Valota - Arborescence 3 - wax, pigments and gold on wood 168 x 136 cm framed
This year theme was selected to offer deliberately a vast range of possibilities embracing subjects as diverse as cyber space and the environment. Whilst being timely we wanted to select a topic that reflected a cultural shift that is happening now or that it is about to happen. From the space we work or live in, to the new concept of space as the required distance between us, or from the importance of shapes in defining space to the abstract idea of it. Our aim is to explore its concept through the very unique point of view of each of the artist or the projects selected.
ArtMoorHouse aim is to establish a unique platform for promoting an unsurpassed synergy between creativity and business. We create curated visual experiences and presentations, working with emerging and internationally acclaimed artists. We strive to engage, inspire and provide a talking point and an ice breaker in the banking and commercial environment.
LONDON WALL EC2Y 5ET
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With a network of 1500 international artists, arTbridge facilitates the creation of meaningful art collections that enrich your work or living environment, permanently through acquisitions or temporarily through rental.
Daniela Ribeiro- Sun 4 - oil, acrylic and epoxy resin on fibreglass , 150 x 150 cm
4 October – 13 December 2022
ArtMoorHouse, Moor House building 120 London Wall EC2Y5ET London, UK
Mada Vicassiau Alexander Hinks Barry Andrews Daniela Ribeiro Eleonore Pironneau Gilles Jaroslaw Gosia Kryk Hermione Carline Jasmine Pradissitto Lee Panizza Marek Emczek Olszewski Martina Furlong
Pascal Pilate Paul Critchtley Perdita Sinclair Robyn Litchfield
Jonathan’s painting practice is often composed of a contemporary rendition of the human form. The surface is a catalyst, behind and throughout his painting. His relief prints, stencils and photographs of the figure are used as supports, concluded chromatically in oil paint.
Personal Space A dialogue between photography and painting on the canvas, describing the space around a dancer.
The Terpsichorean Muse The series of paintings began with stencils on stretched linen, into oil paintings. A traditional picture plane for the dancer to touch with gesture.
Strictly Shadows In the photographic prints, fragments of the dancer touch the unanchored linen as she moves, a billowing picture plane. In each series, she is most clearly defined by flattened shadows, denying space. The music of Terpsichore herself is implied.
Jonathan Ellis
Strictly Shadows 1,2, and 3 c-type photographs, each unique. I2 variations of each of the 3 image 42 x 29.5 cm
Jonathan
2013 to present
Artist, life class tutor and co-founder of Raw Art Courses 2013
Director of Art at SPGS, London ~ left to practise art 2004 to 2013
Director of Art at The Cheltenham Ladies’ College 2000 to 2004
Life Class Tutor at Edinburgh College of Art, part-time 1997 to 2004
Head of Art, The Edinburgh Academy
1988 to 1997
Art Teacher (printmaking), Malvern College
1985 to 1987
SAS Diploma in Printmaking – Etching at Central School of Art 1982 to 1985
Diploma in Fine Art (Painting) at Royal Academy Schools 1981 to 1982
Foundation Course in Visual Communication at LCP
Jonathan Ellis: An Artist’s Studio, PAC Gallery, Cheltenham 2012
Jonathan Ellis: Looking Ahead, PAC Gallery, Cheltenham 2002
Adapt Now, Kelvingrove Art Gallery, Glasgow 2000
Contemporary Scottish Art, Bonham's, Edinburgh 1998
Scottish Artists and Artist Craftsmen Open, RSA, Edinburgh 1998
Society of Scottish Artists Open, RSA, Edinburgh 1992
Cheltenham Group Open 1987
National Print Exhibition, Royal Festival Hall, London 1986, 1987
Royal Society of Painter-Etchers Open, Bankside, London 1984,1985
Royal Academy Summer Exhibitions, London
Free Fall Cotton canvas and organdie 86 x 65 cm
Mada Vicassiau
French artist, Mada Vicassiau, lives and works in London.
Born in the south of France, she obtained her DNSEP at the National School of Art at Paris-Cergy in 2002.
After her graduation she started working in London on the visual identity of All Saints for two years. This was followed by a series of collaborations with sound artist Kaffe Matthews, visual artist Ella Gibbs, curator/writer David Lillington, artist Tai Shani, artist Rosie Cooper, fashion designer/artist Marjan Pejoski,
among others. In 2007 she started working as a creative associate for Ralph Lauren.
While working at Ralph Lauren she kept working on her own art projects and also set up an independent practice as interior designer. Mada Vicassiau’s intuitive works are created with many different materials carefully collected. Precious fabrics or odd objects, sometime fragments, sometimes a colour are inspiring elements in the process of creating new work.
Drawing on her formal training, Mada’s work is driven by the exploration of visual elements: colour, form and space.
Influenced by the modernist tradition with a minimal aesthetic, her approach is a subtle investigation into the effect of light on perception and
plays with the contrast between the organic versus the abstract geometric.
In Free fall, Mada Vicassiau deepens her investigations into the effects of light on surfaces and the dialogue between the pictorial and the architectural space. Mada Vicassiau’s sewn canvases series explores the rich territory between sculpture and painting. Materiality and process are central to her
practice and evoke functional architecture mixing the materiality of canvas with the sheer organdie and revealing the structure of the stretcher giving the viewer a more multidimensional experience.
In addition, chance plays a significant part in enabling my work to evolve uniquely through the interplay of thought, medium and moment. Painting is at the core of my practice but I also make sculpture, installation and have worked with virtual reality and they inform my painting as I strive to represent space and other elements.
My practice embraces the relationship between nature, technology and the sublime and my work resembles peering into another world where bold geometric structures contrast with the fluidity of the softer, curved shapes. The voids and chasms of space allude to visions of universes but could also be interpreted as images of microscopic chemical reactions.
