THRESHOLDS
(THE UNNAMED)

Artist : Amy Gillian Wilson (b. 1997)
Title : Who Orders Me Around Is Only For Me To Know
Medium : mixed media wall hanging
Size : 160 x 150 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 bean 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.


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Artist : David Quinn (b. 1971)
Title : Lugnaquilla 1 & 2
Medium : mixed media on panel
Size : 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.



For further information regarding David Quinn - CLICK HERE


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Artist : Judith Nangala Crispin (b. 1970)
Title : Some spirits remain in this world only a moment– just to feel breath on their lips, a mother’s warmth, to smell wildflowers in the grass- and then they go, slipping back into the before-country. Lucy, dropping her body in the field, lifts into a Braidwood night and is greeted by insects.
Medium : lumachrome glass print, cliche-verre, chemigram, stillborn calf & bugs on fibre paper, with household chemicals, mineral salts & seed - exposed 48 hours in a geodesic dome
Size : 140 x 100 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 workork 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.


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Artist : Richard Nott (b. 1963)
Title : Scarified 1
Medium : mixed media panel (bitumin, acrylic, varnish, paper)
Size : 102 x 102 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.



For further information regarding Richard Nott - CLICK HERE


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Artist : Claire Curneen (b. 1968)
Title : Anam Cara
Medium : tin glazed terracotta
Size : 89 cm (H)


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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 Art Gallery, 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.



For further information regarding Claire Curneen - CLICK HERE


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Artist : Jamie Mills (b. 1983)
Title : The Velocity of Inertia
Medium : single channel video & sound work


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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.



For further information regarding Jamie Mills - CLICK HERE


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Artist : Mat Chivers (b. 1973)
Title : Carbon Mirror
Medium : carbon on paper
Size : 75 x 55 cm each


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Referencing that all life on Earth, including our own is carbon-based, ‘Carbon Mirror’ is one of a series of paired drawings made using this primary element. The left hand has been used to make a drawing of the right hand and the right to draw the left. The eye observes, sending a signal to the brain and down through the body into the hand which makes marks on the paper in an attempt to describe what the eye sees - setting up a continual loop between the interior and the exterior. Physical engagement with material reality is an act of extended cognition - of thinking out into the world. The idea of extended cognition centres around the way thinking is something that happens in relationship with material reality - a network of processes that radiate back and forth from the wetware of the brain through the physiology of the sensorial body and into the world of animate and inanimate form in a complex web of reciprocity. The evolution of our hands has facilitated an evolution of our minds. The hand enables the mind to manifest on the three-dimensional plane and has led us to where we are now.

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.



For further information regarding Mat Chivers - CLICK HERE


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Artist : Jim Carter (b. 1967)
Title : There Are Tongues, They Will Be Ceased’ & ‘He Gathered The Wind in His Fist
Medium : fox, cow and sheep bone, clay. fox fur, poplar leaf, hazel wood,170 cm (H) / cow teeth, wood, clay. poplar leaf, soil, ash, 150 cm (H)
Size : 105 x 76 cm each


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In these two territorial boundary markers, the right hand is closed and mute, suggesting secrecy, the unknown and arcane. The left hand is raised so as to challenge unjust and oppressive action, both forbidding trespass into hallowed terrain.

“In the forest, as in the skull, there are levels of consciousness much less supervised by rational control, and from this legitimate dark, a cry will appear as more or less unimpeded emotion. In the Hebrew language it is known as the hôy, a term associated with lamentation for the dead, that yet lends itself to complex utterances. If I think of this work as an agent for the cause of the subjugated animal, then the hôy-word crystalises as a reflex sourced from anger, grief and pain. It is a cry that secures the boundary and resists the transgressor, or one which makes pronouncements that tend towards vengeance and punishment (though the root is always in grief and suffering). Of course, if we ally this sound to a gesture of the hand, then meanings become more numerous as well as emphatic. The right hand is here closed and mute, and into this we can read ideas of secrecy and the occluded animal. The power and dominion of its hermetic silence is not denied the other hand, it is just of a different order. The left has occasion for sound, whereas the right does not, if it ever needed it. What are we to make of these hands at the threshold that in form suggest the man but which are countered against him? Are they not a man’s instrument with which to conquer, emblematic of his sovereignty and kingship? But the sign is raised more so to challenge his unjust and oppressive action than to accent his differentiating image. It expresses, moreover, the spirit of the animal in opposition which, as far as this work is concerned, forbids trespass into hallowed terrain. The left hand, its fingers extended, denotes command and invocation; the right is equally raised in a prohibitive gesture, and one which comes with a hex of judgement and attendant calamity (I imagine the intruder who crosses this threshold into the grove of the satyr subject to all the repercussions of a curse).” Jim Carter 2021.

