Margaret Ashman
Margaret Ashman is a printmaker whose etchings focus on sign language and dance. Her interests include exploring gesture and sign as the root of language; transformation and transcendence. 
​ww.margaretashman.com
Eclatante  Photo Etching, edition of 20, image size 33 x 31, printed as monochrome 2017
Juliet, Palm to Palm    Photo Etching, edition of 20, image size 42 x 52 cm, 2016
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 Picture
Pavane II  Photo Etching, edition of 20, image size 55 x 38 cm, edition of 20, 2016
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Mark Barnard

I work from direct observation of land and seascape. These studies are developed further in my studio using acrylic and mixed media.
​www.markbarnard.gallery
The two paintings are from my Edge of Vision series, 3' x 2'  2016. The close up is from the same series

Vanessa Benson

Karen Bosy

Inside here uses mobile platform technology and is based on poetic symbols related to space, altitude and daydreaming. This artwork juxtaposes poetic symbolism with reality and is free for iOS and Android.  Participants can 'share' to my blog and in this way contribute to creating an online artwork.
In a related series of digital prints, this may be important, I re-contextualize spaces where I live and work.
​www.kmbosy.com
Inside here 
Mobile platform based artwork
this may be important 
layered inkjet print, graphite, 55cm x 75cm ​

Kate Burvill

I experiment with paint, brush strokes, colour and surface.  Many of my colours are influenced by time spent in India.
Green Square 2017
Oil on canvas,
​30"x30" 
White on Blue 2016
Oil on canvas,
​ 40"x30"
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Indian pigments on indian watercolour paper, 2017,
​12"x10"
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Mike Davies

M42 - The Great Nebula - Orion.
Long exposure digital photograph -150 mm Newtonian telescope. 30 Oct 2016
Hand made telescopes - Park Studios
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Total eclipse of the Sun, Hao Atoll, Polynesia.  18 Aug 2010
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Anne-Helen English

At the core of my work is my fascination with all aspects of nature.
How we interact with and are affected by the natural world , subliminally and overtly, is part of what I continue to explore.
www.annehelenenglish.com
Hope and Hindrance  V
​2017
 Above Water  VII    
​2017
 
Hope and Hindrance  II  
​2016

Chris Gough

Chris Gough's practice has for many years involved revisiting, re-configuring and improvising on earlier work on paper.  Past and present interact to create chance informed pictorial encounters.
 "Profit and Loss 1", 2016.  Reconfigured etching and aquatint with collage and pastel.  24.2 x 19.4cms. 
"Profit an  d Loss 9", 2016.  Reconfigured etching and aquatint with collage and pastel.  24.2 x 19.4cms.
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"Profit and Loss 8", 2016.  Reconfigured etching, aquatint and chine colle with collage.  24.2 x 19.4cms.

Oona Grimes


www.oonagrimes.com
www.daniellearnaud.com

Patsy Hans

Patsy Hans uses a wide variety of materials and found objects in her artwork.
Recently she has been exploring destroying and re-combining existing elements in her own work to create new imagery.
Into the Woods  ​
 Falling Branches
Ghost Bird

Be van der Heide

 My paintings have been rather dark lately, but always there is some light coming through: It could be coming through a half open door or a hole.
www.bevanderheide.com
Looking Through
​oil on canvas, 2016
​90x60cm
Hope
oil on acrylic on canvas, 2016
​190x160cm
Untitled
oil on acrylic on canvas, 2016
​190x160cm

Tamara Katz

" My work is a direct or allegorical response to the world as I see it, expressed through colour , mark and gesture."
www.tamarakatzblogspot.com

Tony Hull

Archive photographs of cultural festivals and rallies are re-enacted in the studio, documented and made into composite images. Emptied of historical context and geographical signposts, painting itself becomes the site for these now diffident, slightly self-conscious ceremonies.
www.tonyhull.com
Ways and Means 2017  oil paint mounted on stainless steel  33x23.5cm
Somewhere or Other 2017   oil paint mounted on stainless steel 23.5x33cm
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Round and Round  2017   oil paint mounted on stainless steel  30.5x17cm