228 cm
Alexander Hinks (b. London 1985) studied at Wimbledon School of Art, receiving the Vice Chancellor's Award, current member of The London Group and curator at The Cello Factory. Recent exhibitions include Embracing the Underdog, Q-Park Soho, 2018. Nothing Endures but Change, St John’s Waterloo, 2018. Defining Structure, The Cello Factory, 2018. Protocol, Cavendish Square, 2018. In The Dark, The Cello Factory, 2019. Miniscule, Venice Biennale, 2019. London Group, KCC, 2019. Amalgamation, The Cello Factory, 2019. Drawn to Another World, The Cello Factory, 2020. Re-Defining Structure, Online, 2020. LG Annual, Online, 2020. Model Marquette, The Cello Factory, 2021, Edge to Edge, The Cello Factory, 2021, Horizon, The Cello Factory, 2022, Sound & Vision, Merton Art Space, 2022. The unknown has always captured my imagination and, although entirely abstract, my work re fl ects the diverse elements which surround us. I have a set of processes for creating each painting involving pouring and masking and also colour is of major importance.
‘Ordered solution to a complex question.’
Personal space need not be confined nor defined, but it is a prerequisite for our mental wellbeing, our escape space, our reflect and healing space, our happy space.
Barry Andrews September 2022
Ordered Solution To A Complex Question Oil and mixed media on canvas 180 x 155 x 16 cm
1970 Offered place at St Martin’s School of art.
1970 – 2006 Research
2006 Studied at Thurrock College, Diploma in Foundation studies
2007/10 Studied at University of East London, fine art painting
Awarded a First with Distinction and Course Directors Prize.
2013/7 Represented by The John Russell Gallery, Ipswich with three
successful solo shows until the owner’s retirement.
2013 to date represented by Stefanie Bergot at Artbridge London.
Paintings sold worldwide including the permanent collection of Claridge’s Hotel London.
Works independently of commercial galleries and continues to sell paintings through his website.
The artist’s awe was compounded with a recent experience, in which she had the opportunity to enter the Hubble telescope and be able to look at the sky ‘scientifically,’ with a nearstunning level of detail. There, far from her country, Daniela rekindled the (emotional) connection that brought her close to the universe.
4
Daniela Ribeiro
Angolan of Portuguese origins, Daniela Ribeiro was born in Mozambique in 1972.
The artist’s work is concerned with Man’s place in the world and the Universe. From being a part of Nature, Man has become an empowered engineer who has attempted to reshape the world around him.
Ribeiro’s work observes that facet of humanity and how it breaks away from its former limits. Man becomes bionic, and connects himself to everyone and everything. Currently her pieces are made using parts from technological devices such as computers or mobile phones, transformed to create poignant pieces with movement, audio and video, connecting man to possible instances of artificial intelligence and bionics
2022 - Restyling of Angola's Airport -Protocol Area | Luanda
2022 - Residência Artística CarpeDíem | Luanda
2022 - Olhos Biónicos, Artista Convidada Just Lisbon | Lisboa
2022 - Trono Quântico, Tagus Park | Lisboa
2022 - Trono Quântico, Altice | Lisboa
2021 - Génese, Instituto Sapiens | Luanda
2021 - Trono Quântico no Pavilhão de Angola - EXPO DUBAI
2020 | Dubai
2021 - Residência Artística Gaïa.Meco: Trono Quântico | Aldeia do Meco
2020 - Residência Artística Gaïa.Meco: Trono Quântico | Aldeia do Meco
2019 - Ancestralidade e Tecnologia - Kubata Quântica, Sky Gallery | Luanda
2019 - Residência Artística: Ancestralidade e TecnologiaKubata Quântica | Luanda
2018 - Diretora de Cenografia do Canal ZAP | Luanda
2017 - Ninho do Amor | Web Summit, Pavilhão Portugal
2017 - Exposição Reciclospetiva, Espaço Galeria ELA | Luanda
2016 Global African Profiles | Gallery of African Art, London 2016
O que é ser Global | Centro Cultural Banco Económico 2015 “Andar nas Nuvens” | Centro Cultural Camões
2013 Our Culture | Academia BAI, Luanda
2012 Sun, Moon & Earth | Alfa Gallery, London
2011 Uniqueness of Time | HighHill Gallery, London
2011 The Bionic Eye | Fiat Marylebone Gallery, London
2010 The Bionic Eye | Casino de Lisboa, Lisbon
2010 The Bionic Eye | Fundação Portuguesa das Comunicações
2009 Uniqueness of Time | ESCOM Tower, Luanda
2008 The Observer | António Prates Gallery, Lisbon
2007 Egocentro | Edificio Galeria BANIF, Lisbon
2006 Nós, os mesmos | Gallery Art 12, Lisbon
2005 Multiverso II | Ordem dos Engenheiros, Lisbon
2004 Multiverso I | ArtinPark Gallery, Lisbon
2004 Under Fire | Trussardi Showroon, Lisbon
2003 Ciclotimia | Hotel Vila Galé, Lisbon
Eleonore PironneauIn the paintings Mystery of Space, space seems to condense itself into silvery floating forms. Appearing through holes in the foreground, space is represented as a black void which is the background of any layer of matter. As if an eternal and limitless stillness was always behind any movement of the mind, any field of energy, any form of life.
metallic pigments, acrylic and ink on paper mounted on canvas in a white tray frame 120 x 95 cm -125 x 100 cm framed
Eleonore Pironneau
metallic pigments, acrylic and ink on paper mounted on canvas in a white tray frame 120 x 95 cm -125 x 100 cm framed
Eleonore Pironneau
Holding a Fine Arts Master from the École Nationale des Arts
Décoratifs de Paris, Eléonore Pironneau is a visual artist working in London and in France.
EXHIBITIONS (selection) :
2022 BRAFA Bruxelles, Galerie Schifferli
2022 Galerie Rachel Hardouin, Paris 10e - Solo show
2022 Espace des Femmes, Paris 6e - “Moi l’Autre” Photographs
from Ana Bloom and Eléonore Pironneau 2021 Enlacés [...] un discours autour - Solo show, Couvent St Césaire, Arles
2020 BRAFA Bruxelles, Galerie Schifferli
2019 Vanitas, curated by Hynek Martinec, London
2014 Royal Academy Summer Show, London
2013/14 Change of Signature, Testbed1-London and sometimeStudio, Paris
2013 Noise & Whispers, GV Art Gallery, London
2010/14 Bicha Gallery (Solo Show, London Art Fair, Art Chicago, Art Toronto)
2003 Centre Contemporain Bouvet Ladubay (Solo Show), Saumur, France
1996/2009 Art London, Art on Paper, Discerning Eye, Hunting
Art Prize, Galerie Patricia Dorfman, etc.
