LONG LIST PAINTING I DRAWING & PRINTMAKING I SCULPTURE I PHOTOGRAPHY & FILM
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PAINTING
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AGNIESZKA DLUGOSZ The Great Green Painting
About this piece: “The Great Green Painting (2014) reaches out for the territory occupied by the viewer. Consequently, the (active) subject(passive) object antagonism is disturbed: the looking subject is being scooped up by the painting in order to experience its physicality. The narrative that unfolds within and along the literal folds and brush marks fused into the cognitive space of the viewer: by looking, the latter lands inside of the painting as if swallowed by a great green beast The curved, wave like shaped stretchers are distinctive feature of my most recent body of work. They mark a turn in my approach to painting: the three-dimensional paintings manifest their separation from the tradition of silent and passive flatness through the excess of the curve. They actively reach for the physical and cognitive space of the viewer. They protrude from the flat surface of the wall, revealing an un-readiness to simply belong. They are a screen for images that celebrate their own distortion. They reach for the real: isn’t two-dimensional flatness a distortion of reality in the first place?”
Acrylic and Spray Paint on Cotton Duck 130 x 100 x 72 cm £3500
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AIDAN MYERS Rupture
About this piece: “This piece is part of an ongoing body of work that investigates tensions between the figure, flesh and physicality.”
Oil and Acrylic on Canvas 138 x 139.5 x 5.5 cm £1000
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AISLING MCGARVEY Bogland
About this piece: “The subject of my practice is the representation of the Bog landscape in the North West of Ireland. Through the process of painting the relationship between representational and abstraction becomes an important element to the work.”
Oil Paint 158 x 170 x 0 cm £120
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ALASTAIR GORDON All the Postcards Sent to my Studio 25.08.14 to 01.09.14
About this piece: “At first, these are paintings about painting: images that oscillate between artifice and artefact. My paintings strongly reference a form of trompe l’oeille that proliferated in the seventeenth century in Northern Europe: a specific form of illusionism called quodlibet (as it falls). From here I paint an array of selected objects to appear as ‘pinned’ or ‘taped’ in low relief on a wooden surface. Objects are often chosen for their residual value in the artist’s studio such as masking tape left over from the painting process or a blank piece of paper: materials to be utilised at the very beginning or discarded at the end of the painting process. Certain questions emerge about the processes of painting, of illusion, representation and how artists utilise their source materials. The notion of authenticity is central to my artistic enquiry. As Jean Baudrillard wrote in The System of Objects; “We are fascinated by what has been created…because the moment of creation cannot be reproduced.” The viewer is often disarmed by the meticulous nature of their representation and the sense of authority communicated by their display. And yet, despite their whimsical irony and scrupulous attention to detail, the historical veracity of these objects is in constant doubt.”
Oil Paint on Wood 30 x 38 x 2 cm £950
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ALEKSANDRA OSA Pier 3
About this piece: “This piece fully illustrates my art. As you can well see, in my work I attempt to interpret reality thorough my own means, while also maintaining aspects of artistic realism. My art is inspired by my own environment, treating the subject merely as an excuse for the search of artistic form.”
Oil on Canvas 70 x 100 x 0 cm £1200
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ALISON PILKINGTON Daydream
About this piece: “The uncanny as an experience is unique to each individual and my painting research explores this. My paintings are playful attempts to express my idea of the uncanny as something intimate and private and how this experience manifests itself. I consider "Daydream" to be a significant breakthrough painting in the development of my practice. It could be considered painting ‘from the gut’ as opposed to from the head, letting emotion and instinct drive the painterly activity. In "Daydream", on a formal level, a large pink shape moves from representing something solid to something more gaseous and less solid through the handling of paint. The solid dark holes create the illusion of another layer of spatial depth and I propose that the line of blue that travels through these holes adds another illusion of movement though the space. I propose that in this painting the viewer might see this image as strongly figurative, but the figurative motif becomes disrupted by its non –figurative representation.”
Oil on Canvas 150 x 165 x 0 cm £5000
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AMANDA HOUCHEN Chimera
About this piece: “This is part of a larger body of work in which I've been exploring a sense of dislocation; conveying spaces and characters that are at once familiar yet difficult to put into any one context, so creating a schism in the way in which we view things. This sense of dislocation is emphasised by disrupting certain planes within the composition, through a change in the pace of the painting, flatness or depth. The settings I explore have an artificial quality and lend themselves to being painted in a certain way; often a mysterious claustrophobic interior space, with strong tones of light and dark. Combining imagery or tropes from specific eras creates new, unrecognisable images that subvert the viewer’s expectations. These characters are timeless and ephemeral, existing in the moment in which they’re recognised by others and they belong to constructions of their own devising. They display a dedication to the present moment of their experience enacting a role and their appearance seeks to transcend any particular era – a look that’s effectively collaged from different periods. The focus is not only on the cult of the female star, but on the temporary nature of this state of performance and stardom.”
Oil on Canvas 125 x 150 x 5 cm £1900
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ANASTASIA RUSSA Three Graces
About this piece: “I am considering the idea of a woman, her essence and destination. On the one hand, I came to the idea that the most desperate, miserable, old and lonely women are and could be the most cheerful ones. On the other hand, the difference between young and old cannot be distinguished from looking at it from a distance. It seems that women are a kind of witch, who can be crones and young women simultaneously. If time was not perceived as a line it would happen this way. I wanted to paint seven women to represent the spectrum of colours, but ended up with five. Every one of them is responsible for every single colour.”
Oil on Canvas 235 x 95 x 3 cm £6000
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ANASTASIA SCUDAMORE Payne's Grey with Cadmium Orange Hue
About this piece: “This painting is explores the relationship and pure abstraction of colour, shape, form and surface. This geometrical painting uses three techniques of applying paint by spray painting, a paintbrush and pallet knife, creating a discourse or harmony between textures and colour.”
Oil and Spray Paint on Aluminium 90 x 90 x 4 cm £1300
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ANJA VON KALINOWSKI Endymion II About this piece:
Payne's Grey with Cadmium Orange Hue
“My new series of work is based on legal and medical photographic evidence of the war crimes committed during WWII in Russia. The images of dead soldiers that contain a haunting ethereal quality are juxtaposed with the orthodox heritage of Russian iconography. I attempt to analyse the idea of producing a collection of work in relation to orthodox iconography and the displacement of cruelty and political power and how to create art through the concepts of iconography, death and decay. When we look at the icon from a non-religious point of view, it can seem questionable. We have to keep in mind is that the concept of the religious icon is a construction. This contradiction is crucial for my practice. Through my created objects reciprocity with the instances of power can be established and fragments of the unseen made visible for the spectator through the intensity and obsession contained in her work. The work can create a close proximity with the viewer, as ‘The unseen has only been prevented from suddenly appearing in the visible. It holds there all of its desire, as though tortured by the excess of what it knows it is able to offer to the glory of the gaze.”
Gilt and Oil on Wood 80 x 62 x 4 cm £3600
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ANNA GARRETT Fluore$cent About this piece:
Payne's Grey with Cadmium Orange Hue
“I am presenting a series of paintings titled, Fluore$cent. Within this body of work I am exploring the falsity of the advertising image, and the power of the photographic illusion to penetrate the mind of the consumer. Primarily addressing the artificial, ‘perfect’ imagery found in the media, I explore the hollowness of these images and consumerism’s promise of self-fulfilment. Fluore$cent is derived from a performative photo-shoot undertaken by myself, in order to play with the sensuality of perfume advertising imagery, and the role of the model. The paintings raise questions around vulnerability vs. empowerment, which is something people in the eyes of the media cannot escape. The neon colours are reminiscent of a cheap toxicity emulating a synthetic commercial daydream of the 21st century. In my most recent work, I have been looking into the concept of the holiday as escapism from reality. Creating similarly saturated, tropical and fluorescent paintings, I am gesturing towards the facade of the image and the construct of painting.”
