YULE

Artist : Andy Harper
Title : Volvox
Medium : mixed media on canvas
Dimensions : 76 x 122 cm


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Andy Harper’s intricate oil paintings deal with the fruits of labour in the shadow of uncertainty. On one side they are concerned with the immediate process of painting, the mechanical, almost automated act of laying down mark after mark on a wet surface. On the other hand, they are subject to long-term strategy, each mark developed over time and embedded into a composition that provides an architectural structure for the work. While this framework may be logically ordered, the marks themselves are organic entities, forming a broad visual library that has taken on a life its own, growing through repetition and recombination in each new work. The paintings act like a Petri-dish for the culturing of this visual language, and a greenhouse for its cultivation. The forms may seem organic, but upon closer inspection they are not specific to anything the natural world has to offer. Rather they appear as a synthetic form of nature, generated from compulsive repetition and subjective reinterpretation, a world that has somehow evolved beyond the point of progeny to become its own independent alien entity.

Andy Harper lives in St Just, the most westerly town in Cornwall and works from a studio at the renowned Porthmeor Studios in St Ives. He studied his BA in Fine Art: Painting & Printmaking at Brighton Polytechnic and then MA Fine Art: Painting at the Royal College of Art, London. In 1996, with some peers from the RCA, Harper co-founded NotCut which ran a studio and photographic darkroom in London and curated ‘Lightness & Weight’ in Birmingham. During this time he also studied part time at Middlesex University for an MA in Visual Culture and had his first solo exhibition in London in 1998. After attending the Braziers International Artist Workshop in 2000, Harper became a member of the organising committee until 2008. Harper has taught in many institutions nationally and internationally, and had teaching posts at Central St. Martins, The City Lit and is currently a Senior Lecturer on the MFA Fine Art programme at Goldsmiths, University of London. Harper has exhibited widely in Europe, North America and South Korea.

Artist : Gabrielle K Brown (Collaboration with Nathan Hollis)
Title : What if Dog Was One of Us 
Medium : mixed media on wood
Dimensions : 76 x 38 x 10 cm


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Embodying a natural and intuitive, seemingly naive, yet extremely complex aesthetic, Gabrielle K Brown is a multi-faceted, multi-media artist who eagerly and energetically seeks new ways to tell stories through her artworks. Her pieces retain an object, often shrine-like quality, utilising materials including wood, various paints, resin, fabrics and even hair - nothing is beyond limits. The works dissect the relationship we have with ourselves, our companions, our society and our past with an awe and celebration of nature and the divine, shedding light on how we grow and how we suffer as human beings. Confrontational imagery is often contrasted with uplifting symbolism, actions and words - emphasising the extremes of the human condition and experience, and yearning within the energetic and fraught times that we live in. 

Born in 1994 on the east coast of Canada in New Brunswick, Brown grew up along the riverside and mountains which is where she connected to art and began painting and sculpting. She has spent much of her life traveling the world and moving throughout Canada which has always reflected in her work, but has recently moved back home to St John, the oldest city in Canada.Work has been exhibited at Art Basel Miami, as well as Montreal and New York and LA in the United States.

Artist : James E Crowther
Title : Big Rick / Yule Rick (Double A Side) 
Medium : oil on bespoke panel
Dimensions : 43 x 21 x 1 cm


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

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

Artist : Luke Frost
Title : Red Burnt Sienna Volts
Medium : acrylic on aluminium
Dimensions : 55 x 40 cm


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Luke Frost is a British abstract painter living and working in West Cornwall. Despite his notable heritage, as Son of the English painter Anthony Frost and the Grandson of the celebrated Modernist painter Sir Terry Frost, his paintings could be seen to instead echo a formality found in 1960s American hard-edge, post-painterly, abstraction. However Frost has developed his own means of exploring complex colour relationships, be they harmonious or provocative, and their impact on their surroundings alongside an internal and more contemplative space.

Frost began exhibiting in 2003 following studies at Falmouth and Bath Schools of Art. His work was featured in ‘Art Now Cornwall’ at Tate St Ives in 2007 and in 2008 he was awarded a Tate St Ives artist in residency during which time he worked at Porthmeor Studio No. 5, formerly occupied by Ben Nicholson and Patrick Heron. His solo exhibition ‘Paintings in Five Dimensions’ was shown at Tate St Ives in 2009. He has since exhibited in Cornwall, London and USA, with essays written on his work by Matthew Collings, Tony Godfrey and Michael Klein.