2019 Art and writing residency at Centre de Culture et de Ressources Lizières - Epaux-Bézu, France 1996 Art residencyChateau de Bionnay - Lacenas, France COLLECTIONS
Eléonore Pironneau artworks are part of the following collections: Centre de Culture et de Ressources LizièresFrance / Centre d’Art Contemporain Bouvay-Labuday, Saumur / Foster & Partners, London / Bibliothèque de l’Arsenal, Paris, and private collections.
Change of Signature, an experimental project in collaboration with 10 renown musicians such as Sarah-Jane Morris, Jerry Granelli, Ramuntcho Matta, Antonio Forcione, Martyn Barker, Lola Perrin and Tony Rémy, who each created an original music piece for the installation. This multimedia project explores the transposition of pictorial artworks into musical pieces. https:// www.youtube.com/watch?v=3eQyd4KYd2Q/
2020 Enlacés [...] un discours autour - Book, photographs and texts by Eléonore Pironneau. Préface by Ramuntcho Matta - 72 pages, paper back.
The viewer chooses one second of this moving piece and fixates it in a unique print.
Each digital artwork is printed on Japanese paper 40 x 23 cm and is signed & labeled with the second in the sequence
Jaroslav
Gaia, our planet, a tiny part of a cosmic whole, immersed in the primal permanence of an amniotic, hypnotic liquid.
A Life chain in perpetual movement. One must not break it, but tell its tale.
Catch the rhythm of what’s immutable.
Look at it as it should be looked at. Fair and square. 1920 x 1080 pixels to capture, in one gesture, the strange hieratic beauty of the original flux.
Blockchain is a series of twelve films, mirroring our DNA sequencing. Links of space and sounds reinventing the mantra of Life in sequence shots.
Here, viewers become demiurges. They choose one second of this moving piece and fixate it in a unique print. They take ownership of it, and become actors and creators of an elementary particle of that Blockchain, making it their Talisman.
The one off lived-through experience.
Digital print on Japanese paper 40 x 23 cm | signed & labeled by the second of the sequence
“… You see in it what you want to see …”
Along my path of self-discovery, as an artist I realised that, my time of study at the design department of the Academy of Fine Arts turned out to be extremely beneficial.
At first, I thought I should have studied painting.
Then, after receiving my design degree, having implemented that skill into my art, I had changed my mind.
Design was perfect. And still is. It enriches me and gives me a different perspective on art itself.
I strive for narration which is simultaneously simple and beautiful.
My main focal point is and has been deeply rooted in texture, colour and form.
My work may appear simple and easy to recreate at first; however, each painting is a fractal journey of mine. It is a one-way process, where I layer event upon event.
My idea is to create an amalgamation of applied art and decorative motifs.
Where applied art is an integral part of the broader picture of our interiors.
About me : I graduated from Academy of Fine Arts in Gdansk Poland
I’m based in Sawbridgeworth Hertfordshire now. My work has been exhibited widely across the capital, including a solo show at Knapp Gallery, Regents Street, Affordable Art Fair Battersea London and at Fulham Palace Art Fair.
Collective Ex. Kings Hill May/September 2012 - Kent DMH London 23rd March/10th May 2012 - London
Palace Art Fair Fulham Palace Bishop's Avenue - London: 7th9th October 2011 www.palaceartfair.co.uk
Palace Art Fair Fulham Palace Bishop's Avenue - London: 8th10th October 2010 www.palaceartfair.co.uk
The Affordable Art Fair Battersea Park - 2010London : www.affordableartfair.com
Solo exhibition - Knapp Gallery / Regent's Park - 1st December 2009 to January 2010 London
THE CHRISTMAS SHOW - 26th November to 24th December 2009 London : www.gallerykaleidoscope.com
Solo exhibition - Knapp Gallery / Regent's Park - 1st December 2009 to January 2010 London
THE CHRISTMAS SHOW - 26th November to 24th December 2009 London : www.gallerykaleidoscope.com
SUMMER MADNESS SHOW - 13th August to 26th August 2009London : www.gallerykaleidoscope.com
Colomb Art Gallery - 2009 - Marylebone / London: www.Colombart.co.uk
The Affordable Art Fair Battersea Park - 2009London: www.affordableartfair.com
The Christmas show - 2009London: www.gallerykaleidoscope.com
The Affordable Art Fair Battersea Park - 2008London : www.affordableartfair.com
Peppermint Space was inspired by a sense of calm and peacefulness in the temples of Kyoto, Japan. Interiors and architectural spaces have always interested me, not only for their structure and design, but also for the stillness and atmosphere they hold. Through layering and colour, I form a connection to these memories, the shape and feeling of them.
Hermione CarlineHermione Carline Peppermint Space oil on wood 100 x 120 cm
Royal College of Art, London MA in Textile Design & Surface Decoration, 1977
Camberwell School of Art, London BA Fine Art, 1974
2022
Art on a Postcard Auction in aid of Hepatitis C Trust, Bomb Factory South, London
2021
The Other Art Fair, Old Truman Brewery, London Works acquired by Claridge’s,
Affordable Online Art Fair | Mint Art Gallery, one of fifty handpicked international galleries
2020
Large painting commission & collaboration with Visto Images
2019
Brighton Art Fair, Lewes
The Other Art Fair, Victoria House, London
Auction Collective | Summer Auction, Candid Arts, London
Affordable Art Fair | Mint Art Gallery, Hampstead heath, London
The Other Art Fair, Old Truman Brewery, London
Completed commissions for Claridge’s, Paintings acquired by Claridge’s,
Focus LDN Winter Exhibition, The Menier Gallery, London
The Other Art Fair, Victoria House, London
A Letter in Mind, OXO Tower, London
Elena Shchukina Summer Exhibition, Gallery Elena Shchukina, London
The Other Art Fair Bristol, The Passenger Shed, Bristol
Accessible Art Fair, Palais des Beaux-Arts, Bozar, Brussels
Project 2017: Change & Transformation, Gallery Elena Shchukina, London
The Other Art Fair, Victoria House, London
Pure Art 2016, Battle, East Sussex
The Other Art Fair, Old Truman Brewery, London
The Other Art Fair Bristol, Arnolfini, Bristol
Shop Remixed, Gallery Elena Shchukina, London
The Other Art Fair, Victoria house, London
Visions of Abstraction, Gallery Elena Shchukina, London
Joint Winner of First Prize, Pure Art 2015
Winner of First Prize for Drawing, Pure Fine Art 2014
Winner of First Prize for Experimental Media, Putney School of Art 2014
Winner of First Prize for Drawing, Putney School of Art 2013
Acquisitions and commissions for Claridge’s Mayo Clinic Art Collection
Collaboration with Ladderback Interiors (London based design company)
Work held in private collections including UK, France, Italy, USA and Japan
Director – Art-Atelier London, art teaching for children and adults (1992-present)
Peripatetic Art Extension Teacher – Newton Prep School (2008present)
Art Examiner – Cambridge University (1998-2007)
Visiting Tutor – Brighton College of Art, Medway College of Art & Taunton School of Art (1978-1989)
Hermione CarlineCo-founder and director - The Collection. Selling knit, weave, print and embroidery designs to fashion houses throughout Europe, USA and Japan. (1980-1989)
Fashion Textile Designer - Dickinson & Bodansky, Hampstead, London (1978-1980)
Fashion Textile Designer - Ernst Fick, Atelier& Creation, St Gallen, Switzerland (1977-1978)
Inspired by the Victorian plant hunters (orchids were among the most popular species to be brought back to the British Empire) who risked their lives to steal the rarest blooms for the Victorians as they grew in wealth through industrialisation. Plants were the original luxury items paid for by coal; the same coal which has led to the climate crisis we are now experiencing. Paradoxically, the quintessential English garden is partially planted with species that were effectively colonised much like the work force that drove our progress.
