaking. His work has been featured in group exhibitions at the Hallie Ford Museum of Art, the Grace Museum and the Amarillo Museum of Art among others and can be found in collections worldwide.

Miles Cleveland Goodwin’s upbringing in the American South is a recurring theme in his brooding paintings and sculptures. Goodwin draws parallels between the people he portrays, the rhythm of their rural ways of life, and the rugged landscapes that they inhabit. The artist frequently evokes themes of mortality, decay and solitude with a sense of phantasmagoric realism combined with a haunting stillness. Goodwin’s ‘Southern Gothic’ works conjure the ambivalent beauty of a  place that is both simultaneously desolate yet deeply soulful.

Goodwin lives and works in Georgia, USA. He graduated from the Pacific Northwest College of Art in Oregon in 2007 with a BFA in painting and printmaking. His work has been featured in group exhibitions at the Hallie Ford Museum of Art, the Grace Museum and the Amarillo Museum of Art among others and can be found in collections worldwide.

Artist : Sax Impey
Title : F8 S Pacific, Following Sea
Medium : charcoal on paper
Dimensions : 110 x 142 cm


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Sax Impey’s artworks are often large scale, immersive and elemental, incorporating intense detail and dexterity and an expressive, behavioural use of medium. Since 2005, Impey has produced works derived predominantly from experiences at sea. A qualified RYA Yachtmaster he has sailed many thousands of miles around the world. His journeys have had a profound impact and subsequent development as an artist. Reconnecting with nature through this powerful element has the almost inescapable effect of calling to question many of life’s existential questions. This epiphanic moment of realisation, of revelation, is at the core of Impey’s oeuvre. Reflecting on and capturing personal moments and making them universal, Impey’s work reaffirms the importance of introspection and confrontation, found specifically when surrounded by the natural world; “A mind can breathe, and observe, and reflect, away from the shrill desperation of a culture that, having forgotten that it is better to say nothing than something about nothing, invents ever new ways to fill every single space with less and less”. 

Impey was born in Penzance, Cornwall. He currently works from one of the prestigious Porthmeor Studios in St. Ives. From 2005, he has collaborated with the cross-cultural, environmental art group Red Earth. In 2007 Impey’s work was selected for the ‘Art Now Cornwall’ exhibition at Tate St Ives where he was placed on the cover of the associated publication. The same year he was heralded in The Times as one of the ‘New Faces of Cornish Art’. In 2010 he was featured in Owen Sheers’s BBC4 Documentary ‘Art of the Sea (In Pictures)’ alongside Anish Kapoor, J. M. W. Turner, Martin Parr and Maggi Hambling among others. His work was selected as a finalist the 2013 Threadneedle Prize and the year before was elected an Academician at the Royal West of England Academy. His paintings are in multiple collections including The Arts Council, Warwick University and the Connaught Hotel.

Artist : Alban Roinard
Title : My Yw Genys Yn Kres An Mor
Medium : single channel video
Dimensions : duration 00:03:00


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Alban Roinard was born in Paris and currently lives and works in St Ives, Cornwall. ‘My Yw Genys Yn Kres An Mor’ is a personal film about a universal connection to the sea, made in response to the artists own connection to the environment of Cornwall and as a homage to the resilient people who reside there. The origins of the verse used also connect to his French heritage, which adds a further layer of personal significance and links international celtic culture. The film features the words of Jean-Pierre Calloc’h, a Breton writer who was killed in action during the First World War. Calloc’h’s words are narrated in the film by Mick Paynter, a Cornish Bard, who has also translated the poem into English. The film was  nominated for a Celtic Media Festival Award. 

Alban Roinard’s practice draws specifically from close contact with landscape and community. He is a film maker and photographer and founded Eia Films and St Ives TV where he regularly documents the achievements and challenges of the town at a time of unprecedented change. He has twice been nominated for the Celtic Media Festival Awards and worked as cinematographer on the war documentaries ’The Americans in the Bulge’ and ‘Road to Victory’.