Artist : Faye Eleanor Woods
Title : Team Work Makes The Dream Work
Medium : raw pigment, acrylic ink & oil on canvas
Dimensions : 183 x 107 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 : You Can’t Make Me Do The Washing Up, I Don’t Want To
Medium : raw pigment, acrylic ink & oil on canvas
Dimensions : 92 x 122 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 : Simon Allen
Title : White Moon Field
Medium : 12 ct white gold leaf on carved wood
Dimensions : 100 cm diameter

Simon Allen was in born in Bristol and currently lives and works on the edge of moorland, in a remote area of West Cornwall.  With his immaculately gilded and expressively carved wooden wall sculptures often diriving from direct experience of and within nature, Allen has conceived a modus operandi that incorporates natural elements with two distinct but conjoined disciplines. The carving stage is physical and emotive. The rhythmically rippling surfaces, swooping undulations and swirling peaks and troughs represent the trace elements of a process that has its own bodily rhythm. By contrast, the painstaking application of gesso and ‘bole’ — the gilder’s ground formed from clay and pigment — and the gentle brushing on and burnishing of white gold leaf call on a more contemplative cast of mind. It is the tension between these two modes of awareness that gives the finished works their unique singular transcendental presence. 

Simon Allen’s work has been exhibited extensively and can found in numerous major private and corporate 
collections worldwide.

Artist : Youki Hirakawa
Title : Frozen Leaf
Medium : single channel 4K video, 7 min, silent


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‘Frozen Leaf’. is poetic, single channel, silent, 7 minute video of a leaf slowly glistening until all frozen water gradually evaporates, eventually rendering the image of the leaf no longer visible.

Youki Hirakawa is a Japanese 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, International Contemporary Art Festival Kaunas, Sapporo International Art Festival and Aichi Triennale. His inaugural solo exhibition ‘Secret Fire’ at Anima Mundi was held in 2016 and his follow up ‘A River Under Water’ in 2018. He was finalist of the Sovereign Asian Art Prize and was recently included in ‘Spirit & Endeavour’ to celebrate 800 years of Salisbury Cathedral. alongside Craigie Aitchison, Sir Tony Cragg, Martin Creed, Barbara Hepworth, Elisabeth Frink, Antony Gormley, Bill Woodrow, Bruce Munro, Grayson Perry, Eduardo Paolozzi, Mark Wallinger, Henry Moore, Conrad Shawcross and Lynn Chadwick. Works are held in numerous public and 
private collections.

Artist : Sarah Gillespie 
Title : Black Arches
Medium : mezzotint (ed 30)

Dimensions : 27 cm diameter


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“It is my hope, through a process of long-looking and close attention, focusing on quieter moments of beauty and oft hidden lives, to reveal something of the natural world’s remaining loveliness and, in so doing, to see what answering grace that might awaken in ourselves.”

Sarah Gillespie is an expert in the intricate and painstaking method of mezzotint, also known as ‘the English Method’, a form of engraving using a copper plate. She sees it as a labour of love, a method of quiet application, creating an image which emerges from darkness to light. Her work is about staying still and paying attention to the natural world that we inhabit. She is not concerned with self expression, stating that “we are at our most creatively powerful when we can overcome or more precisely forget ourselves, staying open and attentive to the way things are.”

Sarah Gillespie was born in Winchester and currently lives and works in Devon. She studied ‘16th & 17th century methods and materials’ at the Atelier Neo-Medici in Paris and then read Fine Art at Pembroke College, Oxford (BFA Ruskin School of Drawing & Fine Art). Upon leaving She was awarded the Elizabeth Greenshield Foundation International Award for figurative art. In 2016 she was elected a member of the Royal West of England Academy. Her work has been exhibited widely and is held in numerous private and public collections including: the V&A Museum; Victoria Gallery in Bath; the Government Offices for the South West; the Royal West of England Academy; Sharpham Trust; Chatsworth House; Castle Howard; Damien Hirst; Museum of Fine Arts in Yekaterinburg, Russia; The Xuihui Museum of fine Art in Shanghai and Calvin University in Michigan

Artist : Sarah Gillespie 
Title : Sempiternal
Medium : hand-finished mezzotint (ed 20)
Dimensions : 39 cm diameter


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“It is my hope, through a process of long-looking and close attention, focusing on quieter moments of beauty and oft hidden lives, to reveal something of the natural world’s remaining loveliness and, in so doing, to see what answering grace that might awaken in ourselves.”

Sarah Gillespie is an expert in the intricate and painstaking method of mezzotint, also known as ‘the English Method’, a form of engraving using a copper plate. She sees it as a labour of love, a method of quiet application, creating an image which emerges from darkness to light. Her work is about staying still and paying attention to the natural world that we inhabit. She is not concerned with self expression, stating that “we are at our most creatively powerful when we can overcome or more precisely forget ourselves, staying open and attentive to the way things are.”