The seeds of progress, 2022 watercolour, soot, gouache on Arches paper 57 x 73 cm
Jasmine Pradissitto
The realisation of mechanisation, 2022 watercolour, soot, gouache on Arches paper 57 x 73 cm
Based on a disused cement factory in southern England that has been taken over by nature once again. The concrete we have used to build our cities is one of the major culprits of global warming but all returns to nature eventually. Human progress is fleeting.
Jasmine Pradissitto FRSA is an award-winning London based British artist, scientist, speaker, and environmentalist who has a Ph.D. in physics from UCL and has studied art at Goldsmith’s and London Met. A polymath, her critical practice spans painting, sculpture and technology and she is the only artist in the world licensed to use NOXORBTM, a newly developed ceramic material that absorbs nitrogen dioxide (NOx) pollution from the air. The same NOx that exacerbates asthma.
Pradissitto has exhibited worldwide including most recently two pioneering public art projects in London for The Horniman
Museum Gardens (winner of Museum or the Year Award 2022) and for Camden People’s Theatre with Euston Town, a Mayor of London environmental initiative.
At the heart of a sustainable future in an increasingly Anthropogenic world, lies provision for the most fundamental of our needs, air, water, equity. Pollution, a by-product of a human progress based on combustion and intensive farming, affects not only 9 out of every 10 people globally, but also species from bees to flowers.
Jasmine PradissittoAs we enter the ‘Conceptual Creative Age’ we can find an answer based on one of the best things which make us human: our stories. In science we are bound by the natural laws, in art and culture simply by our imaginations, but by joining the two, within an increasingly fragile natural world we can create impactful solutions to the most pressing problems of our modern age: climate crisis.
THUNDER "Thunder" is a painting about time and space. The compressed layers overlap and collide, evoking the idea of the expectant gap between the lightning and the rumbling echoes. The suggestions of darkening clouds, high charges of electricity and
abrupt changes in wind direction are all a metaphor for a sudden seismic shift. It is from a series of works called "Pressure Systems".
All of Lee's works explore abstraction from nature and the nature of abstraction - her dynamic, semi-geometric works
focus on perception and light: how ways of seeing turn into ways of thinking. This area of abstract thought creates a philosophical space for new interpretations.
Lee Panizza was born in Adelaide in 1954, graduating with a Degree in Fine Art Painting in 1975 from the South Australian School of Art. She has been painting ever since, living in rural Portugal for over 25 years and now works from her studio in Cornwall, UK.
Marek Emczek Olszewski
Space is a very important element in my recent work. Vast, endless natural scapes contrast with smallness and fragility of human figures, that seem to be ‘lost in space’. ‘Wonderfully Astray II’ shows that we are just tiny little element of the natural spaces around us, and having this sense of perspective can help us to find the right balance and humility.
C-type print behind acrylic glass - edition I of 5 90 × 60cm - 100 x 70 cm framed
Marek Emczek Olszewski, born in Poland in 1981, is living and working in London since 2006. Marek obtained his photographic diploma at RACC in Richmond upon Thames in 2011, however, he is mainly a self-taught photographer, continuously experimenting and discovering new ways of expression. He is attracted to non-obviousness, light and shadow play, movement, reflection, geometry and extreme minimalism.
He has recently started experimenting with merging photography with gold and silver leaf, resin, concrete, stone and wood.
Member of renowned art societies: Free Painters and Sculptors
(London 1952), Association of Polish Art Photographers (Warsaw 1947) and Association of Polish Artists in Great Britain (London 1955). Marek has exhibited in many exhibitions and art fairs in London, New York, Los Angeles, Seoul, Brussels, Barcelona, France and Poland, including two solo shows. His photographs can be found in private collections all over the world.
Marek’s work has been featured and bought by some of the world’s leading architects and interior designers, including a high profile commission for Qatari Headquarters in London’s Mayfair and Candy & Candy.
Awarded with prizes and distinctions in competitions organised by Royal Society of Chartered Surveyors (Infrastructure Photographer Of The Year), National Open Art, Construction Industry Council, COMPAS Oxford University and American Society of Civil Engineers.