Artist : Paul Benney
Title : Monument (Auto De Fe)
Medium : oil on board
Dimensions : 130 x 150 cm


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Paul Benney was born in London and currently lives and works in Suffolk. He rose to international prominence as a member of the Soho and East Village Neo-Expressionist group, whilst living and working in New York City in the 1980s where he worked and exhibited alongside peers Marylyn Minter, Jean-Michel Basquiat and David Wojnarovicz among the many other others who made up the exploding NY art scene. Despite living and working in this extraordinary creative environment Benney’s painting maintained a uniquely English sensibility. 

Collections including the Metropolitan Museum of Art in New York, The Brooklyn Museum, The National Gallery of Australia and The National Portrait Gallery in London, The Royal Collection and The Eli Broad Foundation own works. He has exhibited in eight BP Portrait Award Exhibitions and twice won the BP Visitors’ Choice Award. Benney’s portrait subjects have included HM Queen Elizabeth II, Sir Mick Jagger, John Paul Getty III, 7th Marquess of Bath, The State Portrait for Israel, Lord Rothschild, as well as Ben Barnes for the portrait in the feature film ‘A Portrait of Dorian Grey’. Benney was invited to be resident artist at Somerset House in 2010. During his five year residency he held the exhibition ‘Night Paintings’ in 2012 and drew over 15,000 visitors. In 2017 his epic painting and holosonic sound installation ‘Speaking in Tongues’ was a prominent feature of the Venice Biennale. 

Artist : Marcelle Hanselaar
Title : The Crying Game : Between A Rock & A Hard Place
Medium : etching and aquatint (editions of 30)
Dimensions : plate size 20 x 25 cm / paper size 38 x 42 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 : Marcelle Hanselaar
Title : The Crying Game : Where To?
Medium : etching and aquatint (editions of 30)
Dimensions : plate size 20 x 25 cm / paper size 38 x 42 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 : Marcelle Hanselaar
Title : The Crying Game : The Promised Land
Medium : etching and aquatint (editions of 30)
Dimensions : plate size 20 x 25 cm / paper size 38 x 42 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 : Rebecca Harper
Title : Seven Tears Shed at Sprint Tide
Medium : acrylic on unprimed canvas
Dimensions : 170 x 140 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 : Rebecca Harper
Title : I Have Swum Its Velvet Floor
Medium : acrylic on unprimed canvas
Dimensions : 120 x 100 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 : Katie Sims
Title : Aurora
Medium : oil on panel
Dimensions : 30 x 24 cm


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Painting, for Katie Sims, is the closest thing to an act of communion. Her work reinforces the complexities of engagement, of seeing beyond first appearances and in questioning the origins and absolutes presented. Constraints are an integral part of her process, from a conceptual, painterly and physical stance. These limitations help her pare back to the essential, towards a directness of emotional statement and to silence; the silence the process facilitates and the silence the work is trying to get at. It is a simplifying, but not in the sense as to reduce complexity for it is layered with complexity and thus demands more from the viewer. Maintaining a balance around the transition point requires great focus akin to any devotional practice. The repetition and movement between prior intention and intention-in-action supports the virtues of listening and humility as she ‘assists’ something into being. Her work is a process that leads to a resolve. She places herself in an in-between space, between two opposing poles, challenging what resolve is through the middle ground until these two states are in a complete tension. Each resolution is different; chromatically, compositionally, through colour or light, yet each involves a circular dialogue of adding and removing. Thus her resolve sustains an instability of form, which manifests as hesitant and uncertain of itself. Sims sees this liminal space as the place where distinctions dissolve and the best opportunity for renewal is found. It is a fluid, malleable situation that enables new customs and identities to be unconcealed. 

Katie Sims was born in Shropshire, England in 1988 and currently lives and works on the small island of Gozo, Malta. Her paintings have been exhibited internationally and can be found in collections worldwide.