Acrylic on Canvas 200 x 140 x 2 cm £1300
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ANTONIA JACKSON Brittany 1974 (2)
About this piece:
Payne's Grey with Cadmium Orange Hue
“This piece belongs to a body of a work that I developed towards my degree show out of film stills from re-discovered family Super 8 reels. Exploring issues of memory and inspired by the imagery of 1960s New Wave art films, it is painted on board with thin layers of oil paint, is atmospheric and references filmic imagery. The bold use of colour, while referencing the richness of the Kodachrome, opens up an ambivalent narrative, either reassuring or frightening. The painting was executed quickly to capture a fleeting moment. The influences for this painting and the wider series are French post-impressionist painters (and in particular Bonnard, Vuillard, Vallotton), painters belonging to " die Brücke"( Gabriella Münter, early Kandinsky), Munch as well as contemporary painters like Peter Doig, Sasnal, Mamma Andersson, Richter.”
Oil on Gesso Board 60 x 50 x 5 cm £900
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ARMANDO MESIAS Rey
Payne's Grey with Cadmium Orange Hue
About this piece: “Disappear Here' is a series of abstract and figurative portraits. My purpose with this series was to explore deep sides of the personality of each sitter, and translate them into a visual language that is driven by emotion and feelings instead of reason, control or technique. Throughout the development of the series, I explored with different media, driven only by his personal perception of the portrayed person to create unique pieces that result intriguing and disturbing but yet attractive.”
Acrylic, Spray Paint, Markers and Watercolour paper 29 x 21 x 0 cm £450
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BARTHOLOMEW BEAL Block Alphabet About this piece:
Payne's Grey with Cadmium Orange Hue
“The Fine Art Society group exhibition in October 2014 What Marcel Duchamp Taught Me challenged each artist to respond to Marcel Duchamp's work. I was working on 6 paintings at once, with ideas and colours bouncing between them. This painting is one of those studies, as a direct response to this Duchamp quote: “The chess pieces are the block alphabet which shapes thoughts; and these thoughts, although making a visual design on the chess-board, express their beauty abstractly, like a poem” Marcel Duchamp 1942 Duchamp’s description of chess as abstract beauty tempted me to exaggerate one of my generally more subtle tactics. I obscured and surrounded this casual portrait of Duchamp with sharp translucent shapes, and embroidered my attempt to place one painting on top of another, letting pieces of the last painting seep through to be recognized and confuse the composition.”
Oil on Canvas 72 cm Diameter £4500
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BENJAMIN PHILLIPS Difficult Neighbours (Homage to Lucio)
Payne's Grey with Cadmium Orange Hue
About this piece: “My recent 'Tape Series' investigates the relationship between reusing antiquated video technology (VHS tape reels) wound round stretcher frames to see how they function as standard size paintings. The surfaces of the pieces contain a reflective quality similar to that of a mirror, however they distort and rupture the image’s reflection as a unified form. Others have commented that the black sheen of the tape gives off a “sexy” appearance, though for me they evoke a more voyeuristic quality reminiscent of the dome style CCTV cameras and black ink lines found on redacted government documents. The works contain a kinetic element as the tape moves and ripples with vibrations or gusts of air and reflections vary depending on the light as well as the juxtaposition with other structures.”
VHS Tape Reel on Wooden Stretcher 74 x 140 x 4 cm £500
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BERNIE CLARKSON Looking Back
Payne's Grey with Cadmium Orange Hue
About this piece: “This painting was based on a small image from a magazine of a couple sitting at a cafe table in Paris. The work has gone through many manifestations to get to the point of completion. While the girl is the main focal point of the piece the visual elements to the left and the right of her are metaphors for both her past and her future. The empty chair signifies the empty nest, a space once inhabited but now vacant. The naive painted house suggests potential for a new beginning, a happy-everafter home although access to it suggests a step into the unknown.”
Oil on Canvas 180 x 100 x 5 cm £7000
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BLANDINE BARDEAU Oh, Soleil Levant
Payne's Grey with Cadmium Orange Hue About this piece: “Oh, Soleil Levan is a diptych created on translucent polyester, and is reminiscent of Japanese art and aesthetics, which gives them the title "Oh, Rising Sun" in French (Rising Sun stands for Japan in Japanese). I have collaged materials traditionally present in fashion, such as neoprene fabric and dressmaker's pins. I studied fashion as an undergraduate degree and generally am very interested in the boundaries between painting and sculpture. The surface is translucent, allowing me to work both from the back and the front of the painting. One can also note that the painting seems to want to escape its frame, to live at the boundary between 2D and 3D.”
Acrylic, Neoprene, Dressmaker’s Pins on Translucent Polyester 100 x 50 x 3.5 cm £1000
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BRENDAN TREEBY Pie Eyed
Payne's Grey with Cadmium Orange Hue About this piece: “’Pie Eyed’ explores the state of inebriation resulting from masculine competitive excess, in this case through drinking, which leads to a moment of vulnerability unbeknown to the subject, unaware of the gaze falling upon them. This self-portrait is the newest in my continuing exploration of the fragilities of the masculine masquerade. The piece represents a moment in time I have no recollection of, a moment I am only aware of due to photographic evidence left on a disposable camera. The work further illustrates several experimental steps within my practice; the use of an image, not taken by myself, and the use of colours other than blue.” .
Acrylic on Plywood 61 x 100 x 10 cm £1200
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BRYN SUTCLIFFE Reach/ Standing Male Nude
Payne's Grey with Cadmium Orange Hue
About this piece: “The subject matter I have used for this piece is very personal to me as I have always particularly enjoyed life drawing. As a young lad I was drawing portraits of my favourite celebs and in my early teens drawing figuratively from pornographic magazines (the only 'life drawing' models available to me!). As I have gotten older, my approach to the figure has matured, and I have come to realise that the figure isn’t simply a sexual object, but visually a thing of beauty in its own right, with endless possibilities to work from, using composition, lighting and position. My own style has developed into a blend of realism contrasting with areas of allowing the paint or other media to do its own thing, keeping these marks, wherever I consider they work, in the piece. This way of working allows me to be as free as the nudity of the subject matter, I don't put any restriction on my approach or pallette, I do what I feel at the time, being as loose or as intense with detail as I see fit at that moment. This allows me to produce my signature figurative works from the heart, while continually attempting to gain more understanding of the infinitely complex potential outcomes of the human form and allowing my human contact with the paint to surface.” .
Oil and Acrylic on Sepia Coloured Card 61 x 100 x 10 cm £1200
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CYD PARKER 3.14159265359
Payne's Grey with Cadmium Orange Hue
About this piece: “I am interested in perceptions of freedom of choice and the scope of a personally limiting mind set versus one of possible limitless potential.”
Oil on Canvas 85 x 130 x 2 cm £1100
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DALE MARSHALL To Stitch Some Old Wounds About this piece:
Payne's Grey with Cadmium Orange Hue
“This work is painted from an autobiographical, humanitarian and political perspective. I grew up as a young graffiti artist who subsequently had a nervous breakdown at the age of 25. My chosen materials are very significant. I use painting as a healing tool to stitch wounds of the past whilst also making the present. The central horizontal line/wound is a deconstructed graffiti tag. The object/assemblage becomes a reflection of myself, a portrait, that requires surgery- yet fragile. The aim is to create work to combat the current trends of visual art, my rebellion, to create a piece to document today's underlying issues of potential world war arising, religious divide for resources, hence the purposely raw nature of the work. The aim is to find the balance to create and show the frightening yet beautiful, my previous life as a mental health patient. Mark making is an important part of my process. I am keen to explore etching and relief inspired by ancient cave drawings (the first noted graffiti) whilst also mixing this with present day wall textures of derelict and crumbling institutions.”
Paper, Thread, Ash, Gold Leaf 85 x 130 x 2 cm £1100
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DAPHNE SHEN The Surgery
Payne's Grey with Cadmium Orange Hue About this piece: “Currently, my art practice is trying to develop the idea of Complexity of Brain. What is the exact reason to make the numerous thoughts in my mind? It is really interesting and leading me to have the desire to explore the possibilities of it. Thus, through this concept, I attempt to use psychological and mathematical way to explain it, and I see myself as a doctor and patient in the same time, to heal myself through the monologue from the inner part. During this process, I imagine acting like a doctor to analyse and dissect my brain, and then observe it as a method, it seems like I am doing a surgery to (for) myself, the idea of surgery is also creating more space to think about the complexity.”