2022: Spring Exhibition by APA, POSK, London
2022: Free Painters and Sculptors exhibition, The Muse, London
2022: ZPAF Annual Exhibition, Bielsko-Biala, Poland
2021: Art For Youth, Mall Galleries, London
2021: Flux Exhibition Greenwich, London
2021: The Other Art Fair, Brick Lane, London
2021: The Other Art Fair, King’s Cross, London
2020: Affordable Art Fair, Battersea, London
2019: Art For Youth, Mall Galleries, London
2019: The London Ultra, Oxo Bargehouse, London
2019: The Other Art Fair, Victoria House, London
2019: The Other Art Fair, Barker Hangar, Los Angeles
2019: The Other Art Fair, Brooklyn Expo Center, New York
2019: Flux Exhibition, National Army Museum, London
2018: Art For Youth, Mall Galleries, London
2018: The London Ultra, Oxo Bargehouse, London
2018: The Other Art Fair, Brooklyn Expo Center, New York
2018: Affordable Art Fair, Hampstead, London
2018: Art Rooms, Riviera Hotel, Seoul, South Korea
2018: Flux Exhibition, Chelsea College of Arts, London
2018: Art Rooms, Melia White House, London
2017: Art For Youth, Mall Galleries, London
2017: ‘Emptiness & The Blue’ solo exhibition, Town Cultural Centre, Bielsko-Biala, Poland
2023 Commission for The Ella Roberta Foundation
2021 Winner of the PEA (People, Environment, Achievement) Arts award
2020 DEFRA Award ‘Bees Knees’ with the Horniman Museum, 2022 Museum of the Year
Go Through Door,Turn Left And... oil on canvas 76 x 101cm - 80 x 106 cm framed
I wanted to create a sense of mystery in this textured work by painting an unrecognisable space filled with unidentifiable forms and shapes.
The title gives a hint as to what the painting is about but I want to make the viewers curious; to ask what is happening here and for them to interpret it in their own way.
This abstract landscapes is a metaphor for our internal landscape, the sacred place where we process all our daily thoughts, be they negative or positive. The use of dark and bright colours side by side reflects the quest to find a balance
between the darkness and light within as we try to navigate our own unique world.
I applied the paint using rollers, scrapers, pallet knives, stones and twigs as well as brushes to add texture and work back into the surface.
Martina Furlong was born in Co. Wexford, Ireland in 1974, moved to London in 1999 and returned to live in Ireland in April 2015. She paints landscapes and abstracts and works in oils and acrylics. She received a BA (Hons) in Fine Art Painting from Limerick School of Art and Design in 1996. She has had solo and group exhibitions in London and Ireland and her work is in private collections across the world.
The artist paints colourful, textured abstracts and landscapes mostly in oils but also uses acrylics and mixed media. They show her love of colour, shape, line and movement. While Martina's paintings are influenced by the things she sees and experiences daily, as a painting progresses her unconscious takes over and it becomes an organic, intuitive process.
In her work she likes to mix reality with memories, imagination and intuition and paint her own interpretation of it. She exaggerates colour, applies layer upon layer of paint, then works back into the surface with various tools as well as pallet knives and brushes to create sensuous works of art with a wonderful tactile quality.
Martina recently completed a new series of paintings for a solo exhibition at The Kenny Gallery, Galway in April 2022. This series was a continuation of her works inspired by her research into spiritual hunger, the mystery of being human, looking internally and connecting to nature. In February 2020 Martina finished a year long course in Embodied Mindfulness as part of that research. She explored these areas further in 2021 with courses on "The Tibetan Book Of The Dead" with Embodied Philosophy and "Awakening The Fearless Heart" with Tara Brach, facilitated by NICABM.
Her abstract landscapes are a metaphor for our internal landscape, the sacred place where we process all our daily thoughts, be they negative or positive. The use of dark and bright colours side by side reflects the quest to find a balance between the darkness and light within as we try to navigate our own unique world. The paintings are built up layer by layer, overlapped, scraped back and drawn into using various tools, giving a sense of history to each piece.
NYC - Or mixed media on canvas including Versailles gold leaf 120 x 120 cm
“Art is a mean to travel and to explore one’s inner landscape
By allowing oneself to look deeply and to dream is to give oneself the utmost pleasure of being and having”
2022 Exposition « Sobriété » galerie Nichido / Paris
2021 Exposition « Constellation » galerie Boa / Paris
2020 Exposition Galerie Nichido / Paris
2019 Résidence Ile Maurice / Bali house exposition
2019 Art Bridge London/ Unit 1 Western Abv Exposition
2018 La Tibaudière / Domaine de la Tibaudière
2018 Petits formats / Galerie : la cour des artistes
2018 Chatenay-Malabry / La résidence Paris / fondation
2017 La résidence / Galerie Windsor / neuilly
2016 Art Elysées / Galerie Aittouares Caillon
2016 Golden Exhibit / Albert studio / Capetown, South Africa
2015 Art et Energie / Espaces 54, galerie Juliette Aittouares / Paris
2014 Usine Chapal, Montreuil | avec Aleksandar Petrovic et Laurent Beyne
2014 Espaces 54, Paris | “Art/Énergie”, Paris
2013 arTBridge “Tribal Africa”, London
2013 Galerie Brissot, Paris
Cork Street Open Exhibitions, London | Winter Show
2012 Galerie Subervie / Miami, US
2012 Galerie Colette Clavreul, Paris | Exposition collective “Happy New Art”
2012 Galerie Hogan Lovells, Paris | “Le doigt, la plume et le pinceau”
2012 Univers Petroland, Montreuil | Collection Or
2012 Galerie La Ralentie, Paris | Exposition collective OUI BODY !
2012 Galerie Brissot, Paris | Exposition “Etre ou avoir Pascal Pilate” – Collection Or
2010 Galerie Brissot, Paris | “La question du Petit Prince” | Pascal Pilate & Aleksandar Petrovic
2009 Art Fashion Show, Espace Paul Ricard, Paris | Collection verte
2009 Espace Paul Ricard, Paris | Collection Rose & Noire | “Déshabillé de toiles”
2009 Galerie Art Bridge, Londres
2008 Galerie Lucie Weil & Seligmann, Paris | Exposition Collection orange
2008 Galerie Sparts, Paris | Exposition Collection Orange
2008 Le cabinet d’amateur, Paris
2008 Musée Fabre, Montpellier, France | Collection Orange, Insensé
2008 Carlton Gallery, Antananarivo, Madagascar | Collection Orange
2007 Galerie Brissot, Paris | Collection Verte, “Impromptus d’été”
Think Not For Whom The Ice Melt mixed media on wood 113 x 60 x 1 cm
Paul Critchtley
Paul Critchtley
When the astronauts encircling the moon took the photo of the earth, the isolation and fragility of our world was visible to all. Our world, a spot of dust in the vast, overwhelming and never ending universe, is so insignificant and yet so precious – never in the face of so much is so little so great.