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.



For further information regarding Jim Carter - CLICK HERE


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Artist : Massimo Angei (b. 1962)
Title : Abissi di morbida luce (Abyss of Soft Light)
Medium : oil on canvas
Size : 70 x 140 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.



For further information regarding Massimo Angei - CLICK HERE


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Artist : Tim Shaw (b. 1964)
Title : Hallucinatory Figure 1, 2 & 3
Medium : bronze (edition of 8)
Size : 20 cm, 19 cm & 15 cm (H) (plus base)


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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 Centreand 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.


For further information regarding Tim Shaw - CLICK HERE


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Artist : Gabrielle K Brown (b. 1994)
Title : Eat The Soup Live The Dream Live Die Repeat
Medium : acrylic, pencil crayon, wood, resin, fabric, horse hair
Size : 185 x 160 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.


For further information regarding Gabrielle K Brown - CLICK HERE


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Artist : David Cooper (b. 1972)
Title : Mutta Dictator
Medium : jesmonite
Size : 40 x 22 x 19 cm


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David Cooper’s work deals with disorder, taking fragments of found, disregarded objects and exploring them inside out, and outside in, through a series of unpremeditated and intuitive processes in three dimensional form. 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. His intriguing and expressive portraits, are perhaps deliberately destined to remain curious and incomplete.

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 including The Jerwood Drawing Prize in 2014 and most recently as part of Anima Mundi’s ‘Protected by Alarms’ & Ode to a Nightingale’.


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Artist : Andrew Litten (b. 1970)
Title : Liminal Stage
Medium : oil on canvas
Size : 130 x 200 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.


For further information regarding Andrew Litten - CLICK HERE


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Artist : William Arnold (b. 1983)
Title : Living Spaces : Luke’s Home Office, December 18th to January 3rd / William’s Room, February 17th to 24th / Silje’s Bedroom, June 6th to 21st (Continuous exposure from paper negative)
Medium : archival inkjet print on hahnemuhle photorag 308gsm
Size : 43 x 56 cm each


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Living Places: ‘The pleasures of life do not fill time but leave it empty. The human mind however, feels detestation and discomfort in the presence of empty time. Present time can admittedly seem to us to be full, but in our own memory it nevertheless appears to empty, for when time is full of diversions and the like, it only feels full when it is contemporaneous - in the memory it is empty. If one has not done anything in one’s life but simply waste one’s time, and then looks back at one’s life, one will be unable to understand how it could come to an end so swiftly.’ - Emmanual Kant

Through use of an adapted paper negative process, ‘Living Places’ takes a wry look at the present era of ubiquitous surveillance and social networking by literally recording everything that has happened within the participant’s living space for periods of a week or more in a single photographic frame. Subjects were sought and chosen through an open-call online, collaborating in the installation of the camera in their chosen personal space, which was then left, shutter open over an extended timeframe. The resulting images give cause to reflect on the need to record our lives in comprehensive detail and the corresponding trend of making this record of banal, yet often highly personal information available for wider consumption. These photographs seek, in abstracted form to document and to an extent subvert this confessional trend, in which the public and private are increasingly entangled; the intimate commonplace.

William Arnold is an experimental, conceptual and documentary photographer, interested in the layers of human and natural history that comprise the making of the landscape, and the role played by the photograph in documenting time and change—the subjective and objective politics of places and their histories. His first monograph Suburban Herbarium was published by Uniformbooks (2020) with his work showcased in various publications and periodicals including: The Guardian, New Scientist, De Standaard, Source and Resurgence & Ecologist Magazine. He lives and works in West Cornwall, UK.