Acrylic 360 x 120 x 3 cm £2200
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DAVID CLEARY Contrapossto
Payne's Grey with Cadmium Orange Hue About this piece: “My paintings typically present the male nude in provocative and distorted positions, in which the bodies entangle with one another with their limbs and joints bending tortuously and unnaturally. The figures also have their identities stripped with the removal of their heads, abolishing any sense of individuality and enhancing their peculiar nature. Each of my paintings reference different styles and techniques, with "Contrapossto" borrowing from Caravaggio staple use of chiaroscuro and the loose composition of the Baroque style. The centralize figures are also vaguely reminiscent of Francis Bacon's haunting depictions of George Dyer.”
Oil on Canvas 175 x 125 x 0 cm £365
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DEBORAH WESTMANCOAT Surface 4 About this piece:
Payne's Grey with Cadmium Orange Hue
“My ongoing practice seeks to visually interpret the four generally understood metaphysical stages of classical alchemy: nigredo (blackness), albedo (whiteness), citrinitas (yellowing), rubredo (redness), and understand how these relate to distinct psychological states of flux, fix and transformation experienced as part of the creative act. Alchemy is full of verbs. The physical act of bringing together and co-mingling writing ink, site-specific waters, chance and luck, along with configurations of found surface, object and element, can lead to 'something other'...a more poetic condition revealed. Informed by the floods of 2012 and 2013, last year's work focused on a visual understanding of the dark, inky flux of nigredo, the immersive, incubatory first stage of alchemy. Current work investigates the second stage, albedo. 'Surface 4' illustrates the point where the transformational action of albedic light and order approaches the dark, swirling waters of the Nekyia, Jung's “night journey on the sea”.
Black Writing Ink, Floodwater (collected from Longrun Meadows, Taunton) and White Writing Ink on Found Surface. 93 x 61 x 4 cm £1600
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DIANNE CHAPPALLEY Untitled About this piece:
Payne's Grey with Cadmium Orange Hue
“The development of a personal language in painting allows me to create with intuition. I do not have a specific plan for a painting; it operates as a form of research where intuition and conscious awareness are in constant dialogue – each painting is a new discovery, a new fragment of my lived experience and identity. In my work, I want to explore the friction between the familiar and the unknown, find a balance in harmony and disharmony and the inherent tension between control and slippage in the use of materials and composition. I use a range of various media to express these conflicts. In this painting, I experiment with the density of rough thick linen. This is a dialogue between the surface and marks made with oils, pigment and charcoal. I play with the distinct qualities of these materials in order to create an atmosphere of precarious stability, where robust structures are liable to collapse into gesture and form. For me this continual interplay mirrors the personal psychological experience – one that easily slips between harmony and disharmony, structure and fluidity.”
Oil, Charcoal and Pigment on Linen 55 x 71 x 0 cm £950
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DOMINIC DISPIRITO Composition 03
Payne's Grey with Cadmium Orange Hue About this piece: “The process involves the application of numerous translucent and opaque layers of acrylic paint and polymers onto a primed canvas. The intention is to create beautiful works of art which have the power to stir us emotionally. I share the opinion of Formalist writer Clive Bell when he states that "Lines and colours combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions".
Acrylic and Industrial Polymer on Canvas. 80 x 60 x 2 cm ÂŁ1200
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EIFION SVEN-MYER Homo Sapien (Clay in Hands)
Payne's Grey with Cadmium Orange Hue
About this piece: “Conceptually, the piece concerns the idea of humanity as a mouldable entity, shaped by our own actions as well as by external forces outside of our control. I have attempted to create a tension between the representational element and the abstract aspect of the piece. This is my signature piece because it contains an idea of duality, a theme I am currently trying to express in my work.”
Oil on Canvas 155 x 136 x 5 cm £450
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ELENI ODYSSEOS Yellow Gotham About this piece:
Payne's Grey with Cadmium Orange Hue
“In an image-laden world we experience visions and visual metaphors differently every time we see something, even when it appears to be the same thing again, as we project our own perceptions onto the object of experience and that object shifts between contexts. At the heart of my investigations lie a fascination with architecture and the built environment, less in terms of how they are engineered or put to use and more in terms of how we constantly re-make images of the built world every time we look at spaces differently. My practice may be seen as a collection of “landscapes” - the interior landscapes of limitless virtual space or the exterior landscapes of networked cities. These landscapes explore how the physical world, and objects like paintings made to represent it, can exist as surrogate phenomena for the digitally immaterial. Sliding off the canvas, onto screens and into the space they inhabit, they examine the relationship between and the convergence of the physical and digital world, pursuing alternative paradigms of visual reality.”
Oil on Canvas 120 x 80 x 4 cm £1300
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ELINA RUDITZE Start with Yourself About this piece:
Payne's Grey with Cadmium Orange Hue
“I was thinking about mental and emotional balance in my everyday life and how to live in harmony with myself and things around me. My star sign is Libra and I find myself constantly fluctuating, that could be indecision or mood swings and so on. This process was a deep self-research and I also had very interesting discussions about the balance with people I know and I understood that to achieve harmony I have to be open and honest to myself, look closely to my light and dark sides, to decide how I want to be and accept myself. The same 'technique' works with people and things around me, it makes me feel confident and flexible because I know that any unpleasant situation is temporary and I do not let it to throw me off the balance. I believe that people can live in harmony no matter what, like when you are learning to ride a bicycle, you may stumble at first, but with practice you will learn how to maintain your balance, and eventually it will become second nature. For me it is a long way to go, but I already have started with myself...”
Acrylic on Canvas 91 x 121 x 4 cm £1800
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ESTELLA CASTLE The Guide
Payne's Grey with Cadmium Orange Hue
About this piece: “I make paintings which focus on a variety of historical and contemporary references from Rococco to Americana. Drawing on my background of life in New Zealand and the United States, I use a subdued style in which figures or places are edited to create a new composition in which the familiar and unfamiliar are hard to disentangle. I am interested in reconsidering both the stereotypical views of the rural idyll and the role of celebrity in engaging with the viewer.”
Oil on Panel 100 x 70 x 0 cm £2500
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FIONA MASTERSON Blue Bayou
Payne's Grey with Cadmium Orange Hue
About this piece: “Blue Bayou' uses a typical urban scene that we might pass every day without really looking, a plastic bag stuck on a tree. As time passes the bag becomes as one with the environment and the elements. It dances with the wind; it teases our subconscious and imagination. 'Blue Bayou' is typical of my work in that it focuses on the state of flux, the ebb and flow between painting and the digital image, between reality and the imagination, between the abstract and the figurative. I like to combine photographs I have digitally manipulated and then emulate and embellish the digital marks with paint to create numerous points of departure.”
Photographic Digital Montage and Oil Paint on Canvas 60 x 70 x 2 cm £1300
FLEUR YEARSLEY Rejuvenation
Payne's Grey with Cadmium Orange Hue
34 About this piece: “My work revolves around rendering the non-physical, be it feelings, thoughts or music and capturing these personal responses into a physical embodiment by the means of abstract painting. The principles I adhere to involve engaging the viewer on a discovery of form and colour which allows them to make up their own minds about the art and what it means to them. Platonic philosophy maintained that painting cannot depict the truth and is a copy of reality. The painting is expansive, incorporating a wide range of gestural marks which are highly expressive and emotional. This reflects my considerable curiosity about life. I evoke a radical and free use of colour and line, as well as assertive experimentation with composition, scale and physical structure. The work explores the ‘function’ of paint as a medium consequently “Rejuvenation” acts as a documentation of this analysis. My intrinsic intention is to create atmospheric paintings that engage the viewer by generating a memory, a thought or an idea. The title of the painting is ambiguous. This enables the observer to translate and project their own experiences, challenging the constant need to define and order the world around us. ‘Rejuvenation’ documents the exploration of these formal qualities. Meanings are derived from these to create a visual, visceral and emotional experience.”