Thomas Lumley

Thomas Lumley is a figurative artist. He is currently working in charcoal exploring wood grain.
www.thomaslumley.com
Swan Song, oil on canvas, 153cm x 100cm. 2015
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 untitled1, charcoal on paper, 65cm x 47cm. 2017
untitled2, charcoal on paper, 65cm x 47cm. 2017
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Pat Kaufman

I am interested in how seating in a landscape confers a sense of ownership and often changes perceptions of how the landscape is used or came about.
Chairs I -  charcoal drawing on Rives BFK  - 32 x 45 cm
Photographer:  Peter White
Grove Throne, 2014 - Limestone - 120 x 210 x 95 cm
Commission for Villa Myrtolangadi, Kythera, Greece
Photographer:  Valentina Vanni
The Twins, 2014 - Syrian Marble - 120 x 53 x 53 cm
Commission for Villa Vlycho, Kythera, Greece
Photographer: John Stathatos

Maureen Nathan

I work figuratively in a variety of ways that include painting and printmaking.  Drawing is a fundamental part of image making and a daily activity for me. 
www.maureennathan.com

Sista Pratesi

www.sistapratesi.com

Celia Read

My current work explores notation of movement in figurative and abstract forms, through oil and water based paints, ink drawings, and collage.  
www.celiaread.com
 Celia Read detail of 'All that is important is this one moment in movement' Celia Read 2017 (gouache on paper mounted as a grid) 1550mm x 1550mm (watercolour and gauche on paper)
 
Celia Read 'In the rehearsal studio’ I 58x151cm 2015 (ink on paper)
 Celia Read full image 'All that is important is this one moment in movement' Celia Read 2017 (gouache on paper mounted as a grid) 1550mm x 1550mm (watercolour and gauche on paper).jpg
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Faith Vincent

 The current series is titled Holweg, which is Anglo Saxon for ‘hollow way’ – a path carved out by footfall. The drawings are made of marble dust: imperceptibly slight layers, gathering and swelling, gradually becoming and finding their own footing.
Holweg (footfall) 2017
marble dust on wax paper
74 x 30cm
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Holweg (grace) 2016
marble dust on wax paper
29 x 29cm
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Small, soft hollows 2016
clay, lime plaster, marble dust, lime milk and mono fibre filament
500 x 500 x 500cm

Charlie Warde

“Warde represents an upsurge in interest in Brutalism amongst artists, at a time when Britain is rapidly divesting itself of its ‘failed’ Brutalist heritage. For artists like Warde, Brutalism has become source material – something to be observed, quoted, appropriated – a part of art history.”
Iavor Lubomirov
www.charliewarde.com
Slab 6 (Trellick Tower)
Acrylic on Aluminium
20 x 20 x 2.5 cm
2016
Slab 7 (Trellick Tower)
Slab 6 (Trellick Tower)
Slab 1 (Trellick Tower)
Acrylic on Aluminium
All 20 x 20 x 2.5 cm
All 2016
Slab 3 (Trellick Tower)
Acrylic on Aluminium
20 x 20 x 2.5 cm
2015
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P.F. White

England 1967 to 2017. Domestic and temporal exploration through automated drawing.
www.allpicture.co.uk/pfwhite
P.F.White. Threshold, 1975, (detail). 2017. Photograph.
P.F.White. The Wall: Asteroid "Heading for Earth". Regent Street, London, April 12th 1998, (detail). 2016. Photograph.
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 P.F.White. Westminster @ Infinity, 1976, (detail). 2017. Photograph.
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Julia Warr

Julia Warr was selected for the John Moores Painting Prize 2016. She is currently painting moving figures in imagined landscapes.
www.juliawarr.org
‘Uppity’ (detail) acrylic on canvas, 2017.
“Douglas” (detail) Acrylic on canvas 2017

Paul Wood

Paul Wood's work is a conversation between various, potentially conflicting, aspects of creative production including control and surprise, language and form, analogue and digital. He plays in the area between the real, the manipulated and the reproduced.
www.paulwoodart.com
Precariat, Collage on paper, 30x42cm, 2015
Swiped, Oil on paper on board, 56x76cm, 2016
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The Shareholder Experience, Oil on board, 60x60cm, 2016