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Artist : Joy Wolfenden Brown (b. 1961)
Title : Evanescent Light
Medium : oil on paper
Size : 62 x 51 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.


For further information regarding Joy Wolfenden Brown - CLICK HERE


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Artist : Laura Ford (b. 1961)
Title : Pale Fat Ghosts
Medium : jesmonite, steel, fabric, mixed media
Size : 120 (H) x 60 (W) x 30 (D) cm


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Laura Ford’s sculptures are faithful representations, of fantasy often with bittersweet and menacing qualities mixed with tenderness, providing us with acutely graphic renditions of human emotion, mental and physical. She utilises an acute observation of the human condition to engage with personal narrative and wider social and political issues. Her imagery is all about remembering and giving that memory clarity.

Born in Cardiff and currently living near Chichester, UK, Ford studied at Bath Academy of Art from 1978-82 and at Chelsea School of Art from 1982-83. She was included in the British Art Show 5, 2000 and represented Wales in the 51st Venice Biennale in 2005. She has had numerous solo and group shows around the world including 2012 ‘Days of Judgment’, Kulturzentrum Englische Kirche , Galerie Scheffel, Bad Homburg and at The New Art Centre, Roche Court, 2011 Frederik Meijer Gardens & Sculpture Park, Grand Rapids, USA, 2007, ‘Rag and Bone’, Turner Contemporary, Margate, 2006 ‘Armour Boys’, Royal Scottish Academy, Edinburgh, 2005, Venice Biennale for Wales, 2004, ‘Wreckers’, Beaconsfield, 2004 ‘Into My World: Recent British Sculpture’, Aldrich Museum of Contemporary Art in Connecticut, USA, London, 2003, ‘Headthinkers’, Houldsworth Gallery, Cork Street, 2002, ‘The Great Indoors’, Salamanca Centre of Contemporary Art, Spain, 1998, Camden Arts Centre, London. Her work is represented in many public collections including; Tate, The Victoria and Albert Museum, Government Art Collection, Potteries Museum, National Museums and Gallery of Wales; Museum of Modern Art, University of Iowa; Arts Council of Great Britain; Contemporary Art Society; Unilever plc; Penguin Books; Oldham Art Gallery, The New Art Gallery Walsall, The Glynn Vivian Art Gallery, The Meijier Gardens, Grand Rapids USA and The Gateway Foundation, St. Louis, as well as numerous private collections.


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Artist : David Kim Whittaker (b. 1964)
Title : Lockdown Portrait : The Lamb
Medium : oil on acrylic on panel
Size : 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.



For further information regarding David Kim Whittaker - CLICK HERE


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Artist : Roger Thorp (b. 1955)
Title : Tide of Love
Medium : single channel video


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Roger Thorp’s interest in the poetic use of word and image, to evoke a deep emotional response, are key to his creative process. His artworks are unapologetically infused with a nostalgic romanticism, transmitting an enormous sensitivity towards the earth, humanity and a universal
inter-connectedness between matter and all living things. Primarily consisting of video work and multi-media installation, his work is informed by a deeply-felt belief that as a society, and as individuals, we need to come home, to remember a less rapacious and frenetic way of living, more connected on an emotional level to each other, and to the rest of the natural world. If his work offers up an urgent protest, it remains an optimistic and
tender one.

Thorp is a British artist born in Derbyshire. He currently lives and works in Cornwall. He previously worked as a producer on music videos before directing / producing programmes for NGO’s such as WWF, ILO, Greenpeace and the Red Cross, working in Australia, Mongolia and the USA. He has also made two feature films. Other work by Thorp as a writer / director has been screened in Rome, Barcelona, Berlin, Oslo, Copenhagen, Istanbul, USA, Cornwall and London. In 2015 he founded ‘The Olive Network’ a sophisticated web platform built to foster tolerance and understanding throughout diverse global communities by focusing on the positive long-term contributions of charity, the arts and humanities. Thorp’s artwork has been exhibited extensively.