Oil and Oil Bar on Canvas 210 x 230 x 5 cm £8500
FRANCES HOGG No. 8
Payne's Grey with Cadmium Orange Hue
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About this piece: “The intention of the work is to question the relationship between the decorative, design and painting. In particular, to pose both a question and challenge about the way traditionally painting has been treated as hierarchically more important than the purely decorative. The work is not solely a reaction to this, however it is an exploration into stripping back to the key underlying traits of the different arts and combining them into the medium of painting to address the individual issues contained within each. The work considers the key components of pattern such as repetition, embellishment and flatness and looks to create a similar framework to those elements of abstract painting in particular colour, line, form and gesture, figure and ground. Pattern belongs more in the world of design for its functional purposes such as clothing and wallpaper and is not considered to be complex high art due to its 2D non-illusionary flatness, and its status as a commercial product. In the world of painting, there are issues with its inaccessibility to many, its distance from everyday life and the medium’s struggle under the weight of meaning from its historical timeline. This work aims to question how these two worlds can sit together and learn from each.”
Oil and Spray Paint on Hand Stretched Canvas 180 x 180 x 4 cm £1700
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FREYA STOCKFORD Dish Wash
Payne's Grey with Cadmium Orange Hue
About this piece: “This piece is a painted collage of a washing up bottle on a dish cloth. The collage comes from curtain fabric found in an interior decoration magazine.”
Acrylic and Gesso on 12mm MDF 60.8 x 60.8 x 1.2 cm £450
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GABRIEL PARKER For Crying Out Loud
Payne's Grey with Cadmium Orange Hue
About this piece: “The motivation behind this painting is to highlight and explore concerns regarding globalisation and enforced population control in the shadow of the world’s most rapidly growing industrial powerhouse, China. The wallpaper background signifies smug expectation of a western status quo. It sheathes and conceals the pain and suffering endured by the unwanted children of China.”
Relief Print and Oil on Paper 55 x 80 x 5 cm £600
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GEORGINA BOUZYK Sticks
Payne's Grey with Cadmium Orange Hue About this piece: “I was compelled to paint this collection of sticks for their natural elegance, tones and colours. I choose to work directly from nature, gathering sticks, leaves and bark as I am directly inspired by nature, using it subjectively, often drawing in ink or painting with the wood or sticks themselves. The application of paint refers to the fleeting beauty and fragility of the organic nature of wood. My work has progressed towards the study of sticks for their reference to imperfect, impermanent and incomplete beauty. The simple qualities of the lines, tones and colours of the wood take me back to the essence of nature and allow me to explore the feeling of a brush-mark and the looseness of the paint.”
Oils 2 x 120 x 80 cm £750
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GIULIA QUARESIMA Gaia
Payne's Grey with Cadmium Orange Hue
About this piece: “This is a personal interpretation of Gaia (or Gaea), the primal Greek goddess of the Earth, the Mother of All. The artist focuses on the predominant feature which all the mothers had in common at some point; the deliberate omission of the subject's face allows each mother-to-be to identify herself in that mythological pregnancy.”
Oil on Canvas 91 x 60 x 4 cm £1400
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HELEN CARTER Beyond the Sightline
Payne's Grey with Cadmium Orange Hue
About this piece: “'Beyond The Sightline' depicts a landscape that can only be reached through painting. Through a repetitive process of mark making, rubbing back into the paint and observation, I was absorbed into a place that offers a new vantage point, a new way of thinking, and a switching over to another kind of consciousness.” The process of making 'Beyond The Sightline' opened up a quiet, meditative and escapist space. Similarly, I hope that it can provide a place of contemplation for the viewer, encouraging stillness and inviting their own quiet journeys through the painting.
Oil on Canvas 91 x 60 x 4 cm £1400
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HERMIONE MACMILLAN Nude 002
Payne's Grey with Cadmium Orange Hue
About this piece: “The foundation for this piece was a collage made from newspaper. The resulting letters and words are used purely for aesthetic and tonal reasons. The nude shows a woman relaxing, sitting on a pouf.”
Acrylic on Watercolour Paper 125 x 155 x 0 cm £850
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HOLLY ZANDBERGEN The Walker
Payne's Grey with Cadmium Orange Hue About this piece: "’The Walker’ was a painting that was made from my recent trip to Ireland and was part of a "Discover Ireland" series. This body of work was my first return to painting since graduating in 2013. It was an important work for me as there was a lot of new experimentation involved such as beginning with a painted ground and using a much more looser and diluted application of paint than I normally work with. The painting was completed in short, high-energy bursts where it came together in the final stages of rendering the central figure in comparison to its surrounding landscape. I stopped when I felt the essence of the figure and its landscape had been captured.”
Oil on Canvas 100 x 80 x 4 cm £3000
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JACK BARBER MINTer-Green About this piece: “This work is my latest addition in a series of works entitled 'Stay Tropical', which is a my everyday release from the urban digestive system, that 54% of the world's population now find themselves inhabiting. I am playing on my own child like tendencies to mystify and over imaginative the natural world, that is slowly slipping out of view in the sprawling metropolises mankind have created. I allow the images of flora and fauna captured in my memory to influence the way I manipulate each painterly mark, the tactility and layers of paint help to dissolve the subject matter and allow the mark making to take centre stage. In order to further contort the works materiality and form, I work with naïve and playful strokes, adding an awkwardness or uncertainty of the painting. This will be my signature piece 2015, because it playful highlights the concerns this series aims to tackle and allows the viewer to engage with the dense maze of marks that hold the image together.”
Oil and Marker on Canvas 73 x 71 x 3 cm £1600
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JAMES REYNOLDS March Number 9
About this piece: “This painting is part of an ongoing series that is concerned with accessing figuration through a process of memory, drawing and painting. The series is reflective, using myself as the narrative to explore and respond to events that have occurred at some time in the past. I'm very interested in the idea of repetition, both in terms of the subject and composition and the physical nature of 'making' the work, drawing, painting and repeating, leaving traces of what's gone before. I have entered this piece as it best demonstrates my current concerns and sensibilities when creating artwork. The series is continuing and evolving and as a point along the timeline of this group of paintings this picture achieved my aims, working as part of the whole and as an individual piece in its own right.�
Oil on Board 64 x 73 x 4.5 cm ÂŁ1995
45
JANE GLENNIE This I Tell You
About this piece: “This work is a freeze-frame in a process of iterating and reiterating an intangible feeling which crystallizes then fades as rapidly as it forms. It feels spontaneous and yet is not.
I am interested in the imagined life, how it reflects on the present and on memory.”
Paint on Paper 59 x 84 x 0 cm £580
46
JOE WARRIOR WALKER All Nighter
About this piece: “This painting was based on a series of stop frame images taken from a short video work I created for my final MA show. I presented a series of paintings alongside a projection of the film. The work explores visual themes of architecture and nature. The painting is layered with paint, collage, and image transfers. For me the painting evokes a sense of staying up to the early hours encapsulating the experience of several different places.” Follow this link for supporting video
Mixed Media 91 x 71 x 1 cm £2000
JONATHAN RICHARDS Carapace
47 About this piece: “The significance of negative space has driven my studio research. My paintings are formed as a result of constant layering and manipulation. Carapace is an autonomous object demonstrating a specific body language. Fluid folds of paint direct the gaze over and into receding and overhanging spaces. Environments are constructed within other environments as the tonal properties of the surface alter. Muted tones physically embody the painting prompting a direct plea for an interpretation through a Minimalist persuasion. Although my work adheres to the principles of traditional painting, their structure and form boast characteristics more akin to architecture. Mass, weight, volume and space extend beyond representation and become physical properties. Folds become motifs; a tool used to engender a surface that creates spaces, environments within other environments. Carapace is monochromatic, instinctively making a direct association to drawing and mark making. Once representation has been eliminated, tone and shadow move to the fore as the key point of narrative. In order to dissect negative space, I attempt to form a distinction between what is and what is not in a visual context. For nothing to exist, matter must be present to form the comparison. I am stimulated by the notion that the excessive can engender emptiness. This leads to the overarching question; how much of something needs to be present in order for nothing to emerge as the definitive subject of the painting?�
Layers of Thick Paint 45 x 100 x 30 cm ÂŁ2800
48
JOSHUA DAVIES Structural Conflict About this piece:
“I grew up in a suburb on the edge of greater London, developing an appreciation for nature within an urban lifestyle. Not really belonging to either the city or countryside, I am fascinated by both. The sporadic flowing patterns of nature are at a contrast to the rigid, structural architecture of an urban environment. Yet despite their opposing differences, both environments have their own distinct atmosphere and emotional experience. The concept behind this piece was inspired by my own reflections at the time, wishing to be closer to nature but needing to find work in the city. It's a conflict that many people have to deal with as a part of modern life and I wanted my work to explore this duality. “The most exciting attractions are between two opposites that never meet.” Andy Warhol I am inspired by traditional watercolour artists but have developed my own contemporary style with ink. It has a stronger and more vivid colour and allows for some interesting painting techniques due to its permanence when dry.”
