Revised 1 August 2022
Sir John Hurt Art Prize Sworders Prize for Young Artists & Sworders Prize for Emerging Artists Shortlisted Works 2022
Exhibition Saturday 23rd – Saturday 30th July 10am-4pm Adrian Hill Fine Art Lees Yard Holt, Norfolk, NR25 6HS Enquiries before the exhibition James Glennie artprize@holtfestival.org Enquiries during the exhibition Adrian Hill info@adrianhillfineart.com Sworders Prize for Young Artists (16-18)
Sworders Prize for Emerging Artists (19-23)
Sir John Hurt Art Prize
SIR JOHN HURT ART PRIZE WINNER Kate Giles In the Wake of Wind. Scudding Sun [West Acre] Oil on board 30 x 38cm The board mounted on an oak box Late March 2022. Blustery day in West Acre, Norfolk, looking eastwards. Erratic sun spooling over distant fields.
£1,650
SWORDERS YOUNG ARTISTS WINNER Mary Whitlock Time to Party Oil on canvas 40 x 30cm Black floating frame around 3cm wide Time to Party after two years of lockdowns.
£550
SWORDERS EMERGING ARTISTS WINNER Izzy Wright No Means No Tonal pencils, acrylic paint 30 x 100cm Unframed This is a tonal piece I created for my school project which was based on ‘how can art be used to address social issues’. The piece visualises the emotional pain of sexual assault and how it can happen to any woman of any shape or size. The style was inspired by the artist Barbara Kruger but all photos/concepts used are my own.
£350
Zahara Akram Eyes Tell a Lie Acrylic paint 59.4 x 42cm Eyes Tell a Lie is an acrylic painting I did when I was in my worst mental state. Covid robbed me of a lot things, such as my friends, family and childhood. When lockdown started I was 14. I’m currently 17 struggling with social anxiety, selfesteem issues and grief over my losses of the past. The only thing that’s constant in my life is art. This is the only way of selfexpression which I know. I know others lost in the crowds can relate to this piece: their friends think they’re fine, when behind that person’s mask, they’re not. Their friend’s eyes tell them lies.
£85
Guy Allen Ladybird Etching hand finished with 24ct gold leaf 49 x 49cm Raised float mounted in a deep box frame Edition of 75
£350 unframed / £435 with frame
Christine Allman Storm I Egg tempera on Italian gesso board 18 x 24cm Experiment in basic landscape composition, exploring the characteristics of egg tempera medium.
£750
Momina Anwar A Slither of Hope Acrylic on panel 23.5 x 16.5cm When creating the painting I wanted the main concept to be about how we humans can go through a lot of negativity and hardships during our lives yet we’re still able to pull through. I want my painting to act as a symbol of hope. However, the work is also open to the interpretation of my viewers.
£300
Diana Ashdown Sun Print Image 44 x 26cm Framed 63 x 40cm With this print, I wanted to give the feeling of lying down and peering through sumptuous undergrowth, smelling that glorious moist, earthiness. Because this is hand printed and inked each time and the many passes through the press, the colours subtly change with each print.
£190
Peter Baldwin Suckling Oil 55 x 35cm The stone wall and sign seem to present a meaningful context for the suckling bullock and figures
£1,000
John Bardell Weimar Oil on canvas 43 x 33cm
Mia Bartram Evoking Marine Pollution through Jewellery Mixed media & jewellery 82 x 42cm A collection of jewellery and mixed media raising awareness towards marine pollution. The pieces are a metaphor advocating for the marine life that is dying or being damaged by marine pollutants, such as dumped fishing nets and oil spillages in the ocean. All of the primary raw materials, used within this piece, I collected on beach clean-ups along the North Norfolk coast.
NFS
Lynda Baxter Green Lamp Hand finished oil print 45 x 21cm Pink carnations set against a 1950’s kitchen with geraniums on the windowsill, painted with a nod to the Colourist style.
Keron Beattie De-structure III 25 x 25cm Wooden box frame, black
£250
Mary Blue Pebble in My Pocket Mixed media acrylic on panel 20 x 60cm Painting the power and movement inherent in water describes the continuous cycle above and below the surface of the Earth. It is about seeing hidden forces. My paintings reflect upon the impermanence of life and the forces of nature. I weave poetry into layers of jeweltoned colours exposing the overlooked hidden effects of time. I paint brilliant light and deep shadow, the far horizon and the passing of time. I am drawn to the delicate, the broken, the most fleeting, these are timeless and possess a powerful resonance. At the crossroads of impermanence, deep beauty lingers.