For further information regarding Roger Thorp - CLICK HERE


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Artist : Arthur Lanyon (b. 1985)
Title : Gordian Ghost
Medium : mixed media on canvas
Size : 160 x 120 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. His latest exhibition ‘Arcade Laundry’ opened in 2020. 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.


For further information regarding Arthur Lanyon - CLICK HERE


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Artist : Evelyn Williams (1929-2012)
Title : Mother Singing I & 2
Medium : oil on canvas
Size : 36 x 46 cm each


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Evelyn Williams was born in 1929 and died in 2012. Her tender, intimate and emotional paintings are concerned with the subtleties and complexities of relationships and the human predicament. Dealing with the intimate connection and profound solitude of existence, taking the viewer on a profound journey from womb to tomb.

Williams trained at St Martin’s School of Art from the age of 15 and then the Royal College of Art working alongside the older, largely male students, many of them soldiers returning from service in the Second World War. Despite failing health she continued painting right up to her death at the age of 83. Williams proved difficult for some to categorise during her life time, but is regarded, along with friends such as Paula Rego, as having forged a path for female artists. She later founded a trust in her name which has done modest but important work to support artists, particularly women, and the practice of drawing. As Huon Mallalieu stated “Her work deserves to be as well-known as those of her fellow 1961 John Moores prize-winners, Blake, Blow, Hockney, Kitaj, Kossoff, McWilliam and Uglow.”


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Artist : Carlos Zapata (b. 1963)
Title : Cede
Medium : polychromed carved wood
Size : 37 (H) x 50 (L) x 31 (W) cm


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Carlos Zapata predominately makes idiosyncratic carved and painted wooden sculpture alongside mixed media installation. His work deals with many challenging and potent humanist themes including poverty, conflict, religion and race, yet perhaps paradoxically, the overriding characteristics of the work are of emotive empathy and compassion. Zapata’s work belongs to and takes inspiration from folk and tribal artforms from all over the world but specifically from South America, from its indigenous populace and the trade routes and traditions that have fed it over the centuries. Many of his sculptures have evolved from personal experience of living in a foreign land and from his home country where civil issues continue to trouble its people.

Carlos Zapata is a Colombian artist who currently lives and works near Falmouth in Cornwall, UK. He has exhibited extensively internationally with works held in numerous private and museum collections around the world.



For further information regarding Carlos Zapata - CLICK HERE


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Artist : Rebecca Harper (b. 1989)
Title : The Watch Tower
Medium : acrylic on canvas
Size : 180 x 150 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.



For further information regarding Rebecca Harper - CLICK HERE


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Artist : Andy Harper (b 1971)
Title : Want Mistaken For Need
Medium : oil on linen
Size : 30 x 25 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.


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Artist : Shiri Mordechay (b. 1974)
Title : Untitled 1 & 2
Medium : watercolour on paper
Size : 25 x 20 cm each


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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.



For further information regarding Shiri Mordechay - CLICK HERE


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Artist : Barbara Neil (b. 1953)
Title : Cold
Medium : oil on canvas
Size : 162 x 130 cm


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“I never paint with narrative in mind (although that may not be obvious). Developments in the painting occur along the way, through working, when it works, which it doesn’t always. Often I paint out and overpaint time and time again. I see the bottom of this painting as a defiance of death and when looked at from that position or perspective, I see the life - our human lives - taking place above the ground. There is the overground and the underground struggle in this one. Well, you’ve probably guessed I dislike interpreting my work… I mean, if words were going to be enough why would I paint it at all? My work is an attempt to snag the worm in me (thank you Herman Hesse), to delight my eyes and befuddle my brain. Clarity is a fearsome thing, hard to find, but worth seeking I think.” Barbara Neil, 2021.

Barbara Neill was born in Sydney, Australia in 1953 and has spent most of her adult life living and working in relative obscurity in Barcelona, Spain. She describes herself as an art school dropout, university dropout and self taught. Anima Mundi are delighted to present her work in this exhibition.