Indian Ink on Watercolour Paper 49 x 49.4 x 0.1 cm £249
49
JUNE JUNG MIP Simulacra
About this piece: “The Project ‘MIP (the Most Influential People) Simulacra’ considers ‘Reality’ as media. The portraits make a subject of impersonators of the world’s 100 most influential people as selected by Time magazine. Like French sociologist Jean Baudrillard claim that reality can be reproduced as infinite number of times and it is represented as hyperreal through simulacra, moreover, media researcher Bolter and Grusin indicated about media in terms of immediacy, hypermediacy and remediation in their theory 'Remediation', through reproduced image, I tried to represent and remediated three different media: Painting installation as remediation, Graphic Design print as hypermediacy and Web (HTML) representations as immediacy. Through this project, I consider how subculture or pop-culture elements apply into visual media, and it remediates as Art form.”
Arcylic Paintings on Wooden Shelves 160 x 424 x 30 cm £8600
50
KATY KANN Abandoned
About this piece: “This piece is inspired by a true story of an abandoned hotel which is said to be haunted as many of those who stayed in it ended up going crazy or committing suicide.”
Oil on Canvas 150 x 80 x 3 cm £3500
51
KENNIS CHAN Untitled About this piece:
“The work that I make explores the relationship between the presence of being, time and space. Brush marks on the painting act as a form of recording the inner abstract of the moment, and accumulating these moments within space of the canvas causes them to become substantial. These marks capture the inner pulsate of the being of the artist. It is my belief that through immersive concentration at the present moment, the moment can be extended. When the works are viewed, through aggregating time in looking at the work it pushes ones awareness to unfold potentials available on the works, which leads to extending spatiality in other possible dimensions. From meditating on what is given, simplicity grows into complexity, creating larger inner sensational space; bonds with the idea of ‘less is more’.”
Oil on Canvas 25 x 25 x 2 cm £1000
52
KIM HARVEY Swimming Pool
About this piece: “The abandoned swimming pool lay forgotten in a state of transition. The only thing filling it was a few hours of light a day, and rubble and weeds climbed its walls. I wanted to capture this poetic sadness and give it an almost ephemeral quality, like time itself. I photographed the swimming pool at different times of the day, later making a large number of studies which resulted in this painting.”
Oil on Canvas 120 x 150 x 3 cm £750
53
LADY MICHAELLE ST. VINCENT I Will Not Be Pigeonholed
About this piece: “For me a signature piece is such a complex reality. My real signature work concerns olfactory installations or to put it another way - invisible, smelly sculptures. Yet I also sculpt, paint and perform.
‘I will not be pigeonholed’ refers, not only to the work; the artist is after all in the process of painting a 9 piece composition in a pigeonhole type layout inside a pigeonhole himself; but also to my own practice which is as diverse as the painting itself. The miniature canvasses are an extension to my ongoing sketch book style project of miniatures, my ‘Thought Canvasses’. The colours in the painting reflect my usual colour palette when painting and the ‘li’l artist’ introduces a sculptural element to the painting. As for the wine box, well anyone who knows me will tell you, it’s not whether the glass is half full or half empty, as long as it’s got wine in it!”
Acrylic on Canvas, Bronze Resin, Glue, Paint Brush, Wine Box, Wood 26 x 33 x 9 cm £475
54
LAURA IOSIFESCU Vitally Important II
About this piece: “Three Dimensional Landscape: The concept behind the work was to create new forms of life from paint. These would exist in a new territory, a new world. Not only this, but it would be strangely alien and something that would metamorphose in time. This is achieved by thick layering of paint. The intention of using so much paint was to allow it to dry very slowly. This would create a surface skin. However, inside it would still be living and breathing for many years to come. If in time the surface continues to transforms further there is literal proof these landscapes are alive and last many, many years.”
Oil Paint and Acrylics on Linen 130 x 100 x 5 cm £6500
LEAH DOWNING Rift One
55 About this piece: “Rift One is my signature piece for 2015. It represents the culmination of my investigation into the alliance between science and art, exploring aesthetic properties found within chemistry and the cosmos. Influenced by science fiction and portrayals of space, the unseen is made visible and false landscapes are produced. I am inspired by Runge’s perspective of chemistry as a ‘sensory art’- observing and synthesising natural effects and patterns, rather than being unduly analytical. By studying hydrophilic and hydrophobic interactions made observable through dye, structural formation and false colouring, these designs are presented as a static image, in an aesthetic manner. This is analogous to mankind’s exploration of space, inaugurated by the Hubble Space Telescope, which collects digital data invisible to the eye; the finalised image requires preferences to be made regarding colour to make visible the unseen. My experiments with chemicals and dye create fabricated landscapes. The notion of viewing unknown worlds is heavily inspired by the ‘The Convergence’ within Marvel’s ‘Thor’. The work no longer portrays a still of reality, but a composite image displaying a fusion of chemical reactions and digital painting; amalgamating science and artistic licence. These fictitious realms are presented through circular lightboxes, representing a telescope, as a window to these worlds; whilst also imbuing the work with the power of technology.”
LED Lightbox, Digital Painting 100 x 100 x 4 cm £5950
56
LI TZU SU Land Escape
About this piece: “My works is to reveal the vague questions about our concept of construction or demolition, as well as asking why some places are deemed more special or valuable than others in today’s society. The spaces I reconstructed offer an alternative reading of the urban landscape, encouraging viewers to take part in an unsanctioned kind of vision by visiting these indeterminate, transitional empty plots in any cities. In my work, the cognition in a region’s identity is closer to a fluid concept; I visualize the undefined structure of space. Transform spatial borders into geometrical analogies, collapse temporal oppositions into physical extensions and start thought processes of dislocation. It exacerbates the tension between fixed and fluid capital, because of this, the ideal space is ambiguous and the stable space is gone.”
Oil on Canvas 45 x 50 x 2 cm £650
57
LOUISE MCNAUGHT Wild Transformation
About this piece: “This piece is based on the Stag in Celtic Mythology, where he is believed to guide those who have died to the after world, as he is said to be able to pass between worlds with one leap. The butterfly is also traditionally used as a symbol for the soul and transformation. The stag is breathing out lotus flowers that turn into butterflies, as open lotus flowers represent different stages of enlightenment, and the butterflies show the 'transformed and enlightened' souls that the stag had guided through to the Afterlife...”
Pencil, Gold Leaf and Acrylic on Canvas 150 x 120 x 4 cm £3500
58
LUKE M. WALKER Work in Progress III
About this piece: “My practice explores the transitional nature of the built environment. It documents my activities both on the streets and in the studio, through large scale paintings of buildings in transition that are both constructed and undone by the material fluidity of my chosen medium of paint on canvas. This piece is part of my 'Works in Progress' explore the nature of the building site. Through a set of processes that reflect the act of construction; moments of fluidity, interspersed with more rigorous definition and consolidation. They express the materiality, the tension and inherent danger of a building under construction, but also the energy and sense of anticipation it generates. In its semi-completed state the new Tate Modern extension by Herzog and de Meuron straddles the boundaries between Architecture and Sculpture, something that will probably be lost once the windows are installed and the hoardings removed. It is my 2015 Signature pieces as it most represents the journey I have been on this year in my own practice both physically and mentally.”
Acrylic Sprays, Oil on Canvas 190 x 130 x 6 cm £2800
59
LYNSEY GILMOUR Fallen Paintbrush
About this piece: “’Fallen Paintbrush’ is a painting I created during a critical turning point in my practice. This painting introduced my interest between the object and the flattened shape, the stilllife object installations I make in my studio and the more traditional two-dimensionality of painting. This shift between 3D and 2D is referenced in the painting; the less recognisable objects sit within a suggested three-dimensional darkened space, with an object (/paintbrush) resting at the bottom edge of the pictorial frame in the Baroque 'tromp l'oeil' painting style.”