The planet is several billion years old but our species has only existed for a few million, a few seconds in the time of the world’s life. In a few nano seconds we could completely alter/destroy the climate, homo sapiens are the worst virus ever to inhabit the planet, we are rapidly taking the pace out of our space.
Paul Critchtley1978–79 St. Helens College of Art & Design
1979–82 Coventry Polytechnic, B.A. (Hons) Fine Arts
I didn’t do a post graduate degree as I wanted to leave the academic world and see something of real life, I wanted to paint my way around the world. I left the UK in September 1985 and went firstly to West Berlin for 9 months, then to France for nearly a year, more than two years in Holland, 17 years in Spain and now 15 years in Italy. I’ve also spent 15 months in the USA and 4 in Russia.
30 Solo exhibitions from 1987 to date, including Artist of the Day at Flowers Gallery, London
Broadway Windows, New York
A Sense of Place, Installation at Museum Panorama Mesdag, The Hague (& other venues) Museum Kunstlicht In De Kunst, Eindhoven
Haus Hildener Kunst, Germany
Respective Perspectives with Patrick Hughes, Drumcroon Gallery, Wigan
180 group exhibitions since 1979, including
Flowers London
Bel-Air Fine Art, Paris
Galerie Alain Blondel, Paris
Sammer Galleries, Madrid, Puerto Banus, Segovia
Michelle Rosenfeld New York (3 person show)
Scott Richards Contemporary Art, San Francisco
57th Biennale di Venezia with Global Art Affaires
Stowells Trophy at the RA
Manchester City Art Gallery
Whitworh Art Gallery, Manchester
NCCA & Pushkin Museums in Vladykavkaz, North Ossetia-Alania
Collections include
Barry Friedman Ltd., New York
Berrak & Nezih Barut, Istanbul
Smith & Williamson, London
Océ - Canon, Venlo (NL) & Brussels
24 paintings commissioned for P & O Ventura cruise liner
Paul CritchtleyPineapple oil
Perdita Sinclair
Perdita Sinclair
Perdita Sinclair
Both of my paintings in ArtMoorHouse, ‘Pineapple’ and ‘The Infinite Gobstopper’ are about a state of flux. The shifting existence in the work reflects the big changes going on in the world today. In ‘Pineapple’ the rectangular forms represent a diverse range of landscapes, patterns, objects and thoughts, which are made abstract by being ‘cut out’ of their surroundings, like singular pieces from different jigsaw puzzles. These pieces then come together to explore the complexities of understanding the world in which we live.
In ‘The Infinite Gobstopper’ I captured the chromatic changing state of the painting though out the process of creating it by using stop frame animation. The resulting film can be viewed on my website: www.perditasinclair.com
2001 BA Hons. Fine Art Painting, Howard Gardens, University of Wales Institute, Cardiff
2018 Assisting Claudia Fontes in producing her installation
Footnotes for the São Paulo Biennial in 2018
2022 Things Will Continue to Change, The Koppel Project
London, ACE funded exhibition co-curated with Art Writer Anne McNay
2020 Closed Exhibition, Instagram Curated page of past artist and gallery exhibitions
2017-20 Curator at the Window Gallery, Phoenix Art Space
Brighton
2021 Phoenix Art Space, Brighton
2018 Sail Britain residency on a boat travelling from Ipswich to London looking at micro plastics in the sea and rivers
2017 ESKFF (Eileen S Kaminsky Family Foundation)
International Residency, Mana Contemporary, New York, USA
2017 Millennium Seed Bank, Royal Botanical Society, Kew, Lakehurst. ‘Secret Structures’ solo exhibition. First Artist in Residence at the Millennium Seed Bank working with Kew scientists to develop a body of work on seed dispersal.
2016 Functional Fascia Dissection Residency, March
2015 Functional Fascia Dissection Residency, June
2010 The Booth Museum of Natural History, Brighton, from May until July.
2022 Arts Council England Project Grant
2020 Arts Council England Covid Fund
2017 Eileen S. Kaminsky Family Foundation, International Residency award.
2016 UK China Art Prize, Suzhou, China
2015 Artist International Development Fund Dec 15 - Feb 16, Arts Council and British Council
2022 ‘Horizons, Landscape and Beyond’, The Cello Factory, London, curated by Alex Hinks
2022 ‘Fluffy Crimes Digital Exhibition’, Fluffy Crimes, Chicago, USA, curated by Marc Benji
2022 ‘Things Will Continue to Change’, The Koppel Project, London, curated by me and Anna McNay
2022 A Womens Place is Everywhere, March, The Cello Factory, London, UK, curated by Debra Wilson
2020 ‘Why’ Online exhibition curated by Emma Harvey and Sean Worrell at Cultivate, London
Mana Digital Open House, New York
2017-19 ‘Secret Structures’, Millennium Seed Bank, Royal
Botanical Society, Kew, Wakehurst, UK, Astrid Krumins
2017 ‘Inside Out and Upside Down’, Tongli Gallery, Tongli, China, Qinlan Ye ‘Pasts, Present and Futures’ Plan D Gallery, Düsseldorf, Germany, John Vincent Stevenson
National Portrait Gallery Gala, National Portrait Gallery, London, UK
2016 ‘Waterborne’, Millennium Seed Bank, Kew, Wakehurst, UK, Louise Burton
Art Suzhou, Suzhou, China, Mr Pan and Qinlan Ye
2015 Art Gemini Prize, Menier Gallery, London, UK, Jimmy Lek
Lynn Painter Stainer Prize, Mall Galleries, London, UK, Winter PrideAwards, Lacey Gallery, London, UK
2014 ‘Exile’, August @ Onca Gallery, Brighton, UK, Laura Coleman
Art Gemini Prize, Rebecca Hossack Gallery, Jimmy Lek
National Portrait Gallery Gala, National Portrait Gallery, London, UK
2013/14 ‘Animal/Liminal’, Leyden gallery, London, UK, Adriana Cerne and Lindsay Moran
2013 Liberty Gallery, London Art Fair, Islington, London, UK, Patsy Dixson
Cork Street Open Exhibitions, Mayfair, London
2012 Summer Exhibition, Royal Academy of Arts, London, UK
2009 Hay Hill Gallery, Cork street, London, UK
National Portrait Gallery Gala, National Portrait Gallery, London, UK
2008 Summer Exhibition, Royal Academy of Arts, London, UK
2022 Small Towns, Phoenix Art Space, Brighton, Uk
2018 'Farewell Seapig', 35 North Gallery, Brighton, UK
2017 ‘Jellyfish’, Salisbury Arts Centre, Salisbury, UK
2015 ‘Insula’, Ventnor Botanic Gardens, Ventnor, Isle of Wight, UK
2015 ‘Upstairs Windows’, Kingscote Gallery, UK
2022 Landscape, June/July, The Cello Factory, London, curated by Alexander Hink
Perdita Sinclair2022 Studio International - exhibition review: https:// www.studiointernational.com/index.php/things-will-continueto-change-review-koppel-project-london
2022 All About Shipping - exhibition review: https:// allaboutshipping.co.uk/2022/03/16/things-will-continue-tochange-london-artists-new-work-on-show-in-aftermath-of-thepandemic/
2022 Ruminations, exhibition review by Geoff Hand: https:// organthing.com/2022/01/17/13-questions-from-organ-perditasinclairs-paintings-are-alive-with-appeal-with-deceptively-softice-creamy-colour-theres-an-undertone-though/
2022 Organ Thing, interview: https://organthing.com/ 2022/01/17/13-questions-from-organ-perdita-sinclairs-paintingsare-alive-with-appeal-with-deceptively-soft-ice-creamy-colourtheres-an-undertone-though/
2018 Artlyst article: https://www.artlyst.com/reviews/perditasinclair-impressive-visual-interpretation-micro-science-judecowan-montague/
2012 ‘The Proceedings 2011 -12 ‘Art from Evolution’ essay and images of paintings
2011 ‘500 Portraits’, compiled by Sandy Nairne, Director of the National Portrait Gallery.