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Artist : Simon Hitchens (b. 1967)
Title : More Than Human
Medium : rock, wax, resin
Size : 25 (H) x 34 (W) x 38 (D) cm


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Simon Hitchens’ work explores the interconnectedness between the human and the non-human, as a means to learning about Mankind’s relationship with impermanence. The material backbone of his work is rock in its raw and natural state. This is not carved and polished but plucked from the rock face or quarry floor. He remains acutely aware of the historical significance that stone has as the prime material to make sculpture, and as a sculptor is challenged to make art that contributes to this debate. As a climber he maintains an intimate relationship with rock, and is acutely aware that geologically it is the very material that supports us upon the planet. In the age of the Anthropogenic it seems pertinent to question how we comprehend the geological and human worlds as united, interconnected even. Hitchens believes there is increasingly a disconnect between these two worlds. which is harmful not only to the planet but also our psyche. Consequently, rock is the conceptual focus of his work and typically the material backbone within it. His work questions differences between animate and inanimate, more specifically rock and flesh, mountain and body; exploring themes of transience and transcendence. He makes post-human hybrid forms that negotiate a numinous space somewhere between rock and flesh: a line of inquiry into the nature of being.

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 largescale public commissions. He was elected Fellow of the Royal Society of Sculptors in 1998, is an RWA Academician and is the fourth generation of artists in his family.


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Artist : Gabriel Tendai Choto (b. 1995)
Title : Desolate
Medium : oil on paper
Size : 73 x 48 cm


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Gabriel Tendai Choto’s artwork combines the twin disciplines of printmaking and painting. Through his singular technique Choto seeks new pathways into the painted image by taking cues from the surface quality produced by the printmaking process. His evolving, experimental practice involves layering painted areas of naturalism over the delicate compositional architecture of etching, resulting in paintings where physical presence and absence imply a metaphoric liminal state. Sensitive and intimate, these images include close family members, depicting quiet moments of contemplation or affectionate domestic scenes taken from old photographs, increasingly progressing in to self portraits where through constructed situations the artist examines his own identity. Choto’s intimate paintings draw on themes of home, pride, identity diaspora, change and personal as well as cultural fragility.

Choto was born in 1995 in Harare, Zimbabwe. He was raised in Bradford, Yorkshire and currently lives and works in London. After completing his Diploma in Art and Design at Leeds Arts University in 2012, Choto gained a BAFA in Drawing from Camberwell College of Art (UAL), London, in 2014 and more recently has completed an MFA at Central St Martins, London. Selected group exhibitions include FBA Futures, Mall Galleries, London, UK (2018); Flock, GX Gallery, London, UK (2017); Blxckout Revolution: The Exhibition, 198 Gallery, London, UK (2017); BAME, Hotel Elephant Gallery, London, UK (2016); and Long Live the New Flesh, Tower Gallery, London, UK (2015). In 2018, Choto was selected for the Clyde & Co Art Award. Choto’s debut solo exhibition at Anima Mundi featured in 2021 and most recently he has been personally invited by Yinka Shonibare to submit for the 2021 RA Summer Exhibition.



For further information regarding Gabriel Tendai Choto - CLICK HERE


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Artist : Kate Clark (b. 1972)
Title : Twins
Medium : pronghorn & blesbok antelope, foam, clay, thread, pins, rubber eyes
Size : 91 (H) x 66 (W) x 30 (D) 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.



For further information regarding Kate Clark - CLICK HERE


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Artist : John Robinson (b. 1981)
Title : I’m Doing Much Better Now
Medium : oil on canvas
Size : 40 x 40 cm


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John Robinson’s technical prowess could be seen to be shared with the great pantheon of masters of the 17th and 18th centuries including artists such as Diego Velazquez and Francisco Goya with a developing unguarded focus on self portraiture adopted by the likes of Rembrandt Van Rijn or more recently Frida Kahlo. However Robinson’s figurative works offer a contemporary subversion of the rich tradition of self portraiture. Somber protagonists dominate the canvas, usually presented in theatrical situations which barely mask a more prosaic ‘kitchen sink’ vulnerability. They are often simultaneously absurdly comic and psychologically revealing. Robinson’s process often involves private performance, where his actions are then exquisitely rendered, in oil on canvas. For Robinson these paintings embrace personal concern, disclosure and catharsis, for the voyeur the experience appears both elaborately grandiose and awkwardly revealing.