Oil on Steel 39.3 x 61 x 0.01 cm £1300
60
MARC HEATON About this piece:
Mass Produced Perfection
“Through the appropriation and mediation of photographic sources my work aims to consider the viewer’s fundamental desire to interact with the connotative themes inherent within my practice, and more importantly their imposition of meaning arrived at through their own experiences of an equally ambiguous nature. I understand the human face to be an extension of the inner character, a vessel into which must cascade the external influences relative to our individual experiences. To exploit this understanding my practice focuses on the unison of certain features that correspond with, or share a sense of familiarity, yet originate from contradictory or polarised beginnings. The juxtaposed portrait acts as a point of departure, to allow the removal of any tangible authority, whilst simultaneously promoting a sense of informed reality. The reworked image helps to establish a receptive state of mind within the viewer, to promote sensations that relate more readily with the instability of surrealism. The manipulated composition demonstrates a capacity for narrative, albeit a variable narrative which is linked directly to the viewer’s own conscious, realised through a personal reassessment of the most instinctive of human needs: the desire to read and understand the human face.”
Acrylic Paint on Canvas 74 x 100 x 0.4 cm £2500
61
MARIA SALGADO Dear Nico
About this piece: “This painting was made in London in 2013, due the final project of the Master in Fines Arts at Chelsea College of Art and Design - University of the Arts London. The project's main subjet was the boundaries between humans and animals, and relationships between them.”
Oil on Paper 150 x 80 x 3 cm £1100
62
MARK LLOYD About this piece: Examination of Purpose and Technology of the Human Condition Aiming at Piercing the Superficiality of Holographic Modern Existence
“The painting posits questions about the human condition in the age of modern technology, and intends to ask the viewer to examine the unseen qualities of humanity and 'choice'. The painting intends to evoke the viewer to look beyond the material and underneath the surface of an age which is bombarded by superficiality and simulation (the non-real) of contemporary existence. In this non-real age that has evolved through our relationship with ever increasing technology, our understanding and meanings of the human condition have been distorted and lost. The painting asks universal questions about order/chaos, cause and effect, positive/negative etc. This has been identified through choice imagery and painting methods and techniques. The viewer is asked examine their own human condition. The work asks the viewer to look for the unseen qualities of our humanity the unquantifiable and unmeasurable - concept of soul of spirit. The concept of soul of spirit is also introduce through the choice of materials of which the painting is made. It has been said that in modern/postmodern times images in the age of mechanical and digital reproduction have lost their 'aura'. Through the process of burning other art works and adding them to the very pigment of the paint I have attempted to reintroduced; 'aura', spirit or soul similar to the Hindu process of antyesti.”
Pencil, Spray Paint, Oil, Pigment Made from Ashes of Burnt Piero Della Francesca, Kazimir Malevich & Jackson Pollock Prints, Enamel on Canvas 180 x 70 x 7 cm £5500
63
MARTA CZARNECKA Act of Self-Awareness
About this piece: “’Act of self-awareness’ belongs to a series of paintings and features a brief moment of a confrontation between our consciousness and something that until now has been sleeping, misty and that we haven’t realized it’s been existed. A complicated, multilayer structure of our psyche is made of a large number of elements like: primal preferences, mixed external incentives, an experience, emotions, an influence of environment etc. When time is passing, this structure constantly, anew becomes distorted and overbuilt. I describe a part of the ego, which is revealing under the influence of a concrete moment or situation. Till that time, the fragment of our psyche makes a mystery for us and the moment of its unraveling not infrequently elicits mixed feelings: worrying, satisfaction, surprise or even a lack of acceptance.”
Oil on Canvas 100 x 120 x 2 cm £900
64
MATTHEW HOWE King Kanye V on Horseback
About this piece: “This modern recreation of ‘King Charles V on Horse Back’ by Anthony van Dyck was inspired by my response to ‘A Rakes Progress’ by William Hogarth 1732 and it’s obvious similarities to the modern day story of lotto lout Michael Carroll. After completion of my modern rakes progress series I began to look for other period paintings that would, with a modern recreation, further reference history’s cyclical nature. With this painting ‘King Kanye V on Horseback’ I am continuing my observation of the similarities between the days of the aristocratic era and our modern celebrity culture. I frequently comment on our consumerist culture and the hierarchy associated with high end and celebrity endorsed brands.”
Oil on Canvas 123.9 x 197.1 x 6 cm £12000
65
MAUREECE TAYLOR Christ Church Vista, Transparency 2014
About this piece: “In my practice I am interested in exploring the layered spacial relationships between man and nature. I try to ask as to how such relationships are created and what happens within them. To do this I use the platform of painting. I use painting as I feel it allows me to replicate and perhaps recreate such relationships and how they are formed. In this I feel I have hit the balance just right. It consists of a loose tarpaulin panel depicting a view of Christ Church in Chiswick. I feel the fact that it is loose acts as a sort of objective comment on how the vista is not a space. It is unconfined; loose. It is strange as you can almost say it occupies a physical space but is not space. On its own the painting becomes somewhat an unexpected paradox. But add into the equation the viewer and they contain it. They make it a space. In terms of the materiality of my work I work on a ground of tarpaulin. The ground of tarpaulin evolved over my recent degree to become almost this objective metaphor of how I see the world and indeed my environment. I have tried to make full use of the tarpaulins capabilities and display it in such a way which allows it to use the floor space as well. I feel by looking at the actual space this painting is inhabiting more closely one creates more of the experience of the view. Perhaps my painting are loose experiences; my experiences. But with the addition of a viewer they become space in their own right.”
Acrylics on Tarpauline Sheet 400 x 700 x 0.3 cm £935
66
MELIS OLANAN Untitled About this piece: “My work is the result of the combination of painting and drawing reflecting the freedom and comfort of making sketch on a canvas. I feel this enables me to reflect a different thinking way and a visual language. In my paintings, I am interested in creating illusionistic forms by lines and scribbles using a marker pen. They all come to play, as I experiment with new ways to create a dreamy image. I aim to express subjective and dreamy compositions by using contrasting marks, lines and forms all from everyday life. For me, drawing brings a simplicity and persistence, and by mixing it with conventional paint, different volumes and densities emerge on a single work. This creates curiosity among the viewers to come closer to the works. My ultimate goal is to make the viewers think about my works and find themselves dreaming and interpreting their own stories.”
Acrylic and Marker Pen on Canvas 100 x 150 x 3 cm £2300
67
MIRIAM BEAN Concealing Sentimentality
About this piece: “A blurred amalgamation of 70s slides depicting yellow blossom, concealed by layers of painted rubber. Peel away the layers; destroy the work, to reveal the photograph underneath.”
Acrylics on Tarpaulin Sheet 400 x 700 x 0.3 cm £935
68
NATALIA SZEWCZYK Self Portrait
About this piece: “This painting was created by Natalia Szewczyk. She was using soft pastels. Szewczyk wanted to tell about her personal fear of results of choices. "Expose yourself to your deepest fear; after that, fear has no power, and the fear of freedom shrinks and vanishes. You are free." Jim Morrison
Soft Pastels 70 x 100 x 0 cm £45
69
NELL ALLEN Penis Paintings About this piece: “The Penis Paintings, singularly referred to as 'I WANT U 2 CUM ON ME, LOVE ME WITH UR PENIS, U SO PRETTY LETS FUCK' are a set of paintings referring to my exploration of the character of Bruce the Angel. Bruce, he is an angel that I have placed within religious ideology where the consummate of God has been replaced with imagery of sex. My studies into the ideas of simulation lead me to explore themes of the dissemination and propagation of imagery leading to the dissociation with real interactions and feelings. Ideas of obsession and delusion filtered down into my paintings, the image of love becoming a fixed idea of engagement as the crux for human interaction, but being represented through media as sex, creating a disengagement with its meaning and with the reality of love becoming an unattainable fantasy. My painting as a result of these explorations is a set of three crudely extravagant paintings using style and colour to produce a facade of a childish painting, which pictures Bruce exploring sexual fantasies and sexual humiliation as a result of a miscommunication of the reality of love.”
