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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 |
Ogamu, 2018
Photo Etching, 60cm x 48cm |
Naku (Blue) 2018
Photo etching 70cm x 56cm |
Life's a Dance, 2019
Photo etching and monoprint |
Mark Barnard
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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
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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
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 am experimenting with pigments from Venice and India with handmade watercolour paper from India
Monochrome series 1
Watercolour on paper 55cm x 75cm |
Monochrome Series 3
Watercolour on paper 55cm x 75cm |
Pigment
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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
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 |
Oona Grimes
Patsy Hans
Patsy Hans uses a wide variety of materials and found objects in her artwork.
Through processes of change and destruction, she explores the combining of familiar and unfamiliar elements to create new imagery.
Through processes of change and destruction, she explores the combining of familiar and unfamiliar elements to create new imagery.
Nest Navigation.
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Found Vulva Sculpture
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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
www.bevanderheide.com
Untitled, 2019
Charcoal and acrylic on canvas 96cm x 80cm |
Old Salvia, 2019
Mixed media on canvas, 190x160cm |
Untitled
oil on acrylic on canvas, 2016 136cm x 170cm |
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
www.tamarakatzblogspot.com
Green and Brown 1
Mixed media on canvas 10" x10" |
Green and Brown 2
Mixed media on canvas 10" x10" |
Cellist Solo
Watercolour on paper 11" x6.5" |
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
www.tonyhull.com
Group Manoeuvres, 2018
Oil on oil paint tablet |
Temporary Future, 2018
Oil on oil paint tablet |
Hidden Strategies
Oil on oil paint tablet |
Thomas Lumley
Oak, Richmond Park
Charcoal on watercolour paper 97cm x 137cm |
Oak, Isabella Plantation 2018
Charcoal on watercolour paper 89cm x 110cm |
untitled
charcoal on paper |
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 |
Issi Nash
Untitled
Mixed media 15cm x 20cm |
Plastic Landscape I
Mixed media 20cm x 15cm |
Plastic Landscape II
Mixed media 20cm x 15cm |
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
www.maureennathan.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
www.celiaread.com
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Madeleine Strobel
Madeleine Strobel has exhibited regularly at the Artmill Gallery in Plymouth and the Limekiln Gallery in Calstock in Cornwall. Member of the 21 Group of artists, her work has been included in many group exhibitions in Totnes, Dartington, Plymouth and beyond. She had solo exhibitions in the UK, Switzerland, Germany, Belgium and Venezuela and was invited to international symposiums in the United States and the Azores. Her work is included in public collections: City of Edinburgh Council (Jean F. Watson Bequest); Museo de Arte Contemporaneo de Caracas; John Radcliffe Hospital (Green College), Oxford; International Maritime Organisation, London and ArtUK (UCL collection).
www.madeleinestrobel.com
www.madeleinestrobel.com
Snow Covered Mountain, Glen Coe
Pencil on paper 255mm x 210mm |
57° 33'N 04° 06'W
Oil on canvas 900mm x 1100mm |
Sea State: Rough II
Oil on Canvas 910mm x1100mm |
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.
Perfectly (Mal)formed, 2018
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Slow Drawing (Boundless) 2018
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Untitled (How to be Lucky) 2018
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P.F. White
England 1967 to 2017. Domestic and temporal exploration through automated drawing.
www.allpicture.co.uk/pfwhite
www.allpicture.co.uk/pfwhite
P.F.White. Threshold, 1975, (detail). 2017. Photograph.
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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
www.juliawarr.org
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‘Uppity’ (detail) acrylic on canvas, 2017.
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“Douglas” (detail) Acrylic on canvas 2017
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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
www.paulwoodart.com
Precariat, Collage on paper, 30x42cm, 2015
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Swiped, Oil on paper on board, 56x76cm, 2016
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The Shareholder Experience, Oil on board, 60x60cm, 2016
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