Winner of 2021 Exhibition
BLAUHAUS aka anja blau
In my work, I investigate ‘Beauty In The Broken’, in which I find that physical processes that mirror corrosion and deterioration, in combination with bright colours, patination, and gold, reflect our own emotional complexity and journeys.
Patinas and Rust, symbols of age and deterioration often represent a life lived and at times, the end of an object. I am intrigued by the history of such decayed objects and encourage the viewer to take a closer look and question what stories lie behind each of them, what journeys have they been through and what meanings did they carry in the past. Such items can be actual found objects, pieces I have processed to mimic decay and age, or a combination of both.
By turning decayed and broken objects into art I am aiming to give pieces that were declared waste a new life and meaning and ask the viewer to see beyond rust just as a symbol of deterioration but as a hallmark of a lived life. I am testing the norms of what we, as a society, label ‘beautiful’ and how we can re-shape those standards. I am inspired by the Japanese art of Wabi-Sabi, finding beauty within imperfections, celebrating cracks, damages, and other marks that are created by time, weather, and history.
Gold as the ‘eternal metal’ represents preciousness and purity and acts as a beautiful contrast with rust and corrosion. It creates a form of elegance. By pairing decayed objects with gold I create the illusion of archaeological treasures, combining age and decay with the everlasting shine of gold as well as vibrant colours of life and nature. Sometimes things need to be broken to expose the true beauty underneath.
Although my work does not have a religious meaning, it does explore the concept of life and death, and the themes of eternal life and rebirth.
www.blauhaus.co.uk 
www.instagram.com/blauhaus__ 
“Ghosts”, Blauhaus, Fabric, sculpture, installation, 1x3x1 metre

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‘Ghosts’ is a light installation consisting of lampshades hand-made from muslin cloth that has been dyed with rusted metal pieces. Each rusted pattern in the fabric left behind by the metal is an abstract copy of the original piece, a ghostlike imprint, a symbol of life. 
Through the process of wrapping these rusted metal pieces into cloth, I invoke the image of a shroud,  wrapped around a body for protection and spiritual reverence in preparation for burial. Lanterns have been used the world over to remember and revere the departed, and light as a symbol of life has equally universal importance. Rust, the harbinger of age and deterioration, represents a life lived and the end of an object. 
The lights hang above and around us like ghosts from our past. I want to encourage the viewer to consider such stories and histories hidden in the cloth, what journeys have they been through and the meanings they carried in the past, and  with that to think about their own ghosts and the histories that follow, surround, and engulf us all,
“Somewhere in igbore” Oil on canvas, 61 x88 cm Adeyemi Ramon Omolaja "Somewhere in Igbore" is an ingenious painting, carefully rendered in oil on canvas to fascinate its beholders and also to bring back the reminiscent of early civilization in our cities. Like every other early settlements in Abeokuta, Igbore is a typical setting of rural-urban outlook. The highlights of this painting are the sprawling brick buildings with corrugated iron roof and wooden windows sparsely interjected with buildings and road with modern touch. Lively activities of human endeavours are easily noticeable as well. This painting further testifies to my artistic prowess.
“Somewhere in igbore” Oil on canvas, 61 x88 cm Adeyemi Ramon Omolaja "Somewhere in Igbore" is an ingenious painting, carefully rendered in oil on canvas to fascinate its beholders and also to bring back the reminiscent of early civilization in our cities. Like every other early settlements in Abeokuta, Igbore is a typical setting of rural-urban outlook. The highlights of this painting are the sprawling brick buildings with corrugated iron roof and wooden windows sparsely interjected with buildings and road with modern touch. Lively activities of human endeavours are easily noticeable as well. This painting further testifies to my artistic prowess.
“Objects in conversation- Enfatuation”, Mixed - oil pastel, oil bars, ink and charcoal, 60cm w x 84 cm w Adriana Rabinovich adriana3524.wixsite.com This is from a series of drawings where objects engage in dialogue.
“Objects in conversation- Enfatuation”, Mixed - oil pastel, oil bars, ink and charcoal, 60cm w x 84 cm w Adriana Rabinovich adriana3524.wixsite.com This is from a series of drawings where objects engage in dialogue.
“Urban jungle”, Handmade glass, and stone with smalti, 12cm by 12 cm Allan Punton www.artopunto.co @allanpunton Homage to Henri Rousseau.
“Urban jungle”, Handmade glass, and stone with smalti, 12cm by 12 cm Allan Punton www.artopunto.co @allanpunton Homage to Henri Rousseau.
“MirrorClade (2021)”, Oil on wooden panel, (Panel is) 90cm Diameter, 150 X 120cm (framed) Andrew Sales www.andrewsales.net/ @iandrewsales The central message of the painting is that of respect and dignity in front of nature as the opposing forms of the mollusks and humans observe one another beneath the surface. Although entirely different biologically to their core, the two opposing 'Clades', invertebrates/vertebrates, humans and mollusks, are expressed as the same and equal in the face of the imperceptible spans of time from our earth's history. This leads onto the paintings second theme which is that of time and the tiny and fragile place of human beings in the cosmos. The surface of the painting is devoid of figures and suggests so much time may have passed even the tectonic forces that shape the surface world have evolved and changed. On the seafloor lies remains of prehistoric animals and dinosaurs to express extinction and its role in the long and slow processes of the planet that we cannot possibly witness. The bones and dead corals also signify our destructive affect on the planet but express the disquieting fact that the earth will remain long after we have gone. The title 'MirrorClade' is meant to convey these themes and say we are no more important than the invertebrates in the ocean or the many millions of species that have come before us. With my work I like the themes to be equally matched in the composition and technical painting processes I deploy in the piece. The oval board was selected as oppose to a panoramic rectangle in combination with the colour pallet to give a sense of the planet as seen from space. The central material concept that was the driving force behind the painting was that of opposing textures. I needed to express the theme of two things being different but inextricably linked and equal, so the very contrast of the surface world and underwater world had to be strong.
“MirrorClade (2021)”, Oil on wooden panel, (Panel is) 90cm Diameter, 150 X 120cm (framed) Andrew Sales www.andrewsales.net/ @iandrewsales The central message of the painting is that of respect and dignity in front of nature as the opposing forms of the mollusks and humans observe one another beneath the surface. Although entirely different biologically to their core, the two opposing 'Clades', invertebrates/vertebrates, humans and mollusks, are expressed as the same and equal in the face of the imperceptible spans of time from our earth's history. This leads onto the paintings second theme which is that of time and the tiny and fragile place of human beings in the cosmos. The surface of the painting is devoid of figures and suggests so much time may have passed even the tectonic forces that shape the surface world have evolved and changed. On the seafloor lies remains of prehistoric animals and dinosaurs to express extinction and its role in the long and slow processes of the planet that we cannot possibly witness. The bones and dead corals also signify our destructive affect on the planet but express the disquieting fact that the earth will remain long after we have gone. The title 'MirrorClade' is meant to convey these themes and say we are no more important than the invertebrates in the ocean or the many millions of species that have come before us. With my work I like the themes to be equally matched in the composition and technical painting processes I deploy in the piece. The oval board was selected as oppose to a panoramic rectangle in combination with the colour pallet to give a sense of the planet as seen from space. The central material concept that was the driving force behind the painting was that of opposing textures. I needed to express the theme of two things being different but inextricably linked and equal, so the very contrast of the surface world and underwater world had to be strong.
“'Dignity' - The Tiger”, Acylic on canvas, 59 x 42 x 2 cms, unframed Anjana Dey-Clark @anjanadeyclarkart I painted this picture of a tiger in acrylic because I think the strong, bold colours – which are a feature of this paint medium – depicts this strong, bold animal the best. This painting holds a very special place in my heart. As a child from West Bengal in India, I visited the sanctuary where these magnificent creatures live in natural surroundings, protected from harm. and was mesmerized by them from the beginning. I painted this picture now because a tiger symbolises many things that I would like to develop in my life such as willpower, courage, strength, determination, and independence. Tigers are fiery, fearsome, and adventurous. I named him ‘Dignity’ because I think that the way he looks down through the canvas at us, the viewers, gives him a kind of haughty, proud appearance which is dignified and awe-inspiring.
“'Dignity' - The Tiger”, Acylic on canvas, 59 x 42 x 2 cms, unframed Anjana Dey-Clark @anjanadeyclarkart I painted this picture of a tiger in acrylic because I think the strong, bold colours – which are a feature of this paint medium – depicts this strong, bold animal the best. This painting holds a very special place in my heart. As a child from West Bengal in India, I visited the sanctuary where these magnificent creatures live in natural surroundings, protected from harm. and was mesmerized by them from the beginning. I painted this picture now because a tiger symbolises many things that I would like to develop in my life such as willpower, courage, strength, determination, and independence. Tigers are fiery, fearsome, and adventurous. I named him ‘Dignity’ because I think that the way he looks down through the canvas at us, the viewers, gives him a kind of haughty, proud appearance which is dignified and awe-inspiring.