Perdita Sinclair2022 Things Will Continue to Change, co-chair on panel discussion
2019 BASWIC, Brighton. ‘What’s it like to be a professional Artist’
2018 Phoenix Brighton, ‘My journey as an artist’
2015 -2018 A series of talks and workshops in the Millennium Seed Bank, Kew
2017 Presenting awards on stage at the UK/China exhibition and giving to talks
2016 Joint presentation with Julian Baker at the Death, Art and Anatomy Conference, University of Winchester, UK
2015 Insula exhibition talk about working with the Millennium Seed Bank and making the work, Ventnor Botanic Gardens, Ventnor, Isle of Wight, UK
2009 ‘Art from Evolution’ on the evolution art themes of my work. Presented to the Bath Royal Scientific and Literature Society in April as part of the year of Darwin.
“The work is inspired by the Kahikatea Forests found in the South Island of New Zealand. Here the slow moving dark waters fringed by ancient trees offer silent stillness punctuated only by native bird song induce contemplation and reflexivity. “
x 180 cm
Robyn Litchfield’s paintings are representations of sublime encounters with pristine and untouched landscapes. Drawing from archival material and personal documents relating to the early exploration and colonisation of New Zealand, Litchfield aims to reimagine and examine the experience of forays into a hitherto unknown space. She is interested in the idea of wilderness and the unknown as a terrain of the mind and as a place that induces reflexivity. Landscape becomes a ubiquitous template for exploring personal history, notions of cultural identity, alienation and a sense of belonging.
Most of her sources are photographs; archival images of early New Zealand and contemporary photographs of primeval landscape taken by herself. She applies transparent paint in expressive brushstrokes and works back into it using various implements and processes such as scraping, layering and erasure to reveal the luminous ground below. The paint mimics the emulsion on the glass plates of early photographs whose images were revealed by light shining through them. She thinks of the ground like a screen where images are projected and perceived.
The primitive and mysterious red forms placed within the paintings derive from remnants of the stencils developed for works based on early postcard images of Forest
For Litchfield they are symbols of loss and longing; for past life, of primeval forest, the biodiversity that it supported and represent a lament for this loss. Their intrusion into the picture plane is a metaphor for a kind of otherness similar to that felt by immigrants today.
Robyn Litchfield was born in New Zealand and currently lives in North London. She is a painter and graduated from the City and Guilds of London Art School with an MA Fine Art (distinction) in 2017 and from The School of Art, Architecture and Design, London Metropolitan University with a BA in 2012.
She won the Landscape/Cityscape/Seascape category prize in the Jackson’s Arts Painting Prize 2020 and was selected for the Collyer Bristow Award 2019 and 2018 (highly commended). She was a finalist in the Signature Art Prize 2019 and selected for MA and Other Postgraduates 2018 exhibition at the Atkinson Gallery and was short listed for the Clifford Chance
Postgraduate Printmaking Award in 2017.
“A tree sculpts itself into space. Trees are a living cosmos, constantly regenerating themselves, ascending upwards. They unite the 3 strata: the underground with their roots, the earth with their trunks, the sky with their tops.” It is thus that Valota has defined trees, since 2005, when he began creating his series “Arborescence”.
Valota admires the strength of trees, their beauty, their longevity, their anatomy, their complex structures, their transformations and the way they occupy space to reach out for their own breath.
Colour is another organic quality, tones that enrich trees throughout their lives. Such mineral, biological and weatherrelated nuances led Valota to become interested in colour. In each composition, a tree imposes its own drama. Valota uses colour to highlight its importance. In this series, he introduces the geometrical line that he crosses with the organic universe. The golden thread is the architect’s line, Ariane’s thread, the illumination in man’s hand.
VALOTA works with wax, a supple and extremely malleable material which he works like a real virtuoso. He says: “Wax never stops surprising me. It’s like a book I open and where I can feel under the page the next page and the one afterwards. I have the feeling I paint on the edge. Wax offers all its delicacy and transparency to the touch of the flame of my blowtorch. It absorbs colours, transcends them and guides me in my search for other hues. Wax is alive, sensual. Wax is light, it is at the heart of my story.”
With wax, texture and colours interplay subtly, inviting the painter to observe and choose. It is Valota’s secret, his privilege. He proceeds like a biologist or an alchemist watching the substance react, waiting to be surprised, to see the reaction which will determine the form that the work will take. The smooth and thick pictorial layer of wax composes the backbone of the painting, recalling the delicate work of the Renaissance artists and the egg tempera technique.