Sarah Gillespie was born in Winchester and currently lives and works in Devon. She studied ‘16th & 17th century methods and materials’ at the Atelier Neo-Medici in Paris and then read Fine Art at Pembroke College, Oxford (BFA Ruskin School of Drawing & Fine Art). Upon leaving She was awarded the Elizabeth Greenshield Foundation International Award for figurative art. In 2016 she was elected a member of the Royal West of England Academy. Her work has been exhibited widely and is held in numerous private and public collections including: the V&A Museum; Victoria Gallery in Bath; the Government Offices for the South West; the Royal West of England Academy; Sharpham Trust; Chatsworth House; Castle Howard; Damien Hirst; Museum of Fine Arts in Yekaterinburg, Russia; The Xuihui Museum of fine Art in Shanghai and Calvin University in Michigan.

Artist : Alastair & Fleur Mackie
Title : Assemblage (Vavona)
Medium : vavona burr veneer, beech substrate
Dimensions : 58 x 94 x 8 cm

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Alastair and Fleur Mackie’s sculptural practice is one of contrasts. It is as labour-intensive as it is formally effortless, as grounded in ideas of nature as it is in the intrinsically human struggle to define a role within the environment; it is as intellectually ambitious as it is aesthetically understated. Alastair grew up in an agricultural community in Cornwall, UK while Fleur’s childhood was split between Cameroon, France, and the UK. They met at art school in London in the late 90’s. Initially their creative practices were separate, but over time their work has evolved into a natural collaboration.  In 2011 they moved to live and work in Cornwall, the landscape of which has played a key role in the shaping of their vocabulary. Naturally occurring elements (native metals, wood, sea shells) are meticulously rearranged and transformed in a knowingly quixotic attempt to make sense of the primordial. Each work is something of an enigma, enriched by the loaded associations of its material and the story behind its making. Ally and Fleur operate by reduction; materials are pared down to their core. In their work, process dictates form, no matter how poetic or Romantic the piece’s origin. 

Alastair and Fleur Mackie have shown extensively in the UK and internationally, including exhibitions at the Saatchi Gallery in London, the Venice Biennale and the Reykjavik Art Museum. They have worked on a number of public commissions and their work is held in collections including The Olbricht Collection in Berlin, the Salsali Private Museum in Dubai and the Wellcome Collection in London.

Artist : Katie Sims
Title : Around, Across, Upon
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 : Katie Sims
Title : Thin Skin
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 : Sax Impey
Title : The Winter to Come
Medium : mixed media on panel
Dimensions : 187 x 126 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 : Jamie Mills
Title : A Fragrance of Forgiveness
Medium : encaustic, oil, chalk, graphite & hessian on board
Dimensions : 20 x 15 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 : Jamie Mills
Title : An Indivisible Distance
Medium : encaustic, oil, chalk, graphite & hessian on board
Dimensions : 20 x 13.5 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 : Leah Gordon
Title : Hooden Horse of Kent (Invictus of Hythe)
Medium : c-type lambda print from scan of black & white medium format analogue negative
Dimensions : 100 x 100 cm



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Leah Gordon is an artist, film maker curator, and writer born in Ellesmere Port between Liverpool and Manchester. Her work explores the intervolved and intersectional histories of the Caribbean plantation system, the Trans-Atlantic Slave Trade, the Enclosure Acts and the creation of the British working-class and could be said to be about joining dots of meaning. Gordon’s photographs represent an exchange as well as encounter: a paradox as well as a power dynamic. At once anonymous and assertive, her subjects connect with the lens while maintaining their disguise’s remove. 

Leah Gordon’s film and photographic work has been exhibited internationally including the Museum of Contemporary Art, Sydney; the Dak’art Biennale; the National Portrait Gallery, UK; Parc de la Villette, Paris and NSU Museum of Art, Fort Lauderdale. Her photography book ‘Kanaval: Vodou, Politics and Revolution on the Streets of Haiti’ was published in June 2010 and she co-directed the documentary film ‘Kanaval: A People’s History of Haiti in Six Chapters’ currently on BBC iPlayer. She is the co-director of the Ghetto Biennale in Port-au-Prince, Haiti; was a curator for the Haitian Pavilion at the 54th Venice Biennale; was the co-curator of ‘Kafou: Haiti, History & Art’ at Nottingham Contemporary, UK; on the curatorial team for ‘In Extremis: Death and Life in 21st Century Haitian Art’ at the Fowler Museum, UCLA and in 2018 was the co-curator, with Edouard Duval-Carrie, for PÒTOPRENS: The Urban Artists of Port-au-Prince. In 2015 Leah Gordon was the recipient of the Colección Patricia Phelps de Cisneros Travel Award for Central America and the Caribbean.

Artist : Laurence Edwards 
Title : Coil
Medium : bronze (edition variee)
Dimensions : 97 x 65 x 52 cm



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

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

Artist : Massimo Angei 
Title :  Amphiorama
Medium : oil on canvas
Dimensions : 70 x 90 cm



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Massimo Angèi’s elemental, tempestuous yet ethereal oil paintings reflect varied emotional states whilst remaining open to physical and metaphysical interpretation. Tableaus and forms are suggested but never fully established, perhaps evoking landscape, weather patterns, natural systems, inner psychology or spiritual connectedness. Voluptuous cloud-like billows intersperse with delicate spiralling marks forming an ecstatic unity reminiscent of both renaissance grandeur and primitive automatic drawing.