Mary Blue Holding Both Light & Dark Mixed media acrylic on panel 20 x 38cm These water studies on Fabriano paper are tangled up in gravity as a force of nature. I am drawn to that. I paint the moon. I paint the waves. I paint the tide and changes that gravity exerts upon water. Gravity affects water and the flow of water depends upon many things, the wind, humidity, the tension of the water’s surface and the water as it runs along the ocean floor tells a story of movement from far away that culminates in a wave crashing upon the shore.
£275
Gabriella Buckingham Golden Hour Acrylic and cold wax on paper mounted on wood and framed (no glass) 31 x 26.6cm
£420
Christy Burdock Two Geese Oil on canvas 91 x 61cm My borough, Southwark, housed the city’s brothels in Medieval times, full of ‘fallen women’ called the Winchester Geese. The Archbishop of Winchester earned much in taxes from these women’s toil. I tried to capture a sense of mystery and atmosphere of the area as it may have been many years ago.
£950
Safi Butler Snooze Lino-print 28.5 x 33.5cm The past few years have highlighted to me all the things I am grateful for in my life. For example, from the very first lockdown I was immensely grateful to have a garden – getting outside in nature is so important for physical and mental wellbeing. Another gratitude and aid to mental health is my cat. It has been proven that pets assist in our wellbeing, and it has never been truer since the pandemic hit. She is a companion, a comfort and a confidante. In this print I have captured her doing what she does best! Plain white frame
£68
Sascha Chopra Illumination of Reunion Photograph A4 The gradual re-emergence of light and hope following the darkness and containment from The COVID-19 global pandemic
£50
Antonia Clare Forget me Not Acrylic and mixed media on birch panel 33 x 33cm Plain black wooden float frame
NFS
Dallas Collins Planed All Over Wall sculpture/print 29.5 x 45.5 x 11cm
£750
Adam Cornish Jubilee Mixed media on card 35 x 25cm
Maggy Day Turn of the Table Oil on canvas 50 x 50cm Gilt frame This work is reflective, it deals with vulnerability and the lack of predictability in our lives. Life is a game of chance, the throw of the dice, ambition and the reality of outcome. Sometimes we win, sometimes we lose, it all depends on, the turn of the table, the throw of the dice. Predictability and uncertainty. In the here and now, the minimalistic nature of isolation, reflected in the empty chair removed from the table banter, as experienced in social distancing, mask up and stay safe Lockdown. All of which enter the frame during the process of this painting.
£1,500
Ada Densham Bond My Little Pony Oil on canvas 40 x 30cm
£600
Nick Dittrich Fall(en) Rise Mixed media - recycled coffee sack, jute twine and recycled aluminium drinks cans 64.5 x 64.5cm A celebration of the organic recycling process of nature, but created using recycled branded elements from our daily lives. A recycled coffee sack, folded and stitched to consolidate the printed graphics, is the canvas upon which the jute twine tree and hand-cut aluminium drink can leaves nestle. A bed of metal leaves are scattered on the floor below the artwork. All elements were hand stitched.
£1,850
Mike Dodd The Glastonbury Thorn Coloured pencil 63 x 81cm (including frame) Ash wood frame Clarity anti-reflective glass This is an image of the famous Glastonbury Thorn, which, legend has it, sprang from the staff of Joseph of Arimathea when he thrust his staff into the ground near the site of Glastonbury Abbey.
£800
Louise Dougherty Reeds and Lines Oil and thread on board 47.8 x 29.1cm Perspective of blue cloudy sky through the Reeds and Lines (pylon wires.) Threads of golds, browns, yellows and creams hang from the reeds and simulate the movement of the reeds.
£475
Amy Doughty Infested Oil paint, soft clay, nail varnish 30 x 25cm Unframed This self-portrait piece is a metaphor on mental health, portraying how what we are fighting inside often creeps its way out (illustrated via the tentacles), whether that’s feeling anxious, shaking, hyperventilating, crying, screaming, being irritable or not eating. The figure has a straight face as many people are constantly fighting their mind internally, not allowing others to see them breaking and acting as if all is fine, a mask of a disguise, only releasing what’s brimming inside when they are alone.
£150
Sophie Duez Migrant I Graphite on Stonehenge Paper 22.86 x 30.48cm Black frame Migrant I is an illustration about someone who feels like they don’t have a home and being constantly on the move from one place to the next.
£425
Zelda Eady Letheringsett Water Mill Mixed media 48 x 94cm White frame
Anthea Eames Walking in Norwich Collaged local newspaper, painted papers, oil, acrylic and charcoal on board 38 x 47.5cm Flush mounted into a simple white tray frame During the Covid Lockdowns, I took daily walks around the city, making charcoal sketches back in my studio, of what I had seen and experienced. After collecting all these drawings together, I cut them up and reassembled them into an amalgam of my memories of that time. From these I finally created a series of mixed media paintings by collaging local newspapers and painted papers, adding acrylic, oil pastels and new, fresh charcoal drawing on the top. This is one of that series. They turned out to be remarkably joyous – the complete opposite of how I really felt!