Artist : Luke Hannam
Title : The Silk Roads of Ignorance & Bliss
Medium : oil on canvas
Dimensions : 250 x 160 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 : Arthur Lanyon
Title : Cantalupo
Medium : oil, oil stick, charcoal, collage on panel
Dimensions : 48 x 63 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 : Arthur Lanyon
Title : Hortus Botanicus
Medium : oil, oil stick, acrylic, collage on panel
Dimensions : 32 x 49 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 : Jim Carter
Title : Spring Calf Scried From Heathen Fire
Medium : hare skull, muntjac deer pelvis; hedgehog, deer, cow & buzzard bone; finch, jackdaw & buzzard
feathers; oak branches, birch, root, leaves, snail shells, soil, brook water, straw, clay, willow
herb, bracken, ash, iron from a hay rake, stones, beech nut husks, wool; cow marks
Dimensions : 30 x 76 cm


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Often uneasy or tragic, irrational or other, Jim Carter’s work is linked to a real world of suffering and transcendence: making sculpture from organic materials as a means of advocacy, atonement or commemoration; shifting to story and the written word as a way to enter emotional and numinous spaces of memory and dream. What appears on the surface to be a wilful disturbance of the remains of organic life in order to fulfil a creative compulsion is intended to be part of a transforming and re-sanctifying process. Taken materials are reconfigured into new forms to express complex feelings of grief and loss, love and devotion, fertility and renewal. Fundamental in this work is a conviction in an irrepressible spirit for regeneration in the world, an imperishable flame that rises most clearly in landscape and the magic and otherness of animals.

Carter was born in Worcestershire in 1967. He received an MA with distinction in Art and Environment from Falmouth University and an MSc Award in Ecopsychology from the Centre For Human Ecology, Edinburgh. His work has appeared in Dark Mountain, Unpsychology and Earthlines magazine.

Artist : Jackson Whitefield
Title : Furze (5)
Medium : charred gorse on canvas
Dimensions : 180 x 120 cm


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Furze (5) is one of a series of earthworks derived as a result of making movement with canvas through burnt gorse. The immersive process sees gorse branches scratch the surface with a combination of accident and intent, forming a matrix of marks and stains. Pulled by the eternal draw of smoke and fire, the work is a synch to primal humanity.

Jackson Whitefield is a British artist born in St. Ives, Cornwall in 1991. Whitefield works with a diverse range of media including photography, film, drawing, book making and site-specific earthworks. Themes which run through his work include geology, anthropology, process and language. While his choice of media and interests are diverse, his inspiration is rooted firmly in his immediate surroundings. Always allowing his environment to lead his immediate enquiry his approach to making the work is more about reacting and engaging with the subject rather than seeking out ideas that were already formed in the mind.

Artist : Peter Randall-Page
Title : A Little Bit of Infinity
Medium : carved cornish serpentine
Dimensions : 25 x 14.5 x 17.5 cm


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During the past 25 years Peter Randall-Page has gained an international reputation through his monumental sculpture, drawings and prints which deal with the fundamental nature of existence. His practice remains informed and inspired by the study of natural phenomena and its subjective impact on our emotions. In recent years his work has become increasingly concerned with the underlying principles determining growth and the forms it produces. In his words “geometry is the theme on which nature plays her infinite variations, fundamental mathematical principle become a kind of pattern book from which nature constructs the most complex and sophisticated structures.

Peter Randall-Page is a British artist born in Essex, England in 1954. He currently lives and works in Devon. Randall-Page studied sculpture at Bath Academy of Art from 1973-1977. In 1999, he was awarded an Honorary Doctorate of Arts from the University of Plymouth, an Honorary Doctorate of Letters from York St John University in 2009 and an Honorary Doctorate of Letters from Exeter University in 2010; from 2002 to 2005 he was an Associate Research Fellow at Dartington College of Arts. In 2015 he was made a Royal Academician. Recent commissions include ‘Give and Take’ in Newcastle which won the 2006 Marsh Award for Public Sculpture, ‘Mind’s Eye’ a large ceramic wall mounted piece for the Department of Psychology at Cardiff University (2006) and a commemorative sculpture for a Mohegan Chief at Southwark Cathedral (2006). Recent projects include ‘Green Fuse’ for the Jerwood Sculpture Park, Ragley Hall and a major one person exhibition in and around the Underground Gallery at the Yorkshire Sculpture Park, June 2009 - April 2010. In 2015 he unveiled ‘The One and The Many’ at Fitzroy place London, An 25 tonne boulder inscribes with origin stories from around the world in native dialect. Over the years he has undertaken numerous large scale commissions and exhibited widely across the globe. His work is held in numerous public and private collections throughout the world including Japan, South Korea, Australia, USA, Turkey, Eire, Germany and the Netherlands. A selection of his public sculptures can be found in many urban and rural locations throughout the UK including London, Edinburgh, Manchester, Bristol, Oxford and Cambridge and his work is in the permanent collections of the Tate Gallery and the British Museum amongst others. As a member of the design team for the Education Resource Centre (The Core) at the Eden Project in Cornwall, Peter influenced the overall design of the building incorporating an enormous granite sculpture, ‘Seed’, at its heart.