Massimo Angèi was born in La Spezia, Italy, he currently lives and works in Sarzana, near the borderline between Liguria and Tuscany. Following art school, he collaborated with various institutions and museums exhibiting early representational depictions of flora and fauna. After finishing his degree at the Fine Arts Academy in Carrara/Painting (Accademia di Belle Arti\Pittura), he participated in his first exhibitions, and the creation of the Idioma group along with Marco Casentini, Fabio Linari, Jacopo Bruno, Andrea Geremia. He then began to work as an independent freelance photographer working for photo agencies including Grazia Neri of Milan, and Bilderberg of Hamburg, publishing his images in both Italian and international magazines. A vivid dream in the spring of 2006 made him realise that his destiny was as a painter, and he vowed to never again abandon it.

Artist : Carlos Zapata
Title :  Druid
Medium : polychromed carved wood
Dimensions : 27 cm height


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

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

Artist : Miles Cleveland Goodwin
Title :  Sleeping Wizard
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 :  Storm Over Sea
Medium : oil on linen
Dimensions : 61 x 91 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 : Ian Everard
Title : Rough Stuff
Medium : found postcard (top) watercolour (bottom)
Dimensions : 20 x 25 cm


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Ian Everard’s artworks address a range of themes which uduslly evoke a scence of nostalgia as well as current concern. The subjects of his paintings are often found objects, which are exhibited alongside. He considers this search for subject / object to be a primary aspect to the making of his work. The objects are primarily books, photographs or ephemera which are repurposed to address the artists own preoccupations and concerns. Once the object becomes subject, he attempts to copy what he see’s, usually in watercolour, in exact scale and detail, with all the visible wear and tear, right down to each blemish or crease. The paintings are seldom finished, but are eventually considered ‘complete’. This produces a sort of visual rhetoric, with the painting, in effect, interrogating its subject. The process involves close observation, pattern recognition and inquiry. Everard aims to present the real but also evoke the imaginary. Ultimately, these artworks, which present a mise en scene, result in a mise en abyme, where meaning shifts between fact and fiction, imagination and reality. He is interested in the associative states of mind these objects, copies and pictures evoke, such as displacement and haunting, daydreaming and remembering. For Everard, the studio space or exhibition space is a means of imaginary transportation to both somewhere and elsewhere.

Ian Everard is a British artist, born in St. Ives, Cornwall and living in Santa Cruz, California, USA, since the 1980s. He studied at Stourbridge College, the University of California and San Francisco State University. His work has been displayed at the Institute of Contemporary Art, in San Jose, Sherry Frumkin Gallery in Los Angeles, Mirage Gallery in Tokyo, and most recently at Jack Fischer Gallery and the De Young Museum, in San Francisco. He is represented by Jack Fischer Gallery, in San Francisco. His work is in collections worldwide. 

Artist : Ian Everard
Title : Vanishing Point
Medium : watercolour of Grandmother’s postcard
Dimensions : 25 x 20 cm each


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Ian Everard’s artworks address a range of themes which uduslly evoke a scence of nostalgia as well as current concern. The subjects of his paintings are often found objects, which are exhibited alongside. He considers this search for subject / object to be a primary aspect to the making of his work. The objects are primarily books, photographs or ephemera which are repurposed to address the artists own preoccupations and concerns. Once the object becomes subject, he attempts to copy what he see’s, usually in watercolour, in exact scale and detail, with all the visible wear and tear, right down to each blemish or crease. The paintings are seldom finished, but are eventually considered ‘complete’. This produces a sort of visual rhetoric, with the painting, in effect, interrogating its subject. The process involves close observation, pattern recognition and inquiry. Everard aims to present the real but also evoke the imaginary. Ultimately, these artworks, which present a mise en scene, result in a mise en abyme, where meaning shifts between fact and fiction, imagination and reality. He is interested in the associative states of mind these objects, copies and pictures evoke, such as displacement and haunting, daydreaming and remembering. For Everard, the studio space or exhibition space is a means of imaginary transportation to both somewhere and elsewhere.

Ian Everard is a British artist, born in St. Ives, Cornwall and living in Santa Cruz, California, USA, since the 1980s. He studied at Stourbridge College, the University of California and San Francisco State University. His work has been displayed at the Institute of Contemporary Art, in San Jose, Sherry Frumkin Gallery in Los Angeles, Mirage Gallery in Tokyo, and most recently at Jack Fischer Gallery and the De Young Museum, in San Francisco. He is represented by Jack Fischer Gallery, in San Francisco. His work is in collections worldwide. 