“Etiquette ( Poised )”, acrylic, 112 x 76 cm Anna-Lise Horsley @annalisehorsley Bioabstraction
“Etiquette ( Poised )”, acrylic, 112 x 76 cm Anna-Lise Horsley @annalisehorsley Bioabstraction
“UNTITLED-COLOUR RHAPSODY”, oil, 80 x 100cm Ashley Collin @ashleycollinartist I created the painting using a well developed painting methodology of oil, symmetry, pattern and focus, with strong influences of colour relationships. The movement through colour against the constant motif
“UNTITLED-COLOUR RHAPSODY”, oil, 80 x 100cm Ashley Collin @ashleycollinartist I created the painting using a well developed painting methodology of oil, symmetry, pattern and focus, with strong influences of colour relationships. The movement through colour against the constant motif
“Pigeon Eyeshadow”, oil on canvas, 120 x 90 cm Beatrix Haxby beatrixhaxby.com @beatrixhaxbyartist_official Pigeon Eyeshadow depicts a tableau vivant of Western individualism and will to power vs. Eastern wisdom and intuition. As the titular double-entendre suggests, it calls on us to question our perspective, how we orient ourselves. On the right of the painting, monks stand in a cross-section of a Buddhist temple, contemplating a monumental Tibetan mandala. On the opposite side, a gameshow host is on stage with the spinner wheel landing on a winning combination, the apocalyptic light beams above from fortuitously recreating professional stage lighting.
“Pigeon Eyeshadow”, oil on canvas, 120 x 90 cm Beatrix Haxby beatrixhaxby.com @beatrixhaxbyartist_official Pigeon Eyeshadow depicts a tableau vivant of Western individualism and will to power vs. Eastern wisdom and intuition. As the titular double-entendre suggests, it calls on us to question our perspective, how we orient ourselves. On the right of the painting, monks stand in a cross-section of a Buddhist temple, contemplating a monumental Tibetan mandala. On the opposite side, a gameshow host is on stage with the spinner wheel landing on a winning combination, the apocalyptic light beams above from fortuitously recreating professional stage lighting.
“Perfectly locked inside myself”, Enamel paint and oils on board, 42.5cm x 23cm x 1cm Ben Snowden @bensnowdenartist Enamel paint and oils on board. 42.5cm x 23cm x 1cm. 2021.
“Perfectly locked inside myself”, Enamel paint and oils on board, 42.5cm x 23cm x 1cm Ben Snowden @bensnowdenartist Enamel paint and oils on board. 42.5cm x 23cm x 1cm. 2021.
“IDEA Portable Protest Kit - Collaborative Performance”, Mixed media, Length: 31 cm. Width: 22 cm, Height: 18 cm Benji Appleby-Tyler @benji.appleby_tyler.77 IDEA Portable Protest Kit - Collaborative Performance This project was created as part of a callout advertised by Benji Appleby-Tyler on CuratorSpace. The selected artists were sent an 'IDEA Portable Protest Kit' in the post and asked to follow the instruction manual to construct a 'soap box' from the materials supplied. Each artist was then asked to create an individual performative in response. Due to lockdown restrictions, local rules were to be followed regarding the location of any filming The submitted works were then collated by Benji into a group performance video. This work is based on freedom of speech and the use of 'soap boxes' for impromptu speeches. More details are available from our Website: https://ideaportableprotestkit.wordpress.com/
“IDEA Portable Protest Kit - Collaborative Performance”, Mixed media, Length: 31 cm. Width: 22 cm, Height: 18 cm Benji Appleby-Tyler @benji.appleby_tyler.77 IDEA Portable Protest Kit - Collaborative Performance This project was created as part of a callout advertised by Benji Appleby-Tyler on CuratorSpace. The selected artists were sent an 'IDEA Portable Protest Kit' in the post and asked to follow the instruction manual to construct a 'soap box' from the materials supplied. Each artist was then asked to create an individual performative in response. Due to lockdown restrictions, local rules were to be followed regarding the location of any filming The submitted works were then collated by Benji into a group performance video. This work is based on freedom of speech and the use of 'soap boxes' for impromptu speeches. More details are available from our Website: https://ideaportableprotestkit.wordpress.com/
“Ghosts”, Fabric, sculpture, installation, 1x3x1 metre Blauhaus Blauhaus.co.uk @blauhaus__ A qx3x1 metre tall light installation made from handmade muslin cloth lampshades. The fabric was dyed with rust by wrapping found rusted metal pieces into wet fabric. Each pattern is an imprint of a piece that once had a meaning, that was once in someone's life. I encourage the viewer to see rust as a hallmark of a lived life and not as a symbol of decay. The lamps with the imprints are hanging like ghosts above and around us.
“Ghosts”, Fabric, sculpture, installation, 1x3x1 metre Blauhaus Blauhaus.co.uk @blauhaus__ A qx3x1 metre tall light installation made from handmade muslin cloth lampshades. The fabric was dyed with rust by wrapping found rusted metal pieces into wet fabric. Each pattern is an imprint of a piece that once had a meaning, that was once in someone's life. I encourage the viewer to see rust as a hallmark of a lived life and not as a symbol of decay. The lamps with the imprints are hanging like ghosts above and around us.
“Untangling”, Paper, 21cmx29.7cm Caroline Casswell www.carolinecasswell.com @carolinecasswell Paper cut recycled collage A4
“Untangling”, Paper, 21cmx29.7cm Caroline Casswell www.carolinecasswell.com @carolinecasswell Paper cut recycled collage A4
“Calamity”, painting, mixed media on canvas, 58 x 43 CM Charmagne Coble www.charmagnecoble.com @coblefinearts Elements of chaos and control are entwined with chemical destruction and a philosophy of trauma that are poured through the canvas to express grief, decay and recovery.
“Calamity”, painting, mixed media on canvas, 58 x 43 CM Charmagne Coble www.charmagnecoble.com @coblefinearts Elements of chaos and control are entwined with chemical destruction and a philosophy of trauma that are poured through the canvas to express grief, decay and recovery.
“Complete Infiltration”, hand-embroidered with upcycled beads, yarns, gold threads, salvaged materials such as waste canvas paper, champagne wire, clay beads, 30.5cm x 30.5cm x 1.5 cm Manoela Grigorova @mojoandmuse Plastic is all around us. It infiltrates every part of our lives. From the plastics in our oceans, in the stomach of whales, to the micro-plastics in fish, shrimp and zooplankton and even in the beautiful corals in our plastic-infiltrated reefs. It's in the water we drink and the air we breathe. It is all around us in our bins, kitchens, living spaces, in the phones that we use, in the wet wipes we use on our children and in the detergents we buy. The gold thread that makes up most of this piece is made of plastic and it surrounds and infiltrates these coral-like sculptures. Will we ever be rid of this material for good or will it just consume us?
“Complete Infiltration”, hand-embroidered with upcycled beads, yarns, gold threads, salvaged materials such as waste canvas paper, champagne wire, clay beads, 30.5cm x 30.5cm x 1.5 cm Manoela Grigorova @mojoandmuse Plastic is all around us. It infiltrates every part of our lives. From the plastics in our oceans, in the stomach of whales, to the micro-plastics in fish, shrimp and zooplankton and even in the beautiful corals in our plastic-infiltrated reefs. It's in the water we drink and the air we breathe. It is all around us in our bins, kitchens, living spaces, in the phones that we use, in the wet wipes we use on our children and in the detergents we buy. The gold thread that makes up most of this piece is made of plastic and it surrounds and infiltrates these coral-like sculptures. Will we ever be rid of this material for good or will it just consume us?
“Wild Beest” ceramic, 31 x 22 x 10cm Deborah Frith www.art2sculpture.co.uk @designedbydeborahd This is a piece of work I made this year which reflects how I have endured that last few years including lock down. It was inspired by seeing wet Wildebeest at Longleat and it struck me how out of place they looked in our english climate.
“Wild Beest” ceramic, 31 x 22 x 10cm Deborah Frith www.art2sculpture.co.uk @designedbydeborahd This is a piece of work I made this year which reflects how I have endured that last few years including lock down. It was inspired by seeing wet Wildebeest at Longleat and it struck me how out of place they looked in our english climate.
“JE1233177”, Gouache and chinagraphs on paper, 49.5x38.5cm Edgington www.edgington-co.com @edgingtonmakesart
“JE1233177”, Gouache and chinagraphs on paper, 49.5x38.5cm Edgington www.edgington-co.com @edgingtonmakesart
“Blob”, Digital Photograph, 33.87 x 50.8 Eva Wang The inability to distinguish between my body and other and accept the loss of my dependence makes me unable to become a subject/self. I’m only a belonging. My body is an object in this situation where it’s got no control over. And other/object manipulates the body. I thought about objects that were supposed to support the body and shape the body at the same time. When the differentiation cannot be realised, the body keeps the manipulated shape. Cling film tells the clingy characteristic of the self in a “relationship” which eventually causes too much pressure to other and drives other away. It shows the desire of not letting go of the support, the rejection of separation, and the result of disabling the function of the body. There’s a conflict between the natural desire and the knowledge of its futility. The nature wins over in this situation in some degrees. But the result still shows the state of being stuck. It also shows the body cannot become a subject/self this way.
“Blob”, Digital Photograph, 33.87 x 50.8 Eva Wang The inability to distinguish between my body and other and accept the loss of my dependence makes me unable to become a subject/self. I’m only a belonging. My body is an object in this situation where it’s got no control over. And other/object manipulates the body. I thought about objects that were supposed to support the body and shape the body at the same time. When the differentiation cannot be realised, the body keeps the manipulated shape. Cling film tells the clingy characteristic of the self in a “relationship” which eventually causes too much pressure to other and drives other away. It shows the desire of not letting go of the support, the rejection of separation, and the result of disabling the function of the body. There’s a conflict between the natural desire and the knowledge of its futility. The nature wins over in this situation in some degrees. But the result still shows the state of being stuck. It also shows the body cannot become a subject/self this way.