Artist : Jamie Mills
Title : Trust
Medium : folded, perforated paper, beeswax, thread, lokta paper
Dimensions : 63 x 60 cm


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Jamie Mills’ practice is underpinned by an 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 materials often sourced or retrieved via immersion into nature or borderlands 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 : Kate Clark
Title : Entangled
Medium : mixed media sculpture
Dimensions : 220 x 208 x 81 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 : Simon Hitchens
Title : 05.57-18.40/28.03.19/ST252148
Medium : ink on 300gsm fabriano paper
Dimensions : 50 x 70 cm




Simon Hitchens drawn and sculptural work explores the interconnectedness between the human and the non-human, as a means to learning about Mankind’s relationship with impermanence. As a climber he maintains an intimate relationship with rock. In the age of the Anthropogenic it seems pertinent to question how we comprehend the geological and human worlds as united, interconnected even. The British Isles have a rich and varied geology, with rocks ageing from the present to some of the oldest on our planet. To be able to comprehend the deep-time of rocks is to ‘shine a light’ upon our own relatively short lifespan and to begin to understand the transient but interconnected nature of what we share with the planet. This work is one of a series of system-based drawings made in, of and about the landscape; the result of a particular set of conditions, in a particular place, over a particular span of time. By relentlessly tracing the moving shadows of a stone throughout an entire day, they record celestial time, geological time and human time as well as the weather patterns unique to that day. They are a meditation on time and space - even the solidity of mountains, given time, will eventually erode into nothing, echoing the broad, shared transience of existence. 

Simon Hitchens graduated in Fine Art from the University of the West of England in 1990 and his work has been exhibited around the world since then. He frequently exhibits in solo and group exhibitions, undertaking private commissions and numerous large-scale public commissions. He was elected Fellow of the Royal Society of Sculptors in 1998, is an RWA Academician and is the fourth generation of artist in his family.

Artist : Faye Eleanor Woods
Title : Moon, Wet
Medium : oil on canvas
Dimensions : 36 x 31 cm


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Faye Eleanor Woods is a Scottish artist currently living and working in West Yorkshire. Her symbolic artwork acts as a love letter to her own experience, full of life’s joy, absurdity, humour, loss and fear. Recent works explore her own personal journey through grief, one she describes as dark, weepy and often hilarious. She hails her work as a tangilble form of inner catharsis. Using raw pigments and acrylic ink she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds creating an ethereal presence. As Woods says “I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I’m sick and everything I spew out ends up in my work.”

Artist : Faye Eleanor Woods
Title : Blow Out Nose Smoke, It’s Dogs!
Medium : oil on canvas
Dimensions : 30 x 50 cm


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Faye Eleanor Woods is a Scottish artist currently living and working in West Yorkshire. Her symbolic artwork acts as a love letter to her own experience, full of life’s joy, absurdity, humour, loss and fear. Recent works explore her own personal journey through grief, one she describes as dark, weepy and often hilarious. She hails her work as a tangilble form of inner catharsis. Using raw pigments and acrylic ink she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds creating an ethereal presence. As Woods says “I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I’m sick and everything I spew out ends up in my work.”

Artist : Sam Lock
Title : Untitled (Converge)
Medium : mixed media on canvas
Dimensions : 150 x 120 cm