Artist : Luke Hannam
Title : Boy Holding His Dreams
Medium : oil and acrylic on canvas
Dimensions : 208 x 180 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 : Jarno Vesala
Title : Rest
Medium : life-size wall sculpture, multi-projection with minor facial movement
Dimensions : 220 cm diameter

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Jarno Vesala makes installations, which often consist of empathy inducing, human-like sculpture, sound and projected image. His immersive environments are perplexing, mysterious and unsettling. The work pays with the act of perception, memory and illusion. Recurrent themes are often relate to isolation, loneliness, exclusion and loss which are made manifest and palpable through his rendering.

Jarno Vesala is a Finnish artist born in Rauma in 1977. He currently lives and works in Nokia, Finland. Vesala graduated from Tampere University of Applied Sciences’ in 2004. He first exhibited in Tampere in 2003. Vesala’s has featured in Mänttä’s art festival, Kluuvin galleria, Pirkanmaa triennial, Helsinki Art Museum and Forum Box and was selected as the Finnish Young Artist of the Year in 2013. In 2014, Vesala won the Turku Biennale Prize. In addition Vesala has featured in numerous exhibitions internationally including ‘Out of Our Heads’ curated by James Putnam and Vassiliki Tzanakou, the Nordic Delights festival in Soho, London and two solo exhibitions at Anima-Mundi.

Artist : Christina Bothwell
Title : Incessant Dreamer
Medium : cast glass and pitt fired clay
Dimensions :  9 x 30 x 13 cm / 12 x 29 x 10 cm

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Christina Bothwell is an American contemporary sculptor born in New York and now living and working in rural Pennsylvania. She is widely  known for her metaphorical, narrative glass, ceramic, and mixed media sculptures that often portray the processes of birth, death, and renewal. Art critic Mark Zimmerman said “Bothwell’s work turns symbols into spirits of creation.” Beginning in childhood, Bothwell had “experiences beyond the five senses,” such as premonitions and lucid dreams, that have convinced her of a spiritual dimension that transcends the material world. That awareness has heavily influenced her work. Hovering bewteen the physical and metaphysical and in the process revealing a vulnerability that we may recognize as our own. 

Christina Bothwell has won numerous scholarships and grants including a Pollock-Krasner Foundation Grant and a Virginia A. Groot Foundation award for excellence in fine art sculpture. Her work has been exhibited widely and is held in many international private and public collections including the Corning Museum of Glass in New York; Racine Art Museum; Shanghai Museum of Glass Art; Mobile Museum of Art; Palm Springs Museum and the Alexander Tutsek - Stiftung foundation in Munich.

Artist : Joy Wolfenden Brown
Title : Ancient Hope
Medium : oil on fine linen canvas
Dimensions :  127 x 85 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.

Artist : Simon Averill 
Title : Entanglement (1 & 2)
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 : Tim Shaw
Title : Head
Medium : bronze (edition of 5)
Dimensions :  118 x 43 x 74 including Welsh slate 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 Centre and Back From the Front presents: Shock and Awe – Contemporary Artists at War and Peace at the Royal West of England Academy. He has undertaken a number of public commissions including ‘The Rites of Dionysus’ for The Eden Project, ‘The Minotaur’ for The Royal Opera House and ‘The Drummer’ for Lemon Quay, Truro. A more political side to his work became evident in a number of sculptures responding to the issues of terrorism and The Iraq War. ‘Tank on Fire’ was awarded the selectors prize at the inaugural Threadneedle Prize in 2008 and the installation ‘Casting a Dark Democracy’ was reviewed in 2008 by Jackie Wullschlager of The Financial Times as ‘The most politically charged yet poetically resonant new work on show in London’. Shaw has been supported by the Kappatos Athens Art Residency, The Kenneth Armitage Foundation, The British School of Athens,The Delfina Studio Trust through residencies in Greece, Spain and a fellowship in London. Most recently as an Artist Fellow at the Kate Hamburger Centre for Advance Study in the Humanities of ‘Law and Culture’ In Bonn, Germany where he began work on ’The Birth of Breakdown Clown’ an existential sculptural work utilising sculpture, robotics and AI.

Artist : David Kim Whittaker
Title : Portrait (1)
Medium : acrylic, pencil, china marker, rag, collage on primed panel
Dimensions : 65 x 59 cm


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Most of David Kim Whittaker’s paintings are based upon a metaphysical interpretation of the human head. These portrait portals, are often ambiguous, with the aim of representing the totality of the human condition - both the universal and the empathetic alongside personal experience. The works often juggle dual states of inner and outer calm and conflict, offering a glimpse of simultaneous strength and fragility, conscious and subconscious, masculine and feminine. The paintings express Whittaker’s constant focus on an attempt to express something far greater than oneself. Recent works depict the artists deep sensitivity and increasing unease when confronted with the compounding global tensions of this particlar moment. A dual reflection of hope and warning stares back at us from the frame. 