Robinson was born in Worcester, UK where he still resides. He studied Fine Art at Falmouth College of Arts, spending most of the time whilst there skipping tutorials to travel to Plymouth to be taught by the notorious and idiosyncratic painter Robert Lenkiewicz. Robinson was awarded the Richard Ford Scholarship by the Royal Academy of Arts and spent a summer as artist in residence at the Prado Museum Madrid absorbing the works of Velazquez and Goya. He stayed in Madrid for a further decade broken by a year at Central Saint Martins on a Masters degree in fine art. He later developed his duel use of ‘the painting’ as revelation and disguise; ‘self portrait as (other…)’. Robinson has exhibited internationally. He has won the Peter Spicer Award for Excellence in Creative Arts (First Place), Richard Ford Award for Painting, Royal Academy, London (First Place), South Square Trust Scholarship for MA study at Byam Shaw school of Art, Central Saint Martins, London, Alfa Romeo Award Art (‘Best of show nominee’) Madrid, Spain, Premio de Pintura Focus-Abengoa, Seville, Spain (Winner) and the Hauser and Wirth Prize, Hauser and Wirth Somerset UK, (First Prize). Works are held in notable collections including University of the Arts London permanent collection, London, UK, Nicolas & Maxinne Leslau collection, London, UK, Focus-Abengoa Foundation, Seville, Spain, Coldwell Banker, Madrid, Spain, Falmouth College of Arts Library, Falmouth UK, Museo del Ferrocarril, Madrid, Spain, Stedlijk Museum Amsterdam Netherlands, Wellcome Collection London UK, British Council Collection UK.



For further information regarding John Robinson - CLICK HERE


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Artist : Henry Hussey (b. 1990)
Title : Vessel (Anima Animus)
Medium : terracotta & endgobe
Size : 22 (H) x 20 (W) x 11 (D) 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.



For further information regarding Henry Hussey - CLICK HERE


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Artist : Phoebe Cummings (b. 1981)
Title : Triumph of the Immaterial
Medium : single channel video


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Phoebe Cummings’ works predominantly using unfired clay to make poetic and performative sculptures and installations that emphasise materiality, fragility, time, creation, loss and decay. Her impressive interventions are often constructed directly on site, allowing an instinctive development of tensions between object and location. Cummings questions what we will carry forward into the future by producing intricate, hand made and exquisitely delicate sculptures based on ancient plants and primitive ritual, imbued with a sense of magic and mysticism. Drawing together elements of English Paganism as well as the aesthetic excess of Baroque and Rococo design, the resultant objects could be considered as dystopian ornaments of a future anthropology or fragile relics of an almost forgotten past.

Cummings is a British artist born in Walsall, England and currently resides in Stafford. Cummings studied ceramics at Brighton University in 2002 before completing an MA in ceramics and glass at the Royal College of Art in 2005. She has undertaken a number of international artist residencies including a six month residency at the Victoria & Albert Museum in 2010. In 2017 she won first place at the inaugural Woman’s Hour Craft Prize with work exhibited at the V&A Museum, before touring to venues around the UK. Cummings was selected as the winner of the British Ceramics Biennial Award in 2011 and awarded a ceramics fellowship at London’s Camden Arts Centre (2012–13). ‘Supernatural’ was her first solo exhibition at Anima-Mundi. In addition, Cummings’ work has been featured in numerous group exhibitions, including ‘60|40 Starting Point Series’ at Siobhan Davies Studios, London, ‘Formed Thoughts’ at Jerwood Space, London; and ‘Swept Away: Dust, Ashes, and Dirt in Contemporary Art and Design’ at the Museum of Arts and Design, New York. In 2013, she had a solo show at the University of Hawaii Art Gallery in Honolulu and The Newlyn Art Gallery.