“Food for Comfort”, Water-based oils, acrylics and wax on print, 96x65cm Francesca Alaimo www.francescaalaimoartist.com @francescaalaimoartist This piece revolves around the sense of loss and longing that I have been experiencing during this pandemic. Memories, scents and emotions from the past filled my days and made it hard to navigate the sense of missed opportunities. Most of the objects in this piece belonged to my mother, whom I lost some years ago, and to myself when I was a child. I felt that I needed to feed on those beloved memories in order to embrace and process my grief. I began to create compositions that would act as a transcript of my mental and emotional associations of past and present, like a fabricated memory shot that would provide momentary sustenance.
“Food for Comfort”, Water-based oils, acrylics and wax on print, 96x65cm Francesca Alaimo www.francescaalaimoartist.com @francescaalaimoartist This piece revolves around the sense of loss and longing that I have been experiencing during this pandemic. Memories, scents and emotions from the past filled my days and made it hard to navigate the sense of missed opportunities. Most of the objects in this piece belonged to my mother, whom I lost some years ago, and to myself when I was a child. I felt that I needed to feed on those beloved memories in order to embrace and process my grief. I began to create compositions that would act as a transcript of my mental and emotional associations of past and present, like a fabricated memory shot that would provide momentary sustenance.
“Peace & Thank You” Acrylic on canvas, 57 x 57cm Georgina Thornton-Parr www.georginathornton-parr.com @gtp.artist
“Peace & Thank You” Acrylic on canvas, 57 x 57cm Georgina Thornton-Parr www.georginathornton-parr.com @gtp.artist
“Hackfall woods” acrylic, 60/50 Gillian munro Gillianmunrofineart.com Inspired by a walk in the woods in lockdown.
“Hackfall woods” acrylic, 60/50 Gillian munro Gillianmunrofineart.com Inspired by a walk in the woods in lockdown.
“Yorkshire Tea Flooded Field” Thrown Porcelain with Blue Slip, 12.5cm high by 16cm wide from handle to spout, Iona Stock www.imsceramics.com @ims_ceramics These pieces have been inspired by my walks around my local area during lockdown. I took my sketch book with me and after drawing on location I have then translated these drawings into designs suitable for ceramics. It was incredible seeing all the wonderful little spots so close to my home and really made me appreciate why I enjoy living in this part of the world. The pieces have then been hand thrown on my potter's wheel in my local studio and then the design is hand painted onto the surface in blue slip. I have really enjoyed the peacefulness that lockdown provided, giving me the time and space to really observe nature and the passing of time. I was in my final year of university when lockdown hit so moved back in with my parents and decided to set up my own studio and put my other plans on hold. I have made these into functional pieces as I want to share my little piece of paradise bringing joy to people's everyday lives which is even more important in these uncertain times. I feel that using local handmade items really enhances the experience whether that be a cup of tea or coffee either by yourself or a socially distanced catch up with a friend.
“Yorkshire Tea Flooded Field” Thrown Porcelain with Blue Slip, 12.5cm high by 16cm wide from handle to spout, Iona Stock www.imsceramics.com @ims_ceramics These pieces have been inspired by my walks around my local area during lockdown. I took my sketch book with me and after drawing on location I have then translated these drawings into designs suitable for ceramics. It was incredible seeing all the wonderful little spots so close to my home and really made me appreciate why I enjoy living in this part of the world. The pieces have then been hand thrown on my potter's wheel in my local studio and then the design is hand painted onto the surface in blue slip. I have really enjoyed the peacefulness that lockdown provided, giving me the time and space to really observe nature and the passing of time. I was in my final year of university when lockdown hit so moved back in with my parents and decided to set up my own studio and put my other plans on hold. I have made these into functional pieces as I want to share my little piece of paradise bringing joy to people's everyday lives which is even more important in these uncertain times. I feel that using local handmade items really enhances the experience whether that be a cup of tea or coffee either by yourself or a socially distanced catch up with a friend.
“Human fruit and carrion crow”, acrylic, a3 Isobel Robson @robsonisobel Self-portrait. Exploring a five-year period attempting to recover from anorexia, made much more challenging because of the isolation of lockdown.
“Human fruit and carrion crow”, acrylic, a3 Isobel Robson @robsonisobel Self-portrait. Exploring a five-year period attempting to recover from anorexia, made much more challenging because of the isolation of lockdown.
“Mobile (2020)”, Photomontage on paper, 19.5cm x 28cm Jane Gibson @diva_jane_gibson The 21st century has become increasingly dominated by technological advancements which have proliferated to fill every waking moment of our lives. The enforced isolation of lockdown used to control the pandemic has brought this fully into the spotlight as we have turned to technology to connect us to the outside world socially, economically and educationally. This work seeks to highlight the sense of wonder and possibility this technology holds for the children born into a digital world, but also to question a society which has removed its children from real life and required them to live vicariously through a screen.
“Mobile (2020)”, Photomontage on paper, 19.5cm x 28cm Jane Gibson @diva_jane_gibson The 21st century has become increasingly dominated by technological advancements which have proliferated to fill every waking moment of our lives. The enforced isolation of lockdown used to control the pandemic has brought this fully into the spotlight as we have turned to technology to connect us to the outside world socially, economically and educationally. This work seeks to highlight the sense of wonder and possibility this technology holds for the children born into a digital world, but also to question a society which has removed its children from real life and required them to live vicariously through a screen.
“Forgotten caravan” Acrylics, 58 cm x 42cm Jane Glue www.janeglue.com @janegluegallery An original acrylic painting by Orkney artist Jane Glue 2021. This old caravan lay derelict near the shoreline at St Peters bay in South Ronaldsay, Orkney islands, Scotland. I liked the shapes of the windows and old stove. The spiky shapes in the foreground are actually broken glass!
“Forgotten caravan” Acrylics, 58 cm x 42cm Jane Glue www.janeglue.com @janegluegallery An original acrylic painting by Orkney artist Jane Glue 2021. This old caravan lay derelict near the shoreline at St Peters bay in South Ronaldsay, Orkney islands, Scotland. I liked the shapes of the windows and old stove. The spiky shapes in the foreground are actually broken glass!
“Regression 3”, Mixed media on paper, 21 x30 cm Jenette Coldrick www.jenettecoldrick,com @jenettecoldrick figurative work revisiting an early theme I was exploring. An observation of women as decorative objects
“Regression 3”, Mixed media on paper, 21 x30 cm Jenette Coldrick www.jenettecoldrick,com @jenettecoldrick figurative work revisiting an early theme I was exploring. An observation of women as decorative objects
“This Place Isn't Mine” Graphite on paper, 29.7 x 42 cm Jezzelle H R Kellam @jezzellekellam Representing the body in its honest appearance is where my practice has led me. By feeling and looking beyond the flesh, I have used this as a vehicle for my ongoing oeuvre that articulates how I, and many others feel. By breaking down the form to its honest and raw self and by bridging the gap between the body and mind, I attempt to encapsulate the physical, psychological, and physiological properties of what it is like to inhabit a human body, by portraying the body in its reality, not a photoshopped, pristine, propaganda image. The work stirs the viewer to create their own subjective narratives through the use of ambiguous compositional elements. It’s important that the artwork generates a discussion and intrigues the audience. The ambiguoity of the works encourage for discourse to roam where it needs to go, not where I actually intended. Ultimately creating an answer, in the moment, based on the viewers realities. Conceptually the works are looking beyond the flesh, my subject matter expresses bodily experiences, metaphors and concepts that occupy the minds of society.
“This Place Isn't Mine” Graphite on paper, 29.7 x 42 cm Jezzelle H R Kellam @jezzellekellam Representing the body in its honest appearance is where my practice has led me. By feeling and looking beyond the flesh, I have used this as a vehicle for my ongoing oeuvre that articulates how I, and many others feel. By breaking down the form to its honest and raw self and by bridging the gap between the body and mind, I attempt to encapsulate the physical, psychological, and physiological properties of what it is like to inhabit a human body, by portraying the body in its reality, not a photoshopped, pristine, propaganda image. The work stirs the viewer to create their own subjective narratives through the use of ambiguous compositional elements. It’s important that the artwork generates a discussion and intrigues the audience. The ambiguoity of the works encourage for discourse to roam where it needs to go, not where I actually intended. Ultimately creating an answer, in the moment, based on the viewers realities. Conceptually the works are looking beyond the flesh, my subject matter expresses bodily experiences, metaphors and concepts that occupy the minds of society.
muhammad ali”, pencil, A4 Joe Hove
muhammad ali”, pencil, A4 Joe Hove
“Lighthouse - Burnham on Sea”, Acrylic , collage and Acrylic medium on Stretched Canvas, 30 cm x 20 cm Johanna Phillips A Small piece from a study series of the wooden lighthouse at Burnham on Sea, Somerset. 30cm x 20cm. The most unusual landmark with its casting shadows as the sun fades, inspired me to paint it from different angles. I tried to capture the weather beaten structure and added feelings of its life long tenacity as it stands on that beach exposed. It is also a memory of taking our grand children to play in the puddles of sea water beneath the weather beaten beams, on blustery days.