Whittaker is a British artist born in Cornwall where he still resides. Exhibitions have been held internationally, notably including a major solo exhibition at the prestigious Fondazione Mudima in Milan in 2017. Works are in numerous museum collections, art foundations and international private collections. Whittaker was further acknowledged in 2011 as the recipient of the Towry Award (First Prize) at the National Open Art Competition.

Artist : David Kim Whittaker
Title : Portrait (2)
Medium : acrylic, pencil, china marker, rag, collage on primed panel
Dimensions : 65 x 59 cm


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Most of David Kim Whittaker’s paintings are based upon a metaphysical interpretation of the human head. These portrait portals, are often ambiguous, with the aim of representing the totality of the human condition - both the universal and the empathetic alongside personal experience. The works often juggle dual states of inner and outer calm and conflict, offering a glimpse of simultaneous strength and fragility, conscious and subconscious, masculine and feminine. The paintings express Whittaker’s constant focus on an attempt to express something far greater than oneself. Recent works depict the artists deep sensitivity and increasing unease when confronted with the compounding global tensions of this particlar moment. A dual reflection of hope and warning stares back at us from the frame. 

Whittaker is a British artist born in Cornwall where he still resides. Exhibitions have been held internationally, notably including a major solo exhibition at the prestigious Fondazione Mudima in Milan in 2017. Works are in numerous museum collections, art foundations and international private collections. Whittaker was further acknowledged in 2011 as the recipient of the Towry Award (First Prize) at the National Open Art Competition.

Artist : Chris Anthem
Title : The Madonna of Fatmagul
Medium : mixed media on cow hide
Dimensions : 160 x 160 cm


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Chris Anthem is a British artist who has for many years lived and worked between Lebanon, East and West Africa. Anthem studied fine art in Liverpool and then the Slade School of Fine Art London. Recent projects have included painting dresses for Basil Soda Haute Couture and The Budapest Art Factory Residency. He is presently researching a new body of work in Dakar, Senegal.

“Paint has an ambiguous nature; on the one hand pertaining to be other than its material actuality, whilst it still offers the possibility of being congruent with an honesty of spirit. I recognise that honesty in paintings when I’ve managed to keep its energy there. In some paintings that honesty dies, it gets lost in its own rhetoric and the painting’s energy dies, or rather the paintings commit their own clichéd suicide, stillborn in the cowl glister of varnish. It still surprises me that honesty and mortality are still so co-dependent and that short-cuts of effect kill paintings. Every successful painting that I’ve done has had at its core a tangible event, something unresolved and nagging to get itched. That before the idea, the internal image, before the composition and the stitching of sources and technique there is the event. In the painting, in spite of its seductive surfaces and its neurotic baroque, there lies some tender actuality that only a brush and oil would soothe, and only a humility of mark can address. Paint and oil are the salve that cures the surface – balm of a meglip scab. And I guess it’s that rupture, that intrusion on the surface tension on the canvas; or paper, or mind, or body, that the rest of the painting dresses – like you would, whether functionally or theatrically, a wound.”

Artist : Chris Anthem
Title : Misanthrope
Medium : mixed media on cow hide
Dimensions : 180 x 180 cm

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Chris Anthem is a British artist who has for many years lived and worked between Lebanon, East and West Africa. Anthem studied fine art in Liverpool and then the Slade School of Fine Art London. Recent projects have included painting dresses for Basil Soda Haute Couture and The Budapest Art Factory Residency. He is presently researching a new body of work in Dakar, Senegal.

“Paint has an ambiguous nature; on the one hand pertaining to be other than its material actuality, whilst it still offers the possibility of being congruent with an honesty of spirit. I recognise that honesty in paintings when I’ve managed to keep its energy there. In some paintings that honesty dies, it gets lost in its own rhetoric and the painting’s energy dies, or rather the paintings commit their own clichéd suicide, stillborn in the cowl glister of varnish. It still surprises me that honesty and mortality are still so co-dependent and that short-cuts of effect kill paintings. Every successful painting that I’ve done has had at its core a tangible event, something unresolved and nagging to get itched. That before the idea, the internal image, before the composition and the stitching of sources and technique there is the event. In the painting, in spite of its seductive surfaces and its neurotic baroque, there lies some tender actuality that only a brush and oil would soothe, and only a humility of mark can address. Paint and oil are the salve that cures the surface – balm of a meglip scab. And I guess it’s that rupture, that intrusion on the surface tension on the canvas; or paper, or mind, or body, that the rest of the painting dresses – like you would, whether functionally or theatrically, a wound.”