(Credit Sylvain Deleu & V&A Museum)



For further information regarding Phoebe Cummings - CLICK HERE


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Artist : Roy Eastland (b. 1964)
Title : Displaced Portrait (Woman from Brünn, 1942)
Medium : silverpoint drawing on gesso on board
Size : 21 x 15 cm


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“‘Displaced Portrait (Woman from Brünn, 1942)’ is one of an ongoing series of silverpoint drawings based on portrait photographs taken mostly in the 1930s and 1940s, which have found their way into my hands via a second-hand shop in my home town of Margate. My drawings are a kind of meditation on these displaced traces of lived moments. This particular drawing is of a woman who, judging from the hand-writing on the back of the source photograph, was a German-speaker living in Brünn (now Brno) in 1942 in what is now the Czech Republic. At the end of the war the ethnically German population was expelled. The piece has been repeatedly drawn onto with points of silver wire, drawn into with needles, and scratched-away with scalpel blades and sandpaper. The image goes through a continual process of repeated loss and re-finding. With each re-working, certain details change; but always the repeated point of reference is the original photographic image. Whatever it is that I’m trying to see seems always to be elusive. Each re-working points to the same thing but each re-working is also a different drawing adding something new. I draw in the hope of catching sight of something which I could not have foreseen but which feels somehow true. These drawings are worked on over the course of many months and often years. Some never reach an end-point. Hand-made drawings remind us that there is always another way of seeing and that there is always another way to mark those moments of recognition. I wonder who it is that I have drawn here.” - Roy Eastland 2021

Roy Eastland lives and works in Thanet, Kent. He graduated from Edinburgh College of Art in 1996. Works have been exhibited in numerous solo and group exhibition including the Trinity Buoy Wharf Drawing Prize, The Jerwood Drawing Prize (on three occasions), The ING Discerning Eye Drawing Bursary, The Zoo Art Fair, Miami Art Fair, The London Art Fair, The BP Portrait Award, The British Art Fair, The Hunting Art Prizes, Margate Rocks, the Turner Contemporary Open, among others.


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Artist : Youki Hirakawa (b. 1983)
Title : Untitled (Tears)
Medium : single channel video (12 min, 30 sec / 4K / silent)


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‘Untitled (Teardrops)’ is a video by Youki Hirakawa documenting a fallen tear drop on an iPhone. As time passes it shows the different phases of shape of tear as it dries. Through his still and installation-based video artwork, Hirakawa explores a mysterious and immeasurable sense of time, loss and longing. His monochromatic imagery is imbued with a melancholic quality, reconnecting a fragile past with a vivid present casting questions over the future. He creates a form of video-poetry which summons the voice of the lost. Hirakawa constructs his artworks as if to reveal hidden memories or narratives contained within the subject, resuscitating sensibilities that may have since been obscured, primarily through progressive human activity.

Hirakawa is a Japanese contemporary artist born in Nagoya, Japan in 1983. He currently lives and works in Toyota, Japan, following a long residency in Berlin, Germany. He was invited to show at the ‘48th International Film Festival Rotterdam’ and ‘65th International Short Film Festival Oberhausen’ in 2019 and has held solo exhibitions internationally, including Ando Gallery, Tokyo, Double Square Gallery, Taipei, Kunstlerhaus Bethanien, Berlin, Kunstkraftwerk, Leipzig, Minokamo City Museum, Japan. Hirakawa has also been invited to exhibit in international art festivals including Digital Art Festival Taipei 2017, International Contemporary Art Festival Kaunas in 2016, Sapporo International Art Festival 2014 and Aichi Triennale 2013. His inaugural solo exhibition ‘Secret Fire’ at Anima Mundi was held in 2016 and his follow up ‘A River Under Water’ in 2018. In 2017 he was finalist of Sovereign Asian Art Prize. Works are held in numerous public and private collections.

For further information regarding Youki Hirakawa - CLICK HERE


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Artist : Sax Impey (b. 1969)
Title : Squall Study 1 & 2
Medium : mixed media on paper
Size : 30 x 60 cm each


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Sax Impey’s paintings and drawings 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 nautical miles around the world. These extensive trips 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 some 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 is a British artist 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 the creation of site-specific installations including a multi media performance at Trafalgar Square, London and Birling Gap in Sussex. 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, the Connaught Hotel and the collections of Roman Abramovich and Lady Victoria Getty alongside other private collections worldwide.