“Lighthouse - Burnham on Sea”, Acrylic , collage and Acrylic medium on Stretched Canvas, 30 cm x 20 cm Johanna Phillips A Small piece from a study series of the wooden lighthouse at Burnham on Sea, Somerset. 30cm x 20cm. The most unusual landmark with its casting shadows as the sun fades, inspired me to paint it from different angles. I tried to capture the weather beaten structure and added feelings of its life long tenacity as it stands on that beach exposed. It is also a memory of taking our grand children to play in the puddles of sea water beneath the weather beaten beams, on blustery days.
“Astarte”, oil, 6 ft x 5 ft Jura Saatchi
“Astarte”, oil, 6 ft x 5 ft Jura Saatchi
“Разум, Душа, Действие.”, Acrylic, Oil, Size 10' x 12' On Canvas Panels. KAAP @bucketkaap Wild Peace, Calm Mind (Thought Process),Oil paints The Boy & The Troubled Mind,Acrylic paint
“Разум, Душа, Действие.”, Acrylic, Oil, Size 10' x 12' On Canvas Panels. KAAP @bucketkaap Wild Peace, Calm Mind (Thought Process),Oil paints The Boy & The Troubled Mind,Acrylic paint
Helvellyn”, water colour, colour pencils and ink pen on water colour paper, A6 Karen Lau @iwik_in_market This is my postcard size illustration. I newly moved to the UK from Hong Kong three months ago. Emigration is such a massive thing for me and I am trying hard every day to pick up bits and pieces of myself. One thing that I am doing regularly is to go hiking, which is always one of my favourite hobbies. I always draw scenery that touches me after a long day hike, I wish to keep this habit in this new beautiful country. I am now living close to the Lake District, and have been hiking there for a few times already. This is one of the illustrations I drew after an impressive hiking day, a day at Helvellyn.
Helvellyn”, water colour, colour pencils and ink pen on water colour paper, A6 Karen Lau @iwik_in_market This is my postcard size illustration. I newly moved to the UK from Hong Kong three months ago. Emigration is such a massive thing for me and I am trying hard every day to pick up bits and pieces of myself. One thing that I am doing regularly is to go hiking, which is always one of my favourite hobbies. I always draw scenery that touches me after a long day hike, I wish to keep this habit in this new beautiful country. I am now living close to the Lake District, and have been hiking there for a few times already. This is one of the illustrations I drew after an impressive hiking day, a day at Helvellyn.
“Deep Into Space”, photography, 70 x 100 cm Kasra Karimi www.KasraKarimi.co.uk @kasrak_film This photo of ‘The Heart and Soul Nebulae’ is part of a series of deep space pictures (known as astrophotography) that were all taken by me in the UK with just a telescope, camera, and a sky tracker. Thanks to hours of exposure time for each photo and cutting-edge technology, I was able to photograph and portray some of the most iconic deep space targets that are hundreds, thousands, and even millions of light years away from us. This photos were taken after hours and hours of exposure time and the outcome is several incredibly high resolution photos of the deep space. All of the photos submitted were taken solely by myself in Buckinghamshire, West Sussex, Norfolk and Powys. The one I am submitting to you was taken in Brancaster, Norfolk in December 2020.
“Deep Into Space”, photography, 70 x 100 cm Kasra Karimi www.KasraKarimi.co.uk @kasrak_film This photo of ‘The Heart and Soul Nebulae’ is part of a series of deep space pictures (known as astrophotography) that were all taken by me in the UK with just a telescope, camera, and a sky tracker. Thanks to hours of exposure time for each photo and cutting-edge technology, I was able to photograph and portray some of the most iconic deep space targets that are hundreds, thousands, and even millions of light years away from us. This photos were taken after hours and hours of exposure time and the outcome is several incredibly high resolution photos of the deep space. All of the photos submitted were taken solely by myself in Buckinghamshire, West Sussex, Norfolk and Powys. The one I am submitting to you was taken in Brancaster, Norfolk in December 2020.
“Fluorescent Thoughts”, digital photography Kate Aries @katearies_artist Photographic series 2021 Kate has used rainbow lights to capture a visual energy, creating these light art performances that evoke events beyond their creation relating to mental health and queerness.
“Fluorescent Thoughts”, digital photography Kate Aries @katearies_artist Photographic series 2021 Kate has used rainbow lights to capture a visual energy, creating these light art performances that evoke events beyond their creation relating to mental health and queerness.
“Forecaster”, painting, 45 x 31.5 x 1.2cm Katie Watson @katiewatson123 Forecaster (2020), oil on birch plywood, 45 x 31.5 x 1.2cm. My current practice examines the abstract qualities of banal forms in contemporary culture, the universal language of visual information; how this is interpreted and processed. This painting is one of a series of works titled ‘Methods of Construction’ investigating a process of working through and consolidating various visual, diagrammatic languages into playful compositions. ‘Forecaster' appropriates the symbolic and diagrammatic conventions of instruction manuals, yet, interrupts this prescriptive logic with redeployed motifs and gestures. The painting plays with formal values and creates equivalencies between instruction and abstract form. All the elements of an explanation are there, but crucial pieces of information are retracted, removing inherent functionality. Juxtaposed structures and directions suggest potential movements, processes and actions that are clear in some instances, but ambiguous in others. Constructing the works from this series onto bare birch-ply, a favoured utilitarian construction material, is a nod to the flat-pack origins of the source material.
“Forecaster”, painting, 45 x 31.5 x 1.2cm Katie Watson @katiewatson123 Forecaster (2020), oil on birch plywood, 45 x 31.5 x 1.2cm. My current practice examines the abstract qualities of banal forms in contemporary culture, the universal language of visual information; how this is interpreted and processed. This painting is one of a series of works titled ‘Methods of Construction’ investigating a process of working through and consolidating various visual, diagrammatic languages into playful compositions. ‘Forecaster' appropriates the symbolic and diagrammatic conventions of instruction manuals, yet, interrupts this prescriptive logic with redeployed motifs and gestures. The painting plays with formal values and creates equivalencies between instruction and abstract form. All the elements of an explanation are there, but crucial pieces of information are retracted, removing inherent functionality. Juxtaposed structures and directions suggest potential movements, processes and actions that are clear in some instances, but ambiguous in others. Constructing the works from this series onto bare birch-ply, a favoured utilitarian construction material, is a nod to the flat-pack origins of the source material.
“Matt. May 2021”, Digital Photograph, A3 Kerry Curl @kerrycurl Digital photograph. Portrait of Matt Hales. Concept/Photography - Kerry Curl The work was made during an Arts Residency at Norwich Shoe Factory.
“Matt. May 2021”, Digital Photograph, A3 Kerry Curl @kerrycurl Digital photograph. Portrait of Matt Hales. Concept/Photography - Kerry Curl The work was made during an Arts Residency at Norwich Shoe Factory.
“Still life no.2”, Acrylic on Canvas Board, 76 x 51 cm Kevin Devonport @the_art_of_no_noise 76 x 51 cm Acrylic on canvas board. Realism painted with a minimalist background. Retro 1990 style trainers and Stone Roses Jackson Pollock paint style hat.
“Still life no.2”, Acrylic on Canvas Board, 76 x 51 cm Kevin Devonport @the_art_of_no_noise 76 x 51 cm Acrylic on canvas board. Realism painted with a minimalist background. Retro 1990 style trainers and Stone Roses Jackson Pollock paint style hat.
“Mixed media” Acrylic paint, digital work. Kirsty Sky @kirstyfineart At the moment I’m in university, so I’m still looking at a range of different materials to use, I like doing a lot of digital work, abstract painting or anything that is trippy and bright so my work is a massive mixture of stuff.
“Mixed media” Acrylic paint, digital work. Kirsty Sky @kirstyfineart At the moment I’m in university, so I’m still looking at a range of different materials to use, I like doing a lot of digital work, abstract painting or anything that is trippy and bright so my work is a massive mixture of stuff.
“It Ends Here”, Digital art, A3 Laji Sanusi Lajisanusiart.com @lajisanusiart Digital painting (2021) The incredible Malcolm X and Martin Luther as comic book figures Magneto and Professor X.
“It Ends Here”, Digital art, A3 Laji Sanusi Lajisanusiart.com @lajisanusiart Digital painting (2021) The incredible Malcolm X and Martin Luther as comic book figures Magneto and Professor X.
“Olaiyinka's Flame”, acrylic on board, 29.7 x 42 cm Laurie Fitzgerald www.laulightdesigns.com @laulightdesigns This piece was made to honor the subject Olaiyinka, a dear friend. Over the course of many conversations with me they examined their life navigating traditional West African Heritage with a modern British upbringing and how this influenced their exploration of feminine and masculine identities. Known for many years as ‘Olly’ in 2020 they reclaimed and stepped into their birthname name Olaiyinka whilst also embracing their non-binary gender identity. In this piece I wanted to capture Olaiyinka’s (Olla’s) dignity, grace and softness - contracted with their boldness, strength and vulnerability.
“Olaiyinka's Flame”, acrylic on board, 29.7 x 42 cm Laurie Fitzgerald www.laulightdesigns.com @laulightdesigns This piece was made to honor the subject Olaiyinka, a dear friend. Over the course of many conversations with me they examined their life navigating traditional West African Heritage with a modern British upbringing and how this influenced their exploration of feminine and masculine identities. Known for many years as ‘Olly’ in 2020 they reclaimed and stepped into their birthname name Olaiyinka whilst also embracing their non-binary gender identity. In this piece I wanted to capture Olaiyinka’s (Olla’s) dignity, grace and softness - contracted with their boldness, strength and vulnerability.