Acrylic on Perspex 100 x 200 x 30 cm (x 3) £6000
70
OLIVER MAY Subterraneans
About this piece: “My practise explores our relationship with technology, using geometric shapes, alluding to the presence of an object, which are often unlike typical representations of technology, such as standard flat screen televisions or mac books. But take elements from defunct appliances, to make an image, which seems both familiar and strange. New forms of technology are often slick and devoid of any personality, models of televisions taken from the sixties and seventies use a wider variety of materials, and a greater diversity n shape and design. Objects would reference the space race, the atom bomb, as well as the need for a stylized piece that would make a statement. I actively search out images from out-dated science fiction films, such as the original ‘War of the Worlds’. Combining these two elements of out-dated design and science fiction, gives the rendered images a strange quality of being both familiar and unfamiliar. The sickly often-jarring colours add to their strangeness. I aim to evoke an idea of these appliances with faded faces, as a type of living organism, as if the faces inside an appliance are one and the same, a type of digital pupa. The faded faces are often those of past celebrities. The way in which they are rendered only vaguely distinguishable which stems from reading ‘The Machine Stops’ by E.M Foster: ‘I see something like you in this plate, but I do not see you. I hear something like you through this telephone, but I do not hear you’” Acrylic on Canvas 50.5 x 40.5 x 1.5 cm £375
71
PHIL FRANKLAND Untitled (Orange)
About this piece: “I work both with ‘live’ paintings, as well as digital reproductions of these paintings. Once digitally rendered, these print-outs feed back into the process of painting through collage. Tension mounts between the quickness of manipulating collage and the gestation period painting requires. The tactility of both mediums is questioned, as paint and collage coalesce or destabilise each other. In the ease of its manipulation and its mutability, collage can be mistaken for a ‘non-precious’ material, yet equal consideration is applied to every element – in turn, careful and concise compositions emerge which hold an air of underlying discontent. In the case of this painting, the collage element has been rendered in paint, questioning the role of both paint and collage in the piece. The thinness and artificiality of the aluminium painting surface creates a unique sheen to the paint, almost like pages in a glossy book, and allows each painting to exist as a 'part' or section of a much larger whole scene. I feel that this particular painting represents my current practise in its concerns with both painting and collage, and the way they can be manipulated and combined.”
Oil Paint on Aluminium 29 x 25 x 0.5 cm £700
72
PIHLA GROSS Visual Dictionary: Purified
About this piece: “This piece has several textured layers with some graphic elements and with some fluid use of media. It captures an abstract style landscape with a lake and a dark forest. The word 'purified' is hidden in the woods.”
Acrylics, Indian Inks, Crackle Medium, Newspaper Print 29 x 25 x 0.5 cm £180
73
RAY RADNELL Actions Speak About this piece:
'Actions Speak' is a large Self-Portrait with an ‘Identity and Reflection’ context. Exploring the emotions, thoughts and feelings in a biographical form of a particular event / time to evoke empathy and questions from the view. The image is a self-portrait of myself as a mime, unable but wanting to rectify past decisions and reflecting on choices and paths which could have been made differently and how they affect the perceptions that others have of you and how we individually change. The choice of wood (Russian Birch) was chosen for the clear light colour to emphasise the paleness of the mime’s face and to give contrast to the dark scorched and burned mark making. Pyrography and fire is a medium which I fell in love with and encompasses everything I do. The element of fire is unpredictable and this lends itself well to my physically emotive making. I use a single tip wire and blowtorches to produce my portraits. The mark making records the process, if a mistake is made then this cannot be changed and is scorched deep into the wood permanently. The medium reflects my context.”
Pyrography, Fire, Blowtorch on Russian Birch Plywood. Red Watercolour 172 x 172 x 18 cm £210
74
RHIANNON REBECCA SALISBURY Hide the Axe
About this piece: "’Hide The Axe’ is a triptych consisting of three canvases measuring 150cm x 150 cm each. The image contains hidden words recollecting strong memories of a lingering dream. The painting is an expression of the feelings i had recollecting the dream from the night before. There are hand marks and splashed paint reflecting the violence of the memories. The marks in the image are tied together by two fluid intertwining twists, one in green and the other in purple.”
Acrylic and Oil on Hand Stretched Cotton Canvas 150 x 150 x 3 cm (x 3) £2200
75
RITA SENNIK The Embrace About this piece: "My practice explores the emotional dynamics of being a woman, celebrating the female form, not as a classical perfection or an object of voyeurism or even in its physical reality, but as the embodiment of the psyche obliviously engaged in its own particular dimension. The monochromatic work I have submitted is one in a series titled, ‘The Embrace’, exhibited as a part of my B.A. Degree Show at the Winchester School of Art in June 2014 and later at the Barge House, Oxo Tower in London in July. This series represents the physical manifestation of the multitude of inferences of the word ‘embrace’, its positivity, warmth, acceptance and inclusion. In these paintings, I attempt to capture the immediacy, touch and movement of making, accentuating the tactility and texture of paint, to insist on parity between the subject, the process of creation and the substance of the work. Considered experimental and incomplete, these attempted ‘portraits of emotion’ are an invitation to the viewer to speculate, interact and let memory and imagination finish the picture.”
Acrylic and Oil on Hand Stretched Cotton Canvas 60 x 170 x 50 cm £1750
76
ROMY GALLOWAY Untitled (Joe)
About this piece: "This piece appropriates and joins two images, one my own photo taken on my phone and the other a classical painting. The teaming of these kinds of images happens regularly through the availability of images, and the way in which we collect and store this simulacra. The intent of this painting is more to highlight and utilise the material properties of the digital image, its qualities in shape, texture, colour and light. The traditionally opposing ideas of pictorial space between that of the digital screen and the painting, meet in an interesting balance of the two. Amidst a refusal of the rules of perspective within the painting plain, the surface of the thing comes to the fore. The 'objectness' and physical materiality of the work sits in tension with the presence of the figures. The image caught between a state of becoming and unbecoming a 'real' something with presence, and the inescapability within the piece, of the reality of 'the image' as a representative structure.�
Oil on MDF 14 x 30 x 2 cm ÂŁ900
77
RORY FLYNN Duration
About this piece: “This piece is part of a performance which had me running around a field dragging the canvas until I became exhausted. I worked over it with a broom also pushing my body to the limit, really forcing my body into the canvas material. Once dry I stretched on a frame. It is an expression of the body's limits and how as an artist you can extend the body through mark making. The lack of rabbit skin glue relates it to the past traditional painting of Turner and Constable.”
Oil and Mud on Canvas 70 x 50 x 0 cm £225
78
RUSSELL GORDON JONES In Beautiful Dreams
About this piece: “'In Beautiful Dreams' is part of a series of paintings that aim to intrigue, unsettle and create a disturbance within an assured mind. As a claustrophobic interior space, with an inference of the surreal, it ignites upon the canvas a conversation between what is stable and unstable, focussed and unfocussed, permanent and fleeting. By portraying limited spaces, often with covered windows and closed doors, I attempt to put across a palpable sense of isolation and vulnerability.”
Oil Paint 82 x 102 x 3 cm £850
79
SARAH PALMER The Dive
About this piece: “This painting is my signature piece because it marked a shift in my practice. When I made it, I was very unsure of it; I considered it unfinished for a long time. A good friend convinced me to stop working on it. It is complete because it has just enough visual information. Not too much and not too little. This is an approach I have used in all my subsequent paintings. The rawness that comes through in this painting is present in all of my best paintings. I created this piece about a year ago in December 2013, but I still decided to feature it in my degree show in June alongside my more recent work. Even now, a year after its creation, it is still perfectly in line with the ideas and aims behind my practice.”