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Sam Lock’s considered and expressive, often large scale, abstract paintings embrace the principle that change is a process not an event. A meditation on the continual flow and movement both around us and within us inspires each gesture. They are not made with a system or fixed process but through an energy that embraces both change and chance, in a manner that is both organic and unscripted, following its own path until there is a balance between presence and absence. There are silences and hiding places that are both poetic and activating, and a physicality and immediacy, where his aim to ‘submit’ himself to the canvas, eliminates extraneous thought in order to guarantee a purity of response. A response arising through concentration and intuition where thought and action, go hand-in-hand. This is what Lock refers to as the ‘poetry of moments’, of the spiritual nature of now becoming then, and how what started as waves of actions, becomes a forest of memory. Lock is interested in marks, resulting in paintings, that communicate both instantly and slowly - to slow down perception, and to create forms that don’t reveal themselves fully, all at once, through a filling up and emptying of space and surface; traces and echoes exist in a palimpsest, a build-up of painted marks, layers and statements that conceal and reveal, where time becomes held in a concrete way and the painting achieves a physical weight and substance. These layers allow you to swim in and out of the painting, they lead back in time, retaining a mystery and dynamism of the moment rather than a recollection of a misty lost past.

Sam Lock was born in London and now lives and works near Brighton with his studio in a converted industrial unit further up the coast.  Lock studied at Edinburgh College of Art and Edinburgh University, graduating in 1997 with MA’s in both Fine Art and Art History. During his training, he won a scholarship to travel to Rome, and explore the relationship between history, archaeology and the processes of painting, a preoccupation which still forms the conceptual basis that underpins his practice.  

Artist : David Kim Whittaker
Title : The Wreck in the Head
Medium : mixed media on primed panel
Dimensions : 65 x 59 cm each (triptych)


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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 : Laurence Edwards
Title : Shimmer
Medium : bronze (edition variee 1 of 5)
Dimensions : 244 cm height


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Laurence Edwards’ sculptural practice has long been concerned with the physical and metaphysical, orderly and entropic, entwining of man, nature and time. Organic matter is often built into the casting process, perhaps a detritus of leaves, branches, stone and / or rope. One of the few sculptors who casts his own work, he is fascinated by the metamorphosis of form and matter that governs the lost-wax process which is an inherent part of his process. It is a method of working which also registers symbolically and conceptually. His primary working material is bronze, an alloy that physically and metaphorically illustrates the natural tendency of any system in time to tend towards disorder and chaos. His sculptures express this raw material potential,  harnessing molten liquid versatility to achieve solid mass. Each process mark is both embraced and retained, telling the story of how and why each work came to be. 

Based in Suffolk, Edwards studied sculpture at Canterbury College of Art and bronze casting at the Royal College of Art with Sir Antony Caro. After winning a Henry Moore Bursary, the Angeloni Prize for Bronze Casting and an Intach Travelling Scholarship, he studied traditional casting techniques in India and Nepal, an experience that not only influenced his treatment of form and technique, but also gave him the necessary tools to establish his own atelier and foundry. In November 2019, ‘Man of Stones’ was unveiled at the Sainsbury Centre in Norfolk. In 2018, Edwards was commissioned by Doncaster Council to create a sculpture that celebrates the lives of those who worked in the collieries around Doncaster. ‘A Rich Seam’ was unveiled in Print Office Street in 2021. In November 2021, Edwards installed a 26-foot-high sculpture, alongside the A12 highway in Suffolk, called ‘Yoxman’. This colossal figure embodies his fascination between the human figure and the environment; he is part tree, cove, cliff and figure. ‘Gathering of Uncertainties’ opens at The Orange Regional Gallery NSW early 2023. Edwards is represented by Messums Wiltshire.

Artist : Mat Chivers
Title : Out-breath
Medium : nylon
Dimensions : 30 x 23 x 21 cm


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Outbreath is a life-size representation of the normally invisible turbulence trail formed in the air around us each time we exhale. It was built in collaboration with researchers in the field of motion capture at The University of Bristol, UK. A piece of solid carbon dioxide was placed in the hollow below the artists tongue and normal breathing maintained. The C02 melted, becoming a gaseous cloud that was documented using three synchronised high speed digital cameras. One image was selected from over 100,000 frames of footage. The artist then drew on each still image to define the surface of the nebulous form. Using digital software, the drawings were transcribed to create a virtual geometry that was three dimensionally printed. The sculpture is wall-mounted at a level that corresponds to the height of the artists mouth from the floor when standing. As a result of the processes employed in its production, Outbreath can be seen as a hybrid object that conflates drawing - a traditional method of understanding the world - with contemporary digital envisioning technology. 