“Abandoned car”, Oil on canvas, 50 x 50 Lee Shott www.LeeShott.com @leeshott Abandoned car on the mountainside at dawn combined with abstract shapes and vibrant bold colors.
“Abandoned car”, Oil on canvas, 50 x 50 Lee Shott www.LeeShott.com @leeshott Abandoned car on the mountainside at dawn combined with abstract shapes and vibrant bold colors.
Lesley O'Neill www.lesleyoneill-artwork.org @lesleyoneillartwork I am working on a series of images depicting childhood memories, some real, some not. Dolly is my alter ego, she gets into lots of scrapes. I normally work within a theme, there may be five images or nineteen or somewhere inbetween. Printmaking is my chosen medium of the moment especially Wood and Linocuts, I like the harshness. In this latest piece made this year I have made Dolly (crocheted) and plenty of other characters, some yet to be seen, they act out a scenario, I photograph, enlarge bits and draw. Transfer to the surface, cut, change and print. I normally only print two, maximum four.
Lesley O'Neill www.lesleyoneill-artwork.org @lesleyoneillartwork I am working on a series of images depicting childhood memories, some real, some not. Dolly is my alter ego, she gets into lots of scrapes. I normally work within a theme, there may be five images or nineteen or somewhere inbetween. Printmaking is my chosen medium of the moment especially Wood and Linocuts, I like the harshness. In this latest piece made this year I have made Dolly (crocheted) and plenty of other characters, some yet to be seen, they act out a scenario, I photograph, enlarge bits and draw. Transfer to the surface, cut, change and print. I normally only print two, maximum four.
“Destruction of Our Pale Blue Dot III” Melted Ice and Indian Ink on Watercolour Paper, 21cm x 29.7cm Lewis Andrews www.lewisandrewsartwork.com @lewis_andrews_art ‘Destruction of Our Pale Blue Dot’ focuses on the destruction we're causing to our oceans through activities at sea such as oil drilling and pollution whilst simultaneously touching upon the issue of our oceans being unable to absorb anymore carbon dioxide from our atmosphere, decreasing the amount of time we have to reverse climate change. The drawings are created over an elapsed time period as ice blocks melt into the Indian ink to create the drawing. Echoing the notion of our planet losing its sea ice and we only have a short amount of time left to reverse this damage before it’s too late. With our activities across the planet increasing the harmful gases within our atmosphere, the oceans are no longer capable of absorbing any more carbon dioxide and accelerating the effects of climate change. Our planet once referred to by Carl Sagan as a ‘Pale Blue Dot’, is suffering and dying.
“Destruction of Our Pale Blue Dot III” Melted Ice and Indian Ink on Watercolour Paper, 21cm x 29.7cm Lewis Andrews www.lewisandrewsartwork.com @lewis_andrews_art ‘Destruction of Our Pale Blue Dot’ focuses on the destruction we're causing to our oceans through activities at sea such as oil drilling and pollution whilst simultaneously touching upon the issue of our oceans being unable to absorb anymore carbon dioxide from our atmosphere, decreasing the amount of time we have to reverse climate change. The drawings are created over an elapsed time period as ice blocks melt into the Indian ink to create the drawing. Echoing the notion of our planet losing its sea ice and we only have a short amount of time left to reverse this damage before it’s too late. With our activities across the planet increasing the harmful gases within our atmosphere, the oceans are no longer capable of absorbing any more carbon dioxide and accelerating the effects of climate change. Our planet once referred to by Carl Sagan as a ‘Pale Blue Dot’, is suffering and dying.
“i'm not giving up”, oil on canvas, 65x90cm Lewis Buttery @lewisbutteryart
“i'm not giving up”, oil on canvas, 65x90cm Lewis Buttery @lewisbutteryart
“Country Garden” acrylic, 100 cm x 30cm Lorraine thorpe @lozart_artist Fb Lozart paintings and glassart This original painting is inspired by all the beautiful colours of flowers I see on my walks with my dog which has been a spiritual journey during lockdown. It is painted on canvas 100cm x30cm
“Country Garden” acrylic, 100 cm x 30cm Lorraine thorpe @lozart_artist Fb Lozart paintings and glassart This original painting is inspired by all the beautiful colours of flowers I see on my walks with my dog which has been a spiritual journey during lockdown. It is painted on canvas 100cm x30cm
“Lapis Dreams” Mixed Media, 20x20" Box Canvas @louisa_pankhurst_johnson_art Louisa Pankhurst Johnson Exhibiting in art shows across the UK & the globe Inspired by nature, spirituality & the sublime UK based international Visual Poet / Fine Artist louisajohnsonvisualpoet.com visualpoetstudio@protonmail.com Swansea Enterprise Hub / Elysium Artist Studios In 2020 I started a series called Lapis Dream comprising of small mixed medias; as an antidote & catharsis to creating activist artwork & research. While creating these artworks I was meditating, dreaming in the future, raising my love vibration alongside being fearless. Lapis Dreams is inspired & has echo's of artwork by Piper, Rothko & Kazimir Malevich; setting a stage for dreaming in the future. The book Mans search for meaning written by Victor Frankl about his survival during the holocaust & logotherapy. 'Even in the worst situation possible, man always has the freedom to choose his attitude towards life'. This book has stayed with me all my life from childhood & I find this philosophy is more poignant now than ever.
“Lapis Dreams” Mixed Media, 20x20" Box Canvas @louisa_pankhurst_johnson_art Louisa Pankhurst Johnson Exhibiting in art shows across the UK & the globe Inspired by nature, spirituality & the sublime UK based international Visual Poet / Fine Artist louisajohnsonvisualpoet.com visualpoetstudio@protonmail.com Swansea Enterprise Hub / Elysium Artist Studios In 2020 I started a series called Lapis Dream comprising of small mixed medias; as an antidote & catharsis to creating activist artwork & research. While creating these artworks I was meditating, dreaming in the future, raising my love vibration alongside being fearless. Lapis Dreams is inspired & has echo's of artwork by Piper, Rothko & Kazimir Malevich; setting a stage for dreaming in the future. The book Mans search for meaning written by Victor Frankl about his survival during the holocaust & logotherapy. 'Even in the worst situation possible, man always has the freedom to choose his attitude towards life'. This book has stayed with me all my life from childhood & I find this philosophy is more poignant now than ever.
“Dream of an urban cowboy”, Cyanotype print on Somerset paper with hand stitching, 14 x 14 (image) 31 x 31 (frame) Louise wiseman Manyhats.org.uk @wiseman.louise This is a cyanotype print of a photograph I took in Arles, France. It’s not uncommon in that region to see older men sporting the ‘cowboy’ hat, checked shirt and waistcoat that speak of the area’s heritage. This man was actually running a souvenir stall, but his pensive expression made me wonder what he was dreaming of!
“Dream of an urban cowboy”, Cyanotype print on Somerset paper with hand stitching, 14 x 14 (image) 31 x 31 (frame) Louise wiseman Manyhats.org.uk @wiseman.louise This is a cyanotype print of a photograph I took in Arles, France. It’s not uncommon in that region to see older men sporting the ‘cowboy’ hat, checked shirt and waistcoat that speak of the area’s heritage. This man was actually running a souvenir stall, but his pensive expression made me wonder what he was dreaming of!
“Rhapsody in Blue” Giclée print on fine art paper; mixed media, combining photographs and painting, 42 x 59cm Lyn Tyler @lyntyler_art This work seeks to convey the beauty, hope and fearlessness of a young man before his world changes dramatically in 1947.
“Rhapsody in Blue” Giclée print on fine art paper; mixed media, combining photographs and painting, 42 x 59cm Lyn Tyler @lyntyler_art This work seeks to convey the beauty, hope and fearlessness of a young man before his world changes dramatically in 1947.
“Looking Beyond”, Acrylics and drawing materials on paper, 41.5 x 59cm Lynne Chapman www.lynnechapmantextiles.co.uk @lynnepencil Created during 2020, 'Looking Beyond' references the dark times of the initial lockdown and our hopes for brighter times in the near future.
“Looking Beyond”, Acrylics and drawing materials on paper, 41.5 x 59cm Lynne Chapman www.lynnechapmantextiles.co.uk @lynnepencil Created during 2020, 'Looking Beyond' references the dark times of the initial lockdown and our hopes for brighter times in the near future.
“Structured Chaos”, Acrylic medium, mixed media, collage and assemblage on cement on canvas, 60 cm sq. Martin Field martin-field.com @m.artin.field This piece is part of a series dealing with binary situations. Since 2016 I have explored the notion of a binary status in many different contexts. This piece plays on the idea of structure or chaos. The abstract textures, embedded objects and collage are intended to be evocative, suggestive and at the same time aesthetically pleasing.
“Structured Chaos”, Acrylic medium, mixed media, collage and assemblage on cement on canvas, 60 cm sq. Martin Field martin-field.com @m.artin.field This piece is part of a series dealing with binary situations. Since 2016 I have explored the notion of a binary status in many different contexts. This piece plays on the idea of structure or chaos. The abstract textures, embedded objects and collage are intended to be evocative, suggestive and at the same time aesthetically pleasing.