Valota perfectly masters wax and colour as well as composition, liberating it from all the usual optical influence of painting. This is probably what makes his work so original. - Jose Alvarez excerpt from VALOTA’s monograph "Wax" (Editions du Regard)
2017 ART PARIS ART FAIR Grand Palais Paris, March Koralewski Gallery Paris)
Art Marbella, Spain - July 2017 (Koralewski Gallery)
2016 « Aquarius » paintings and sculpture (Koralewski Gallery, Paris)
2015 « Mes Chères Diaphanes » paintings and sculpture (Koralewski Gallery, Paris)
GAÏA Gallery (Nantes)
2014 FIAC (Orange)
2013 « On the Other Side of the Sky » (Lavignes Bastille Gallery, Paris)
2012 « Wax » (Alpha Gallery, London)
- « Days are Dark & Nights are Clear » (Hayhill Cork Street Gallery, London)
2011 « ZEROBULLET$ » (Riff Art Projects Gallery, Paris)
« Quiet Days Under the Trees » (Hayhill Cork Street Gallery, London)
2008 « Accords & Âmes » - paintings and sculpture (Riff Art Projects Gallery, Strasbourg)
2007 « Des arbres et des âmes » - paintings and sculpture ( Maison des Arts d’Evreux)
2005 « Arborescence » (Lavignes Bastille Gallery)
2003 « Contes et Légendes à La Guéroulde » under the patronage of Gérard Garouste (Association La Source, La Guéroulde)
2000 « Hors Corps » - paintings and sculpture (Galerie Valérie Cueto, Paris)
1997 Paintings, drawings and sculpture (Espace Dominique Morlotti, Paris)
1996 - « Genre humain » - Sculpture et drawings (Françoise Palluel Gallery, Paris)
1994 Exhibition held by the Absolut Vodka Foundation presenting 10 French artists and 10 American artists (Warhol, Haring ...) Lavignes Bastille Gallery, Paris
1994 « Anima Fossili » (Patrice Carlhian Gallery, Paris)
1993 Le Monde de l’Art Gallery, Paris
1992 Levy Gallery, Barcelona
1991 Lavignes Bastille Gallery, Paris (catalogue preface by Pierre Cornette de Saint Cyr)
2022- « In Yellow we Trust », curated by Eye of Pink Heater (Hotel Crillon, Paris)
« Valota Ceramics », Maison & Objet, Paris
2021 « Summer Show », (Galerie JAL, Les Portes en Ré)
2020 « Une œuvre un artiste un jour », Galerie Art Absolument, Paris
2019 « Grandes et Petites Merveilles », January-February 2019 (Koralewski Gallery, Paris)
2018 YIA Art Fair Paris, October 2018 (Koralewski Gallery, Paris)
Summer show, July 2018 (Koralewski Gallery, Paris)
2016 « Lames de Fond » – Hasan - Driez - Valota (Marcel Baudouin Cultural Centre, Saint-GillesCroix-de-Vie)
2015 “Transitions” (Arts Pluriels Gallery, Nantes)
2013 3 artistes à la Galerie des Ormes (Courtenay & Paris)
2012 « Le Temps au Temps, Identités » (Riff Art Projects Gallery, Istanbul)
Contemporary Istanbul (Riff Art Projects Gallery,Istanbul)
2011 Hayhill Cork Street Gallery, London
Contemporary Istanbul (Riff Art Projects Gallery,Istanbul) « Noir et Blanc » (Riff Art Projects Gallery, Paris)
2009 Gallerie des ormes (Courtenay et Paris) Traverses » - Maison des Arts, Le Vigan
2008 « Le Temps au Temps – Vanités » (Riff Art Project Gallery, Strasbourg)
Salon Show-Off, Paris (Riff Art Projects Gallery, Strasbourg)
Foire de Strasbourg (Riff Art Projects Gallery, Strasbourg
2005 Salon de Montrouge (Montrouge Art Fair)
2003 « L’Art Emmêlé » - sculpture (Paris Townhall)
2001 « Blanc » (Valérie Cueto Gallery, Paris)
« Tempête sous un crâne » (Valérie Cueto Gallery, Paris)
« Impressions » (Beckel Odille Boïcos Gallery, Paris)
Art Paris (Beckel Odille Boïcos Gallery)
2000 « Rouge » (Valérie Cueto Gallery, Paris)
1998 Henri Bussière Art’s Gallery, Paris
Frank Gallery, Paris
1996 Strasbourg Art Fair (Françoise Palluel Gallery)
Salon de Mai, Paris
1995 Grands et Jeunes d’Aujourd’hui Art Fair (Espace Quai
Branly, Paris)
1994 Patrice Carlhian Gallery, Paris
1992 Touquet Art Fair (Galerie Lavignes Bastille)
Montrouge Art Fair
1991 Montrouge Art Fair
2012 VALOTA « WAX » (Monograph 180 pages - Editions du Regard, Paris)
- Création d’étiquettes d’artiste pour 2 cuvées « L’Or de Mes Racines »2016 et « Le Rouge de nos Pères en Colère»
2021 pour le domaine Alain Olivier à Valette
- « Blooms » 250 paintings 24x18cm for Orange (FIAC2 014)
- Hors Corps » sculpture (bronze) – Private Foundation Strasbourg
- Acquisition of 2 paintings by the Absolut Vodka Foundation
- 3 paintings commissioned by Alain-Dominique Perrin for Château La Grezette, Cahors
- 3 paintings commissioned by Alain-Dominique Perrin for Château La Grezette, Cahors
- « Contes & Légendes » 250x180cm painting, wax and pigments on board, for Mairie de La Guéroulde
Art Absolument, Artlyst London, Art Press, DNA, ELLE, France 2
Journal de 13h, La Vanguardia, L’Express, Le Nouvel Obs, Libération, Miroir de l’Art, Paris Match, Pariscope, Le Quotidien de Paris, This is London Magazine
4 October – 13 December 2022
ArtMoorHouse, Moor House building
120 London Wall EC2Y5ET London, UK
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Special thanks to Madeleine Pugh and all Moor House’s building management team who, for the past twelve years of collaboration, have been directly involved in the development of ArtMoorHouse thanks to their precious help and great support to our Art Program.