£395
Lee Eveson Border Wall 3 Year Old with a Box of Crayons and a Ball Point Pen 50 x 50cm Depiction of Hunstanton cliffs. The work is created over many layers, constantly being created and destroyed, to reflect the passage of time. The work has street style ethics incorporated into a fine art medium.
£1,100
Geoff Evison Coffee on Wells Beach Winter 2021 Acrylic on board 57 x 47cm
NFS
Gypsy Kate Garramone Hunted Since Her Second Dawn Photographic print 42 x 59cm Black frame with UV glass Hunted Since Her Second Dawn is the manifestation of a subjective state of being and imagination, which can further be seen as the reflections of a collective female consciousness. The work revolves around the consumption of the female image and body paired with figurative allegories of the artist’s own intimate relationship with fear and the landscape. There is an abstraction in logic to confront the gaze of the spectator, and a visual language to exemplify the suffering in girlhood at the brink of sexual maturity.
Kate Giles In the Wake of Wind. Scudding Sun [West Acre] Oil on board 30 x 38cm The board mounted on an oak box Late March 2022. Blustery day in West Acre, Norfolk, looking eastwards. Erratic sun spooling over distant fields.
£1,650
Paula Gonzalez Sea of Flowers Oil on canvas 30 x 21cm Inspired by Tarbat Ness Lighthouse, with a seen-by-far perspective from a field of gorse flowers on a sunny blue-skied day. The textures are unique for each of the elements (e.g. sky, clouds, flowers, and lighthouse) present, giving them a sense of individuality while integrating a single piece.
£1,700
Annie Hall Hothouse Flowers Acrylics & 8B pencil on cradled panel, finished with cold wax medium 100 x 100cm Unframed An intuitive painting of many layers overlaid with drawing to express beauty and fragility.
Frankie Hanmer Solitary Acrylic on canvas 30 x 24cm Person reading with hot drink. Shadows being cast by pink dusk sky.
£60
Chris Hann After the Fishing, 2 Oil and oil pastel 40 x 65cm White frame Taken from a work book drawing done in St Ives harbour utilising superimposed images, then simplified by erasing certain lines. Colour used to manipulate space, contradict, push and pull shapes and create relationships. The idea is based on fishing boats that have been made redundant and are now used for the leisure and tourist industry.
£680
Imogen Hawgood Mougins Pool Oil on canvas 60 x 40cm Float frame Based on a photograph I took recently in a quiet suburb of Cannes in the South of France called Mougins, this painting highlights the quiet beauty of a still, lit pool on a summer’s evening.
£695
Helen Herbert Bird Whisperer Oil 65 x 65cm White painted box frame A childhood memory of being surrounded by tern an a beach.
£795
Caroline Houchell Hedgerow (winter) Mixed media 20 x 20cm Black box frame un-glazed Monoprint using a Gel plate on Japanese rice paper adhered to a canvas board with collaged ephemera ,acrylic ink and walnut ink, sealed with cold wax. Part of an experimental series of combining monoprints using plant materials and collage in my mixed media work, observing the seasonal transitions and my natural surroundings.
Lucy Hu Dancing Barefoot Mono screenprint on paper 42 x 29.7cm Unframed This mono screenprint depicted a dreaming community. Here we dance with barefoot, we live in houses with stars, and we walk in streets made from rainbows.
£230
Ken Hurst Bressingham Gallopers Jim Lad & Brian Limited edition artist made screenprint 67 x 50cm White frame 90 x 73cm This 7-colour artist-made screenprint was made in collaboration with the Cut Editions studio in Halesworth from the artist’s original iPad drawing on the occasion of his granddaughter’s visit to Bressingham Steam Museum’s centrepiece. Claimed to be one of the finest to be seen anywhere, the gallopers were built by Savages of Kings Lynn in 1897.
Ruby Hyde Rewilding Photographic print on aluminium panel 120 x 80cm Unframed Our bodies remember things that our minds forget. Our experiences and traumas are etched under our skin, and sewn into our nerves and lungs. Rewilding explores growth and rebirth after trauma, believing that whilst we may carry our past within us forever, so do we carry our future and our potential.