“Starry Night 2”, black and white acrylic and oil paint, impasto medium and marble dust on canvas, 120x90 cm Miguel Sopena Website: www.miguelsopenaarts.com; Instagram (main): @miguelsopena1 Instagram photography: @miguelsopenaphotography DegreeArt: https://www.degreeart.com/artists/miguel-sopena; SaatchiArt: https://www.saatchiart.com/miguelsopena; Emerging Artists Platform: https://www.emergingartistplatform.com/miguelsopena black and white acrylic and oil paint, impasto medium and marble dust on canvas
“Starry Night 2”, black and white acrylic and oil paint, impasto medium and marble dust on canvas, 120x90 cm Miguel Sopena Website: www.miguelsopenaarts.com; Instagram (main): @miguelsopena1 Instagram photography: @miguelsopenaphotography DegreeArt: https://www.degreeart.com/artists/miguel-sopena; SaatchiArt: https://www.saatchiart.com/miguelsopena; Emerging Artists Platform: https://www.emergingartistplatform.com/miguelsopena black and white acrylic and oil paint, impasto medium and marble dust on canvas
“Water trends”, Acrylic, pastel, and collage on paper, 84 x 59 cm Monika Lorincova @monika_lorincova Mixed media painting highlighting the issue of water pollution. This painting portrays two female figures on the side of the river. One is taking off her clothes, getting all the attention, and having her picture taken symbolizing popularity. The other figure, fishing trash from the water, is being ignored by the rest, as her actions are not "trending"
“Water trends”, Acrylic, pastel, and collage on paper, 84 x 59 cm Monika Lorincova @monika_lorincova Mixed media painting highlighting the issue of water pollution. This painting portrays two female figures on the side of the river. One is taking off her clothes, getting all the attention, and having her picture taken symbolizing popularity. The other figure, fishing trash from the water, is being ignored by the rest, as her actions are not "trending"
“Masked”, acrylic on board, 33 x 33 MP13TZ @mp13tz Masked depicts a snapshot in time of how the lockdown and pandemic have made me feel, both in terms of anxiety and a feeling that we are somehow being manipulated using fear. I've strongly felt that as though we are part of an experiment or ruse to obtain increased control over the population. Fear is a powerful motivator for those in a position of power to use to make people comply, fearing for their safety if they refuse. We have been turned against each other through debate regarding vaccinations and mask wearing, literally kept apart through lockdowns. Divide and conquer continues to come to mind. Masked also explored the feeling of a loss of identity, both from having to cover our faces to being locked down, often alone for many people.
“Masked”, acrylic on board, 33 x 33 MP13TZ @mp13tz Masked depicts a snapshot in time of how the lockdown and pandemic have made me feel, both in terms of anxiety and a feeling that we are somehow being manipulated using fear. I've strongly felt that as though we are part of an experiment or ruse to obtain increased control over the population. Fear is a powerful motivator for those in a position of power to use to make people comply, fearing for their safety if they refuse. We have been turned against each other through debate regarding vaccinations and mask wearing, literally kept apart through lockdowns. Divide and conquer continues to come to mind. Masked also explored the feeling of a loss of identity, both from having to cover our faces to being locked down, often alone for many people.
“Disappearing human”, Mixed media, wire, moss, 50/50cm Natalia Millman www.nataliamillmanart.com @nataliamillmanart As part of my new body of work I am exploring topics of mortality and ageing. This piece grew out of natural process of burning my old piece and creating something new. To look into destroyed doesn’t mean not to see the beauty. It also symbolises the end of human life and the notion of transformation.
“Disappearing human”, Mixed media, wire, moss, 50/50cm Natalia Millman www.nataliamillmanart.com @nataliamillmanart As part of my new body of work I am exploring topics of mortality and ageing. This piece grew out of natural process of burning my old piece and creating something new. To look into destroyed doesn’t mean not to see the beauty. It also symbolises the end of human life and the notion of transformation.
“Abstract #2”, Oil on canvas, 76 x 61 x 2 cm Paul Butterworth @paulbutterworthartist
“Abstract #2”, Oil on canvas, 76 x 61 x 2 cm Paul Butterworth @paulbutterworthartist
“Persian Beauty”, Acrylic, 50 cm x 40 cm Alina Savko @alinasavkoart It is an original painting from September 2020. It is a portrait of Persian lady in modern style. Acrylics on a stretched canvas 50 cm x 40 cm.
“Persian Beauty”, Acrylic, 50 cm x 40 cm Alina Savko @alinasavkoart It is an original painting from September 2020. It is a portrait of Persian lady in modern style. Acrylics on a stretched canvas 50 cm x 40 cm.
“Unrelenting” Pastel on paper, 59cm x 84cm Ranjit Sagoo www.ranjsagoofineart.com @ranjsagoo_artist 'Unrelenting' was part of a 6-piece series entitled “Predator/Prey”. The concept behind series was an exploration of this natural conflict of predator versus prey. There is a persistent battle of wit and nerve; physical strength and speed in this ‘fight or flight’ moment, and it is occurring all the time in nature. I wanted to simultaneously capture the emotions and behaviours in the moments leading up to the confrontation. The reflection of the prey in the eye of the predator was the perfect way to illustrate both sides of this ensuing conflict. The image had to be on a large-scale in order to capture the sense of realism by being able to create the detail and textures in the fur and skin. Drawing at such a large scale brings a sense of closeness to the predator so that one can see and feel it’s intentions. The large-scale also allowed the reflection to capture the detail in the expression of the prey giving the viewer an understanding of both opposing sides of the conflict.
“Unrelenting” Pastel on paper, 59cm x 84cm Ranjit Sagoo www.ranjsagoofineart.com @ranjsagoo_artist 'Unrelenting' was part of a 6-piece series entitled “Predator/Prey”. The concept behind series was an exploration of this natural conflict of predator versus prey. There is a persistent battle of wit and nerve; physical strength and speed in this ‘fight or flight’ moment, and it is occurring all the time in nature. I wanted to simultaneously capture the emotions and behaviours in the moments leading up to the confrontation. The reflection of the prey in the eye of the predator was the perfect way to illustrate both sides of this ensuing conflict. The image had to be on a large-scale in order to capture the sense of realism by being able to create the detail and textures in the fur and skin. Drawing at such a large scale brings a sense of closeness to the predator so that one can see and feel it’s intentions. The large-scale also allowed the reflection to capture the detail in the expression of the prey giving the viewer an understanding of both opposing sides of the conflict.
“SURFACE WORK Ratio 3:10 Dry” Oil, cold wax and graphite on paper, 100 x 70 cm Roanne O'Donnell @roanneodonnellartist The subject of my work is the process of making it, limitation, restriction, and repetition. Restricting my materials and with a strict mark-making action, I deliberately control the painfully slow development and direction. It is a twenty-year investigation. The mark is a horizontal line. The most direct I know. The substrate is paper. Binders are limited to oil and cold wax. Materials are restricted to ivory black pigment, graphite and charcoal. The physical process is the monotonous repetitive movement of making lines by bending over paper, laid flat, and drawing the line or moving my paint mixtures across the surface over and over, again and again. The concept is gemination: ”No man ever steps in the same river twice, for it's not the same river and he's not the same man.” Heraclitus of Ephesus. The work submitted is from the most recent SURFACE WORK Ratios series, a continuation of SURFACE WORK, with which I push my investigation into variations of the surfaces’ tone, dependant on the specific ratios of medium to binder. It began as a series of ten paintings on paper dividing the measurments of quantities from one part graphite to ten parts oil; less concentration of graphite creates a light surface, with a darker surface resulting from higher quantities of medium to binder. Each peice is made, as close as is possible with similar pressure, weight, movement patterns, rhythm, tempo and process with limitless characteristics.
“SURFACE WORK Ratio 3:10 Dry” Oil, cold wax and graphite on paper, 100 x 70 cm Roanne O'Donnell @roanneodonnellartist The subject of my work is the process of making it, limitation, restriction, and repetition. Restricting my materials and with a strict mark-making action, I deliberately control the painfully slow development and direction. It is a twenty-year investigation. The mark is a horizontal line. The most direct I know. The substrate is paper. Binders are limited to oil and cold wax. Materials are restricted to ivory black pigment, graphite and charcoal. The physical process is the monotonous repetitive movement of making lines by bending over paper, laid flat, and drawing the line or moving my paint mixtures across the surface over and over, again and again. The concept is gemination: ”No man ever steps in the same river twice, for it's not the same river and he's not the same man.” Heraclitus of Ephesus. The work submitted is from the most recent SURFACE WORK Ratios series, a continuation of SURFACE WORK, with which I push my investigation into variations of the surfaces’ tone, dependant on the specific ratios of medium to binder. It began as a series of ten paintings on paper dividing the measurments of quantities from one part graphite to ten parts oil; less concentration of graphite creates a light surface, with a darker surface resulting from higher quantities of medium to binder. Each peice is made, as close as is possible with similar pressure, weight, movement patterns, rhythm, tempo and process with limitless characteristics.
“Baba Yaga”, Pen on paper, 21 x 29.7 cm (A4) Rochelle Asquith @rochelleasquith A4, 21cm x 29.7cm, pen on paper, 2021. This work is part of a series inspired by fairy tales, with this one in particular being inspired by the character "Baba Yaga". As with all retellings of fairy tales, I've changed the narrative slightly with this piece, as Baba Yaga is usually scary and horrifying, but here she appears more gentle, and the person she's approaching isn't terrified of her at all.