Artist : Richard Nott
Title : Corium
Medium : mixed media floating panel
Dimensions : 65 x 65 cm


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

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

Artist : Kate Clark
Title : Relentless
Medium : bear hide, clay, foam, thread, pins, rubber eyes
Dimensions : 48 x 33 x 38 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 : Phoebe Cummings
Title : Two Ears
Medium : clay on paper
Dimensions : 42 x 30 cm


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

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

Artist : Phoebe Cummings
Title : Chrysanthemum
Medium : clay on paper
Dimensions : 42 x 30 cm


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

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

Artist : Jim Carter
Title : Euny
Medium : bird, sheep & fox bone, wood, dirt, ashes, leaves, fox fur, jackdaw feathers
Dimensions : 85 x 52 x 28 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 : Jonathan Michael Ray
Title : Under Raking Light
Medium : etched glass, lead, oak and steel
Dimensions : 87.5 x 125 x 2.5 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. Last 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 was on show at Broomhill Estate in Devon. His work was subject of a two person exhibition with Willeminha Barnes Graham at Tate St Ives in the Summer of 2022.

Artist : Arthur Lanyon 
Title : Ti Sento
Medium : oil, oil stick, acrylic, charcoal on linen
Dimensions : 190 x 230 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 : Dr Martin Shaw
Title : Morgana La Fey
Medium : charcoal on paper
Dimensions : 30 x 21 cm


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Martin Shaw is a painter, writer and oral storyteller living and working in Devon. Author of many books, his latest, Stag Cult was recently the number one bestseller at the London Review of Books. Dr Shaw founded the Oral Tradition and Mythic Life programs at Stanford University and his conversation and catalogue with Ai Weiwei is available with the Marciano Arts Foundation. He is Reader in Poetics at Dartington Arts School. Robert Bly describes him as “a true master, one of the very greatest storytellers we have.” A scholar from the British School in Rome, drawing and painting are practices that continually inform his wider work. 

Artist : Dr Martin Shaw
Title : Green Knight
Medium : charcoal on paper
Dimensions : 30 x 21 cm


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Martin Shaw is a painter, writer and oral storyteller living and working in Devon. Author of many books, his latest, Stag Cult was recently the number one bestseller at the London Review of Books. Dr Shaw founded the Oral Tradition and Mythic Life programs at Stanford University and his conversation and catalogue with Ai Weiwei is available with the Marciano Arts Foundation. He is Reader in Poetics at Dartington Arts School. Robert Bly describes him as “a true master, one of the very greatest storytellers we have.” A scholar from the British School in Rome, drawing and painting are practices that continually inform his wider work. 

Artist : Dr Martin Shaw
Title : Gawain
Medium : charcoal on paper
Dimensions : 30 x 21 cm


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Martin Shaw is a painter, writer and oral storyteller living and working in Devon. Author of many books, his latest, Stag Cult was recently the number one bestseller at the London Review of Books. Dr Shaw founded the Oral Tradition and Mythic Life programs at Stanford University and his conversation and catalogue with Ai Weiwei is available with the Marciano Arts Foundation. He is Reader in Poetics at Dartington Arts School. Robert Bly describes him as “a true master, one of the very greatest storytellers we have.” A scholar from the British School in Rome, drawing and painting are practices that continually inform his wider work. 

Artist : Judith Nangala Crispin
Title : Her wing caught on a barbed wire fence, night becoming day and the bone pierced. Ruth slips off her owl body, exploding into the sky over Lake Burley Griffin, to become a sun
Medium : lumachrome glass print, cliche-verre, chemigram and drawing. Trapped deceased eastern barn owl, seeds, feather-top grass, turmeric, coffee, liquid paper, sulphuric acid and silver chlorides, exposed 40 hours with electric current, in a geodesic dome. re-printed as a single image, detailed with gold and silver leaf
Dimensions : 190 x 140 cm 


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

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

Artist : Judith Nangala Crispin
Title : Shadrach, Meshach and Abednego, hatched in fire and lifting, triumphant over the burning Murray River, on an umbilicus of light.
Medium : lumachrome glass print, cliche-verre, chemigram, acid wash and drawing. three still born guinea fowl chicks, hen lost to old age, acid, sand, vegemite & sesame seeds on fibre paper. exposed 23 hours in a geodesic dome in sunlight.  re-printed as a single image, detailed with gold and silver leaf,
Dimensions : 200 x 137 cm


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

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

Artist : Andrew Hardwick
Title : Twilight
Medium : mixed media on panel
Dimensions : 58 x 96 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.

Artist : Paul Benney
Title : Party Girl
Medium : oil and resin on board in bespoke standing tilting frame
Dimensions : 134 x 61 cm plus stand


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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 : Trevor Bell
Title : Makers Mark
Medium : mixed media on panel
Dimensions : 45 x 42 x 5 cm


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

Trevor Bell, (1930-2017)


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

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

Artist : Michael McGrath
Title : Learning Hypnosis
Medium : oil on linen
Dimensions : 46 x 60 cm


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Michael McGrath’s paintings are inspired by an interest in the history of place and his natural environment but also embodies a curiosity in the cults of mysticism, mythology and religion. An interest in the esoteric is balanced and presented alongside the more prosaic aspects of daily life with a playful sense of naivety. His painted faces often depict deities or the deceased, where ghosts and skulls naturally symbolise death and afterlife, but are rendered with a fair measure of acceptance and hope. McGrath imagines that “if there were gods, ghosts or magic, they would exist within nature and in the landscape; not just as beings in the sky, but also in the ground, in the trees, in the flowers and in the animals.”