For further information regarding Sax Impey - CLICK HERE


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Artist : Andrew Hardwick (b. 1961)
Title : Estuary, Dark Sea and Iceberg
Medium : mixed media on panel
Size : 90 x 155 cm


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Andrew Hardwick’s often large scale, sedimentary paintings display his captivation with ever decreasing wilderness zones; both natural and man-made. Playing with and subverting traditional notions of romantic landscape painting and the sublime. The paintings often depict edge-land zones around big industrial conurbations or ports, such as large-scale car storage compounds, redundant factories and polluted waste lands. Other works draw inspiration from the more typically idyllic locations such as Dartmoor and Bodmin Moor. However, these landscapes are also filled with reminders of human interference. Roads criss-cross the moor in deeply scratched lines, a narrow road is etched into an otherwise massive moorland triptych, likewise a real car radiator sits in the surface of another painting as if decaying and buried by the earth. His medium of working is also atypical, paintings are heavily layered with different types of paint (often sourced from recycling centres), plaster, plastics, soils, pigments, roofing felt, hay and other unconventional materials. To this rich surface relevant artefacts are often added, creating reminders, triggering memories or reflecting fears intrinsic to a particular landscape. The concept of layering in the landscape arrived partly a result of the artist’s childhood, during which his family’s farm was first sliced in half by the M5 motorway and then again by the Royal Portbury Dock. The land once filled with sheep has become a pure edge-land wilderness with detritus of continuous development now occupying and obliterating the land. Hardwick’s entire oeuvre makes reference to concepts of change, memory, history, emotion and transience. Ever redolent is the notion that we are but another layer in time.

Andrew Hardwick is a British artist born in Bristol, England in 1961 where he still resides. He achieved an MA in Fine Art at the University of Wales. He is an elected Academician at the Royal West of England Academy. He has featured in four solo exhibitions at Anima Mundi. Works have been exhibited extensively including numerous public shows and have been collected worldwide.



For further information regarding Andrew Hardwick - CLICK HERE


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Artist : Peter Randall-Page (b .1954)
Title : Stone Maquette
Medium : carved pebble
Size : 15.5 (H) x 41 (W) x 19 (D) 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.


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Artist : Paul Benney (b. 1959)
Title : Pieta
Medium : oil on canvas
Size : 220 x 250 cm


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The semiotics of public and religious signage : “My specific interest in religious painting from the renaissance up until the withering of church patronage is concomitant with my interest in the symbolism of our age. The dominant symbology of this past was firmly set within the Church’s iconography. The stories told to us from that time through their imagery were presented with an aim to guide us towards a universally desired and morally respectable life. The dominant symbology of our age (if you consider the acreage of signage in our modern landscape) is quite literally overwhelming, but mostly overlooked in its ubiquity. With the decline in acceptance of convincing moral and ethical guidance from religious bodies we have allowed other authorities to fill the vacuum. The current proliferation of symbolic signage would not, I suggest, be understood by an ancestor as the iconography of socially benign guidance but evidence of a universal adherence to a cult centred on the car, transport and health and safety in the urban environment that has been foisted upon us by a omnipotent force that sees itself as responsible for our apparent well being, in much the same way that the clergy felt responsible for us in the days of the church’s hegemony. I aim to show the underlying connections and intentions between these different forms of iconography and hope to open up some discussion about how we allow ourselves to be manipulated and ‘guided’ by the powers that be.” - Paul Benney, 2021

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.



For further information regarding Paul Benney - CLICK HERE


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Artist : Jonathan Michael Ray (b. 1984)
Title : Holy Reunion
Medium : reclaimed antique stained glass, lead, oak and steel
Size : 116 x 71 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.


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Artist : Simon Averill (b. 1961)
Title : Entanglements
Medium : acrylic on panel
Size : 140 x 80 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.


For further information regarding Simon Averill - CLICK HERE


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Artist : Luke Hannam (b. 1966)
Title : The End
Medium : acrylic on unprimed canvas
Size : 330 x 230 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.


For further information regarding Luke Hannam - CLICK HERE


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