“Baba Yaga”, Pen on paper, 21 x 29.7 cm (A4) Rochelle Asquith @rochelleasquith A4, 21cm x 29.7cm, pen on paper, 2021. This work is part of a series inspired by fairy tales, with this one in particular being inspired by the character "Baba Yaga". As with all retellings of fairy tales, I've changed the narrative slightly with this piece, as Baba Yaga is usually scary and horrifying, but here she appears more gentle, and the person she's approaching isn't terrified of her at all.
“It’s not what it appears. no.5” collage, 20 cm x 20 cm Roger Gregory @rogergregoryartist “Studying human anatomy over the years I began to understand the body intuitively in order to develop images into my art.” Artist painted, torn and cut paper on white paper background. Approx 8 x 8 ins. Analogue contemporary collage art.
“It’s not what it appears. no.5” collage, 20 cm x 20 cm Roger Gregory @rogergregoryartist “Studying human anatomy over the years I began to understand the body intuitively in order to develop images into my art.” Artist painted, torn and cut paper on white paper background. Approx 8 x 8 ins. Analogue contemporary collage art.
“HERE AND THERE”, Oil on Deep Edge Canvas, 80 X 80 X 4 cm Ronis Varlaam www.ronisvarlaam.com @ronisvarlaam HERE AND THERE is a painting from the SUBTITLED series where the title is rendered in pictographs based on the movements the mouth makes while pronouncing the words of the title. .The similarity between images and the movements of the mouth is explained by Sir Richard Paget in his book 'Human Speech' published in 1930. This particular painting is also influenced by the pandemic.
“HERE AND THERE”, Oil on Deep Edge Canvas, 80 X 80 X 4 cm Ronis Varlaam www.ronisvarlaam.com @ronisvarlaam HERE AND THERE is a painting from the SUBTITLED series where the title is rendered in pictographs based on the movements the mouth makes while pronouncing the words of the title. .The similarity between images and the movements of the mouth is explained by Sir Richard Paget in his book 'Human Speech' published in 1930. This particular painting is also influenced by the pandemic.
“The Cosmos”, Oil on board, supported by wooden frames and door hinges, Each panel: 3 x 260 L x 90 W x 1.2 D Rose Daniel @persebone I began to focus heavily on mark-making and being able to create emotion, movement and storytelling in confident minimal brush strokes; I began to move away from even using brushes, using oil directly on rags and my hands, this was much more fun and enabled me to cover more area on the board. I had also begun to create my own tools using wire wrapped around broken brushes in different shapes and spoons to gouge into the paint. I have been revisiting these core ideas of love, death and morality as well as expanding my knowledge on cosmology and astronomy to greater understand the themes I want to paint. Here I was experimenting with ideas of Christianity, Lucifer falling from the Heavens, the great vastness of the cosmos but on acid.
“The Cosmos”, Oil on board, supported by wooden frames and door hinges, Each panel: 3 x 260 L x 90 W x 1.2 D Rose Daniel @persebone I began to focus heavily on mark-making and being able to create emotion, movement and storytelling in confident minimal brush strokes; I began to move away from even using brushes, using oil directly on rags and my hands, this was much more fun and enabled me to cover more area on the board. I had also begun to create my own tools using wire wrapped around broken brushes in different shapes and spoons to gouge into the paint. I have been revisiting these core ideas of love, death and morality as well as expanding my knowledge on cosmology and astronomy to greater understand the themes I want to paint. Here I was experimenting with ideas of Christianity, Lucifer falling from the Heavens, the great vastness of the cosmos but on acid.
'wedged on wood' 2021, sculpture, 145 x 60 x 45cm approx Scarlett Hope-Gates scarletthopegates.wordpress.com @modernart.sohg wood, expanding foam, paper-pulp, pipe, plastic, paper mache, emulsion, varnish
'wedged on wood' 2021, sculpture, 145 x 60 x 45cm approx Scarlett Hope-Gates scarletthopegates.wordpress.com @modernart.sohg wood, expanding foam, paper-pulp, pipe, plastic, paper mache, emulsion, varnish
“The Influence”, photography Shannon Ryan As a society we have grown to become obsessed and dependent on social media. This ever-growing fascination has made social media platforms become an essential part of day-to-day life. While most people use their social media accounts to upload personal photos and communicate with friends and family, there are people who have used this dependence on technology to generate income, known as influencers. Influencer’s market themselves to gain recognition and brand deals as a form of income, with their post becoming a form of currency. Within ‘The Influencer’ I decided to produce images that mocked and mirrored transgressions committed by some of the world’s biggest influencers. Using their branding and marketing concepts I wanted to produce more conceptual images which explored this new popular notion. Taking centre stage, I produced self-portraits to allow myself to get a deeper understanding of the moral value of being an influencer. Whilst proving that these perfect lives they present are fabrications and just manufactured brands for profit. Using props, make-up, and clothing I transformed myself into a caricature we see every day and whose lives many have become consumed by. I created Dahlia Blush, to reconstruct the millions of images seen daily on social media but also questioning why this behaviour is becoming normalised and idolised. Within this image I mirror those who have run for some form of presidential power, copying their poses and marketing tactics this image breaths pick me.
“The Influence”, photography Shannon Ryan As a society we have grown to become obsessed and dependent on social media. This ever-growing fascination has made social media platforms become an essential part of day-to-day life. While most people use their social media accounts to upload personal photos and communicate with friends and family, there are people who have used this dependence on technology to generate income, known as influencers. Influencer’s market themselves to gain recognition and brand deals as a form of income, with their post becoming a form of currency. Within ‘The Influencer’ I decided to produce images that mocked and mirrored transgressions committed by some of the world’s biggest influencers. Using their branding and marketing concepts I wanted to produce more conceptual images which explored this new popular notion. Taking centre stage, I produced self-portraits to allow myself to get a deeper understanding of the moral value of being an influencer. Whilst proving that these perfect lives they present are fabrications and just manufactured brands for profit. Using props, make-up, and clothing I transformed myself into a caricature we see every day and whose lives many have become consumed by. I created Dahlia Blush, to reconstruct the millions of images seen daily on social media but also questioning why this behaviour is becoming normalised and idolised. Within this image I mirror those who have run for some form of presidential power, copying their poses and marketing tactics this image breaths pick me.
“The Gaze Of Statues”, mixed media, 21 x 29.5 cm Susan Plover www.susanplover.com A recently created collage on a card ground sized A4. I created a piece that can be read on many levels .It riffs upon the male gaze and the art historical whilst taking a nod at the performance aspect of applying make-up. On a darker note it could be seen as a female receiving unwanted male attention!
“The Gaze Of Statues”, mixed media, 21 x 29.5 cm Susan Plover www.susanplover.com A recently created collage on a card ground sized A4. I created a piece that can be read on many levels .It riffs upon the male gaze and the art historical whilst taking a nod at the performance aspect of applying make-up. On a darker note it could be seen as a female receiving unwanted male attention!
“The last glacier?”, acrylic on canvas board, h 50 cms x w 50 cms Tim Bos @timbos13 Concerns about the environment felt even more urgent during the lockdown period...how could I express my concerns? One way was to paint a beautiful image of what we may lose, and this glacier I saw in Switzerland came to mind....
“The last glacier?”, acrylic on canvas board, h 50 cms x w 50 cms Tim Bos @timbos13 Concerns about the environment felt even more urgent during the lockdown period...how could I express my concerns? One way was to paint a beautiful image of what we may lose, and this glacier I saw in Switzerland came to mind....
“Black Queens I Young Lubaina Himid (2021)”, Acrylic on Cardboard, W 50 Cm X H 50 Cm Tina Ramos Ekongo @tinaramosekongoart Portrait of Young black British artist Lubaina Himid dressed as Queen Elisabeth the I dressed with colorful African fabrics and jewelry. The aim is to discuss the figure of pioneer black British artists with colonial heritage background who through their creative work fight against racial and gender stigmas and discrimination and Queen Elisabeth II one of the greatest regents of the UK who had to fight against their detractors for being female sovereign.
“Black Queens I Young Lubaina Himid (2021)”, Acrylic on Cardboard, W 50 Cm X H 50 Cm Tina Ramos Ekongo @tinaramosekongoart Portrait of Young black British artist Lubaina Himid dressed as Queen Elisabeth the I dressed with colorful African fabrics and jewelry. The aim is to discuss the figure of pioneer black British artists with colonial heritage background who through their creative work fight against racial and gender stigmas and discrimination and Queen Elisabeth II one of the greatest regents of the UK who had to fight against their detractors for being female sovereign.