Michael McGrath is an American artist and painter who lives and works in Rhinebeck, in New York’s Hudson Valley. He graduated from Ithaca College in 2000 with a B.F.A. in Fine Art and has most recently shown work in Rhinebeck, New York, Germany, Belgium, and in Beijing, China.

Artist : Michael McGrath
Title : Winter Float
Medium : acrylic, oil pastel, charcoal and paper on canvas
Dimensions : 76 x 60 cm


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Michael McGrath’s paintings are inspired by an interest in the history of place and his natural environment but also embodies a curiosity in the cults of mysticism, mythology and religion. An interest in the esoteric is balanced and presented alongside the more prosaic aspects of daily life with a playful sense of naivety. His painted faces often depict deities or the deceased, where ghosts and skulls naturally symbolise death and afterlife, but are rendered with a fair measure of acceptance and hope. McGrath imagines that “if there were gods, ghosts or magic, they would exist within nature and in the landscape; not just as beings in the sky, but also in the ground, in the trees, in the flowers and in the animals.”

Michael McGrath is an American artist and painter who lives and works in Rhinebeck, in New York’s Hudson Valley. He graduated from Ithaca College in 2000 with a B.F.A. in Fine Art and has most recently shown work in Rhinebeck, New York, Germany, Belgium, and in Beijing, China.

Artist : Esme Lansdowne
Title : Fortuna
Medium : acrylic, earth pigment, oil bar, charcoal on canvas
Dimensions : 42 x 30 cm 


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I’m swimming
the flood-streets
shuffling salt-stained
cards of my tarot
as the white storm
bares its teeth
and the billowing houses
spring to sea-chest ruins

I’m swimming streets ahead
of drowning Lyonesse
who’s vestals
are reaping the whirlwind I predicted, 
whose windows cast the first stone to this very day

‘Fortuna’ by Penelope Shuttle


Esme Lansdowne is a self taught artist, raised in St. Ives and currently living and working in Falmouth, Cornwall. Her work is a visual response to the elemental forces of landscape and nature fused with expressive movement of the body. Of paramount importance is her interrogation into material where often pigment derived from the landscape she is responding to is sourced, processed and utilised alongside traditional materials, ensuring that paintings become both a physical and metaphysical rendering of time, place and experience. The aim and achievement is to capture something that is simultaneously ephemeral yet 

ever permanent. 

Lansdowne is an emergent artist yet has already exhibited widely, with paintings finding their way in to numerous collections. In early 2023 she is excited to be heading to New Zealand where she will spend time living, working and responding to this new environment. 

Artist : Andrew Litten
Title : Father and Child
Medium : bronze (edition of 5)
Dimensions : 58 x 20 x 13 cm  


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

Andrew Litten is a British artist, born in Aylesbury, Buckinghamshire in 1970. He currently works from his studio in Fowey, Cornwall. He is a self-taught artist leaving art college as a teenager having found it to be too restrictive to his aspired method of working. For a decade he created mostly small-scale works using humble domestic or found materials (including envelopes and assembled furniture parts). The work made at this time deliberately challenged ideas of art elitism and art as commodity. He then moved to Cornwall in 2001 and chose to begin exhibiting. Early success came when his work was included in an exhibition titled ‘Nudes’ in New York City, (along with Jacob Epstein and Pierre-Auguste Renoir), where his work was highlighted and reviewed by the New York Times. Shortly after he had four consecutive solo exhibitions at Goldifsh Fine Arts in Penzance, Cornwall. Other notable exhibitions included ‘Move’ at Vyner Street, London, during Frieze Art Week 2007, where his work ‘Dog Breeder’, created as a twisted and emphatic anti-art statement, was exhibited. He was also included in ‘No Soul For Sale’ at Tate Modern Turbine Hall, London in 2010. In 2012 he held a major solo exhibition at Millennium in St Ives, Cornwall and that year was given a guest solo exhibition at L13 Light Industrial Workshop, London. He has also held large-scale solo exhibitions at Spike Island and Motorcade FlashParade in Bristol. ‘Ordinary Bodies, Ordinary Bones’ was conceived with support from The Arts Council, UK and was exhibited at Anima Mundi in 2018. Works have been included in numerous international curated mixed exhibitions in Berlin, Dublin, Siena, Milwaukee and New York City and in Venice during the 54th Biennale. Most recently paintings have been exhibited in four major museums in China. Andrew Litten paintings feature in numerous international private and public collections. 

Artist : Evelyn Williams
Title : The Ritual
Medium : oil on canvas
Dimensions : 122 x 152 cm


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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.”