The work of British artist Mat Chivers looks at some of the fundamental phenomena that drive our thoughts and actions. He explores ideas relating to perception, evolutionary process, ecology and ethics by bringing traditional analogue approaches to making into counterpoint with state of the art digital technologies. Chivers has works in numerous private and public collections including Oxford University Mathematical Institute, UK and Fondazione Henraux, Italy. Solo exhibitions include ‘Migrations’ at Arsenal Art Contemporain Montréal, Canada and Musée d’art de Joliette, Canada; ‘Harmonic Distortion’ at PM/AM, London, UK, ‘Altered State’s at Hallmark House, Johannesburg, South Africa and ‘Syzygy’ at Anima Mundi. Group exhibitions include The New States of Being at Centre d’Exposition de l’Université de Montréal, Canada; A Place In Time at Nirox, Johannesburg, South Africa; Glasstress: White Light/White Heat at Pallazzo Cavalli Franchetti for the 55th Venice Biennale, Italy and The Knowledge at The Gervasuti Foundation for the 54th Venice 
Biennale, Italy.

Artist : Mat Chivers
Title : Alter Outbreath
Medium : nylon
Dimensions : 30 x 23 x 21 cm


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Outbreath is a life-size representation of the normally invisible turbulence trail formed in the air around us each time we exhale. It was built in collaboration with researchers in the field of motion capture at The University of Bristol, UK. A piece of solid carbon dioxide was placed in the hollow below the artists tongue and normal breathing maintained. The C02 melted, becoming a gaseous cloud that was documented using three synchronised high speed digital cameras. One image was selected from over 100,000 frames of footage. The artist then drew on each still image to define the surface of the nebulous form. Using digital software, the drawings were transcribed to create a virtual geometry that was three dimensionally printed. The sculpture is wall-mounted at a level that corresponds to the height of the artists mouth from the floor when standing. As a result of the processes employed in its production, Outbreath can be seen as a hybrid object that conflates drawing - a traditional method of understanding the world - with contemporary digital envisioning technology. 

The work of British artist Mat Chivers looks at some of the fundamental phenomena that drive our thoughts and actions. He explores ideas relating to perception, evolutionary process, ecology and ethics by bringing traditional analogue approaches to making into counterpoint with state of the art digital technologies. Chivers has works in numerous private and public collections including Oxford University Mathematical Institute, UK and Fondazione Henraux, Italy. Solo exhibitions include ‘Migrations’ at Arsenal Art Contemporain Montréal, Canada and Musée d’art de Joliette, Canada; ‘Harmonic Distortion’ at PM/AM, London, UK, ‘Altered State’s at Hallmark House, Johannesburg, South Africa and ‘Syzygy’ at Anima Mundi. Group exhibitions include The New States of Being at Centre d’Exposition de l’Université de Montréal, Canada; A Place In Time at Nirox, Johannesburg, South Africa; Glasstress: White Light/White Heat at Pallazzo Cavalli Franchetti for the 55th Venice Biennale, Italy and The Knowledge at The Gervasuti Foundation for the 54th Venice 
Biennale, Italy.

Artist : Joy Wolfenden Brown 
Title : The Humming
Medium : oil on panel
Dimensions : 104 x 82 cm


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Joy Wolfenden Brown’s intimate oil paintings feel hauntingly familiar possessing a raw, emotional, honesty. She captures fleeting fragments of memory, moments in time where the inherent vulnerability of the figures depicted, often in isolation, is palpable. These are lovingly yet spontaneously executed reflections on the human condition, which have an unnervingly, yet simultaneously comforting, unguarded quality. 

Joy Wolfenden Brown is a British artist born in Stamford, Lincolnshire. She currently lives in Bude, North Cornwall. She graduated from Leeds University then completed a post-graduate diploma in Art Therapy at Hertfordshire College of Art & Design which she worked as an for ten years before moving to Cornwall in 1999. Since then she has had numerous solo exhibitions and was the First Prize Winner in The National Open Art Competition, 2012. She was also awarded the Somerville Gallery painting prize in 2003 and first prize winner at the Sherborne Open in 2007 and the Revolver Pricze at The RWA in 2019. Works were acquired by the Anthony Pettullo Outsider Art Collection in Milwaukee with further works held in collections worldwide.