Acrylic on Board 30 x 40 x 2.6 cm £500
80
SARAH FOYSTER The Catch
About this piece: “During 2014, I have been researching and exploring the anxious uncanny, through my art practice, predominantly taking the form of paintings and drawings. This signature piece, entitled 'The Catch' focuses on my concern and understanding of psychological effects upon the human condition, borne out of different physical and mental traumas. Through 'The Catch', I have examined the liminal boundary between the self and 'other' through the History of Hysteria and the work of Jean-Martin Charcot I have used the stick insect as a motif, which itself becomes Cataleptic when being hunted by a predator. Through its rigidity, the insect mirrors a stick and avoids being eaten. This state of Catalepsy, is derived from the Greek word meaning 'to seize or catch.' 'Catalepsy and re-animation of the dead have been represented as most uncanny themes' Freud, S. The Uncanny, Imago Pg 16 I have examined these imaginary and real spaces using visual motifs, such as insects for social control reflecting on the qualia of anxiety. Through a reinterpretation of form, a misuse of scale and ratio within figuration, I have played with combining monochromatic and heightened colour. Using the traditional medium of oils and by layering and fragmenting, I am attempting to challenge the emotions of control within society, such as distress, dissonance, disassociation, surveillance and misinformation.”
Oil on Canvas 100 x 150 x 3 cm £2540
81
SARAH POOLEY Bowling Balls
About this piece: “’Bowling Balls’ demonstrates critically the thinking involved within my work. The intension is to demonstrate a deconstruction, of a three dimensional social experience onto a two dimensional space of the canvas. My work involves the exploration of the simulated space from which socially, humanity responds. The painting depicts the industrialised colour use and atmospherics created within the social space. The space interacts with the viewer as the perspective creates movement between the different abstract elements.”
Oil and Glitter on Canvas 119.5 x 173 x 5 cm £1200
82
SIMONA FIGELOVA In My Life About this piece: “This triptych is called ‘In My Life’ and it is about the living, dying and remembering. The first piece represents a life lived alone, the second piece represents dying alone, and the last one seeks to ask the question “what is left when somebody who has lived alone, dies”. The answer is “our sins and the good we have made”. In this third piece, sins are represented by the black strokes in the background and the good deeds are represented by golden lines. What is interesting about the third piece is the fact, that it can be actually displayed in different directions. My main idea was the one what can be seen on photos, but when the painting is turned upside down, or is displayed horizontally, it has a very different meaning. Where did this idea come from? I almost dreamed about it. Almost, because I was not in sleep but in the phase just before the sleep...in the phase when you can remember what you were ‘almost’ dreaming about. The next day when I woke up, I just knew what to do.”
Acrylic 100 x 150 x 3 cm £1300
83
SOFIJA SUTTON And the Bees Made Honey in the Lion’s Head
About this piece: “Original painting in oil on board (deep lavender sides and back support meant to be displayed unframed). The title of this piece comes from a Grateful Dead lyric, which is an interpretation of a sentence from the bible story of Samson and Delilah. The ideas of life coming from death and the meek but numerous thriving over the strong but singular entity is just one take on consumption I wanted to address in my work. Here, I've tried to paint someone crumpled into themselves as their face expresses pleasure in what could be seen either as an act of eating or of vomiting.”
Oil on Board 60 x 90 x 2 cm £600
84
SOPHIE DERRICK Fleuro Neuro #4
About this piece: “My work incorporates the two mediums of painting and photography. I have a great interest in the materiality and substance of paint, and execute this interest through photography, creating a juxtaposition of the two mediums. I photograph the act of painting on to my skin and then paint on top of the photographs, creating a layering of image of paint and painted image. My body becomes the canvas for the paint, questioning the traditional concept of painting and portraiture, and the barriers between painting and photography. The body becomes both object and subject in the work.”
Digital Print Mounted on Dibond and Face Mounted on Perspex, Acrylic Paint 130 x 100 x 1 cm £2800
85
TINA JENKINS Metamorphoses
About this piece: “Metamorphosis came out of an installation I put together in 2012 but wasn't completed as a painting in its own right until 2014. It depicts the saying of Argus by Mercury in Ovid’s Metamorphoses but the characters have been abstracted. They are no longer part of Ovid’s story but of mine.”
Acrylic and Gloss on Plastic Sheeting on Birch Ply Frame 170 x 170 x 2.5 cm £7800
86
TOM DAVIS The Fall About this piece:
“What happens when one loses faith? Everything becomes static. ‘The Old Gnosis’ a visionary style of perception that diverges on the power of the divine, the ability to see the infinite in the finite and the finite in the infinite. This notion is explored in my signature piece; a traditionally framed painting has been grounded, a potentially infinite painted column crashes into a sculptural relief painting that inevitably escapes the frame as a sculptural object on the floor. A visionary textured plain concealed within the objects construct is obstructed by a missing/removed piece refusing the audience to be immersed in its entirety causing a problematic push, pull effect for the viewer. Brutalism, a distinguished atheist architectural style, attempted to delude the viewer by presenting wood grain on its concrete surfaces, the illusion in this instance is presented with card, Felt liner and Biro imitating natural textures and mass produced print a medium that directly opposes the values of traditional painting.”
Card, Biro, Felt and Acrylic on Board and Canvas 70 x 140 x 100 cm £1390
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TOM PALIN Silver Birch
About this piece: “This work consists of two panels of oak, fixed together. It forms a part of an ongoing investigation into the relationship between image and paint. I'm not sure I believe in representation enough to hide paint behind it. Nor is my love of paint alone such that it feels sufficient to push it around unhindered by the desire to fashion it into an image. The layers, texture, grain and edges of the painted support reaffirm the object of painting. However seductive the representation, the painting is never wholly elsewhere.”
Oil on Oak 11 x 9 x 2 cm £1200
88
TOM WARING Dig Site; On the Brink of a New Day
About this piece: “I think of my work as a means of escape, another world that, while attempting to leave this world behind, still echoes many contemporary concerns regarding landscape. If Modernism sought to control nature, then Post-modernism could be seen to ignore it; now our attitudes air towards preservation, or at least the realisation that we need nature more than it needs us. The increasingly inhospitable and waning ecological health of the landscape, dwindling resources and increased globalisation of commerce and communication could be seen as today's equivalent of the industrial revolution; Blake’s "dark satanic mills." Dig Site occurs in a fictional elsewhere, a place that attempts to leave our concerns behind and revel in a Romantic fairy tale. Digging might symbolise the incessant search for something else to burn or the finding of a new future.”
Oil on Linen Canvas 110.5 x 163.5 x 5 cm £5000
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VALENTINO BARDINO Antenna 9
About this piece: “This ‘contemporary landscape’ is the expression of the emptiness of our times and the absence of ourselves; we live more and more in artificial and transient spaces; we spend most of our lives in these facilities. This ‘visual’ leads me to consider particularly the speed of our times that has drastically altered our perception of the landscape. The sights, sounds, tastes, temperatures and smells of the material world are reduced to a two-dimensional view; as if, between our vision and the scenery there is a screen. This is all due to the continuous movement that makes us ‘distracted’. We learned to miss the complexity and details of things. We are unable to assimilate everything that surrounds us and we reduce what we see to the essential. On my ‘contemporary landscape’ I am seeking a continuous comparison perspective and the monochrome background used in all my works, that depict a precise obsession, perhaps a landscape that does not exist today, almost surreal with a twodimensional painting. My paintings want to give emphasis to the landscapes which I investigate in a process of vision, memorization and restitution and voluntarily lingers on fascination and emotions. My aim is to create a dry and synthetic result almost near to the concrete poetic with the paradoxical forms of the abstract geometric shapes given by the engineering design.” Acrylic on Canvas 40 x 30 x 3 cm £300
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WILL WILFORD Untitled
About this piece: “I have chosen to submit this work as I feel it is the most recent and relevant example of what my artistic practice aims to achieve. Through mismatching and juxtaposing of various forms that I have taken photographs of, the paintings I produce aim to explore the de-contextualization and amalgamation of various man-made interior and exterior spaces, while experimenting with the effect that the inclusion of geometric shapes can have on an architecturally themed image. With the painting you see submitted I have aimed to communicate all of this whilst trying to retain a visually striking composition.”
Oil on Canvas 140 x 100 x 5 cm £600
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ZEN O’CONOR Eyes Wide Shut
About this piece: “This piece depicts a Florentine mask, a token from my time spent studying in Italy. The shepherd boy resembles some of the characters I experienced whilst living there. It was painted in the tenebrist or chiaroscuro style most famously attributed to Caravaggio and gives a glimpse into this bizarre Disneylandesque Florentine lifestyle.”
Oil on Linen, Fine Weave Canvas 60 x 45 x 0.3 cm £1200