“The Cowntess of the County” Glass's, Ceramics, Jewels & Metalwork, 100cm W x 75cm H Tony Welch @tonywelchfineart The Cowntess of The County depicts the main elements from the Greek mythology tale of Persephone, this is expressed through the many signs & symbols created within her. In addition to this there are is also a wide range of other signs & symbols depicting life messages and meanings
“The Cowntess of the County” Glass's, Ceramics, Jewels & Metalwork, 100cm W x 75cm H Tony Welch @tonywelchfineart The Cowntess of The County depicts the main elements from the Greek mythology tale of Persephone, this is expressed through the many signs & symbols created within her. In addition to this there are is also a wide range of other signs & symbols depicting life messages and meanings
“Let There Be Light”, Acrylic on canvas, 100 cm x 100 cm Tracey Waddington traceywaddington art.co.uk @traceyartwaddington
“Let There Be Light”, Acrylic on canvas, 100 cm x 100 cm Tracey Waddington traceywaddington art.co.uk @traceyartwaddington
Working from home” mixed media on paper, 37.000 x 47.000 cm. Uchenna Odukwe www.ucheart.com
Working from home” mixed media on paper, 37.000 x 47.000 cm. Uchenna Odukwe www.ucheart.com
Hedy Halo”, Digital Collage, 20x20 Under The Art House underthearthouse.com @underthearthouse
Hedy Halo”, Digital Collage, 20x20 Under The Art House underthearthouse.com @underthearthouse
“Elevation” Oil Canvas, 24 in x 18 in Valdengrave Okumu www.valdengraveart.com
“Elevation” Oil Canvas, 24 in x 18 in Valdengrave Okumu www.valdengraveart.com
“r-Variety”, Digital Image Ayshia Taskin // [a y s h] @ayshiataskin
“r-Variety”, Digital Image Ayshia Taskin // [a y s h] @ayshiataskin
“Divine belonging”, Acrylic and gold leaf on handmade cotton paper, 42x29.7 Veronica Valeri @veronicavaleri_art
“Divine belonging”, Acrylic and gold leaf on handmade cotton paper, 42x29.7 Veronica Valeri @veronicavaleri_art
“Sweeping the Heavens”, Screenprint, approximately 45cm wide by 30 cm high Vicki Aimers, Book Artist @vicki_aimers This piece is part of a large body of work exploring the life and frustrations of the first paid female astronomer Caroline Herschel. It was part of a limited edition portfolio of screen prints. Caroline was a housekeeper for her famous brother William Herschel, but also a comet hunter and astronomer to the King of England. She discovered many astronomical wonders in her own time, when she wasn’t working for her brother or caring for her demanding family. This body of work is about her frustrations of constantly being in someone’s shadow and at the demand of other’s needs and never her own. She was the Cinderella figure of her time. There is also a series of poems root accompany the work and they all formed part of a final installation piece.
“Sweeping the Heavens”, Screenprint, approximately 45cm wide by 30 cm high Vicki Aimers, Book Artist @vicki_aimers This piece is part of a large body of work exploring the life and frustrations of the first paid female astronomer Caroline Herschel. It was part of a limited edition portfolio of screen prints. Caroline was a housekeeper for her famous brother William Herschel, but also a comet hunter and astronomer to the King of England. She discovered many astronomical wonders in her own time, when she wasn’t working for her brother or caring for her demanding family. This body of work is about her frustrations of constantly being in someone’s shadow and at the demand of other’s needs and never her own. She was the Cinderella figure of her time. There is also a series of poems root accompany the work and they all formed part of a final installation piece.
“Sainsbury's Birkin Bag”, Sculpture (Discarded carpet, hose pipe, faux crocodile leather, acrylic paint & brass letterbox), 110 x 90 x 50 cm (H x W x D) Vinay Hathi Highlighting wealth inequality and how retail caters to it.
“Sainsbury's Birkin Bag”, Sculpture (Discarded carpet, hose pipe, faux crocodile leather, acrylic paint & brass letterbox), 110 x 90 x 50 cm (H x W x D) Vinay Hathi Highlighting wealth inequality and how retail caters to it.
“Our Earthly Delights?”, analog collage: found papers on cardboard, unframed: 20 x 20 cm Jennifer Wallace @whichjennifer
“Our Earthly Delights?”, analog collage: found papers on cardboard, unframed: 20 x 20 cm Jennifer Wallace @whichjennifer
“Untitled”, Acrylic, pigment, packing tape & graffiti paper, H160cm x W99cm Will Rogers I put paint on and draw with paper. In the past I have folded it, creased it, ripped it, stained it, printed on it, drawn on it and now I am painting on it flat on the floor. On the floor I can reach across it, walk on it and walk around it applying paint and viewing the drawing. The type and quality of paper is crucial as it determines how the paint flows and dries, buckles, and rips. Of course, there is a top and a bottom.
“Untitled”, Acrylic, pigment, packing tape & graffiti paper, H160cm x W99cm Will Rogers I put paint on and draw with paper. In the past I have folded it, creased it, ripped it, stained it, printed on it, drawn on it and now I am painting on it flat on the floor. On the floor I can reach across it, walk on it and walk around it applying paint and viewing the drawing. The type and quality of paper is crucial as it determines how the paint flows and dries, buckles, and rips. Of course, there is a top and a bottom.
“Wormholes”, watercolour, pen and gouache on board, 71 x 51cm Leanna Moran @leanna.moran The circle, a prominent feature throughout my work, is a powerful universal symbol of immeasurable meaning. It represents notions of eternal totality, wholeness and infinity but for me the meditative act of repeatedly painting the circle has become obsessively therapeutic. When in high anxiety situations the gesture of circle drawing was originally adopted as a coping mechanism which then progressed on to a cognitive tool through the ritualistic act of painting. Hundreds upon thousands of intricately painted circles create celestial expanses, a physical record of both time and thought processes. A simplistic colour palette allows me to focus organically on the act of painting itself, avoiding complicated aesthetical distraction.
“Wormholes”, watercolour, pen and gouache on board, 71 x 51cm Leanna Moran @leanna.moran The circle, a prominent feature throughout my work, is a powerful universal symbol of immeasurable meaning. It represents notions of eternal totality, wholeness and infinity but for me the meditative act of repeatedly painting the circle has become obsessively therapeutic. When in high anxiety situations the gesture of circle drawing was originally adopted as a coping mechanism which then progressed on to a cognitive tool through the ritualistic act of painting. Hundreds upon thousands of intricately painted circles create celestial expanses, a physical record of both time and thought processes. A simplistic colour palette allows me to focus organically on the act of painting itself, avoiding complicated aesthetical distraction.
“Ten Commandments, 3”, Mixed media with illuminated wire, 30 x 30 Zheni Warner www.zheni.co.uk @zheniwarnerart Oils and other paints with collaged canvas and illuminated wire. One of a series of ten completed in lockdown in 2020
“Ten Commandments, 3”, Mixed media with illuminated wire, 30 x 30 Zheni Warner www.zheni.co.uk @zheniwarnerart Oils and other paints with collaged canvas and illuminated wire. One of a series of ten completed in lockdown in 2020
“Night Fishing” Acrylic on recycled wood, 110cm x 60cm. Mark Noble Art. https://marknoble.art/ Part of the 'Driftwood Collection' - paintings on recycled materials such as wood, bark, discarded tiles and even old coffee table tops ('Night Fishing' is an example of this!)
“Night Fishing” Acrylic on recycled wood, 110cm x 60cm. Mark Noble Art. https://marknoble.art/ Part of the 'Driftwood Collection' - paintings on recycled materials such as wood, bark, discarded tiles and even old coffee table tops ('Night Fishing' is an example of this!)
“Burgage”, Screenshot of Web-Based Multiplayer Virtual World, 84.1 x 59.4 Frederick Sanders In the wake of Covid-19, restricted access to physical spaces has pushed us further into the digital realm, blurring the line between the real and the virtual. With this comes a certain groundlessness - an opportunity to reimagine and reshape the structures and systems that exist today. Far older than Parliament or the monarchy, 'Burgage Rights' is an ancient British law, harking back to a time when land was wild and used in common. In the case of the Northumbrian village of Alnmouth, it still gives villagers the right to use and care for land in the area, sharing in its produce and putting it back into natural restoration, giving to local charities and organising events. Perhaps those ancient ideas could find a far wider use today. Burgage orbits around three pivotal concerns: sharing, space, and art. We do not see ourselves as one singular entity. Instead, we are more of a network - a rhizome of ideas and resource sharing, never static, always responding to our current situation and catalysing the imagination in whatever way we see fit. In our first form, we are a web-based multiplayer virtual world. The space simulates the area of Alnmouth by using data from Google Maps and NASA. On May 1, we invited locals, artists, friends and family to gather in and discuss that world together - an exploration of the potential application of the Burgage system to creative contexts. You can access that virtual space through the website below and watch clips from the May Day event as well. Looking ahead, 'Burgage' hopes to exist in many different forms - always with the aim to promote the principles of shared spaces, common resources, and socially engaged art.
“Burgage”, Screenshot of Web-Based Multiplayer Virtual World, 84.1 x 59.4 Frederick Sanders In the wake of Covid-19, restricted access to physical spaces has pushed us further into the digital realm, blurring the line between the real and the virtual. With this comes a certain groundlessness - an opportunity to reimagine and reshape the structures and systems that exist today. Far older than Parliament or the monarchy, 'Burgage Rights' is an ancient British law, harking back to a time when land was wild and used in common. In the case of the Northumbrian village of Alnmouth, it still gives villagers the right to use and care for land in the area, sharing in its produce and putting it back into natural restoration, giving to local charities and organising events. Perhaps those ancient ideas could find a far wider use today. Burgage orbits around three pivotal concerns: sharing, space, and art. We do not see ourselves as one singular entity. Instead, we are more of a network - a rhizome of ideas and resource sharing, never static, always responding to our current situation and catalysing the imagination in whatever way we see fit. In our first form, we are a web-based multiplayer virtual world. The space simulates the area of Alnmouth by using data from Google Maps and NASA. On May 1, we invited locals, artists, friends and family to gather in and discuss that world together - an exploration of the potential application of the Burgage system to creative contexts. You can access that virtual space through the website below and watch clips from the May Day event as well. Looking ahead, 'Burgage' hopes to exist in many different forms - always with the aim to promote the principles of shared spaces, common resources, and socially engaged art.

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