£800
Susan Isaac Lines of Power I Oil on canvas 45 x 44cm Wooden float frame A profusion of ‘Pylons’ is a major Trent Vale feature - monumental structures developed from the 1920s & named after Egyptian temple gateways. Working in situ here, I wanted to create a composition that would make sense of the outlandishly scaled, majestic electric pylon dominating this grazing pasture. The land here rises up from the Trent flood plain, with Staythorpe power station gliding along the distant horizon like an immense steam ship. I cropped the structure to emphasise the problem of framing such a massive vertical structure, filling the sky with its metal lattice work.
£675
Liz James Mist at Dawn Mixed media on canvas 79 x 64cm Tray frame
Wendy Kimberley Below the Wall Traditional egg tempera on board 79 x 43cm View of Windsor Castle from the moat. I was lucky enough to take part in a pleinair competition in 2018. The painting Beyond the Wall, of the view from the East Terrace ended up winning overall first prize and was added to the Queen’s Private Collection. This was painted as a companion piece from photos taken on the day.
£950
Stephanie Lacey The Last Survivor Pen and ink with black pastel shading on Arches hot press watercolour paper 76 x 57cm Black frame with non-reflective glass Over 200 hours of drawing has gone into this piece, a white rhino (or square lipped rhino) depicting a lone rhino running through dusty ground. Each crease of skin has been carefully drawn in fine ink pen followed by some black pastel to add tone and shading.
£6,500
Alan Latter Artist’s Materials in Vintage Case Oil on canvas 52 x 47cm White painted frame I love to collect and use old art materials. The painting is of an old case of artists materials I picked up and as soon as I got it into the studio I painted it, with all its contents exactly as I’d found them.
£450
Caroline Mackintosh Sargrum Lairg Oil on canvas 100 x 80cm White tray frame
£1,500
Ipshita Meyer The Embrace Procreate on an iPad with an iPencil, digital 62.6 x 54.6cm Wooden frame Despite decriminalisation, the societal taboo towards homosexuality is still prevalent within Indian families. As such, India’s LGBTQ+ communities are facing an increasing number of domestic violence and social pressures to commit to their authentic lives. The present artwork The Embrace portrays such a situation where family and societal acceptance and the freedom to openly express one’s gender choices still remain a constant struggle. Therefore, for the Indian LGBTQ+ communities, a truly inclusive society still remains a distant dream.
£550
Ipshita Meyer Mango Girls Procreate on an iPad with an iPencil, digital 63.2 x 38.9cm Wooden frame In India, where traditionally boys have been preferred over girls, a small village called Dharhara in the state of Bihar, India, sets an example by planting mango trees to celebrate the birth of a girl child. These mango trees provide a security blanket for the girl’s future, where her education and marriage expenses are covered by the compensation these mangoes yield. The present painting ‘Mango Girls’ narrates such a story and Dharhara’s unique tradition that aims to fight female infanticide, foeticide and dowry deaths with the power of mango trees.
£550
Inês-Hermione Mulford Re.Spired Oil on canvas 70 x 100cm Simple black wood frame We can no longer think of nature as being “other” to us. My work explores the undeniable interconnectedness we have with the “natural” world. Climate strategies like the protection of carbon-sinks such as peatlands, the sph2in this painting, could be fundamental to our survival. Just like our lungs, sphagnum filters the air, capturing what it needs and releasing the rest. This dichotomy of nature and culture is detrimental to our future. If we try to conquer and control, we will ultimately destroy, and if the natural world fails, we won’t be far behind.
£1,950
Peter Norton Stain Photograph 100 x 100cm Mounted on Foamex Un-doctored water reflection Winter 21/22 on Mannington Stream, red dead leaves under a satin reflective surface with different layers of branches above.
£750
Daisy Pearson Immersive Collage 36 x 30cm My paper collage is inspired by the artist Derek Gores, it portrays individual fragments of thought and imagination coming together to create a solid portrait. This is inspired by work I am completing for my A-Level Art course. To make the design and initial image for this piece, I photographed my grandad looking out to sea. When making the collage, I thought carefully about the placement of tones and types of detail I hoped to include eg. book pages and words. It reflects reality and imagination merging together to create contrasting but complementary image.
NFS
Susie Penrose Gluttony Charcoal on paper 89 x 115cm Painted wooden frame Drawn from life (found on beach, as is) and is the first in a series of works from nature depicting the Seven Deadly Sins.
£1,250
Rosie Phillips Out of Hours Oil on canvas 40 x 30cm
£325
Dylan Pulley Cycles Perfecta Oil on canvas 90 x 110cm Unframed
£400
Judith Reece Strata Textile collage 81 x 81 x 4.5cm Unframed My work is influenced by the colours and textures observed on land and sea. It is made using a range of hand-dyed fabrics and papers. They are layered and stitched using metallic threads and some are cut/ melted back to create interesting texture. This particular piece is a very textural representation of rock formation and includes gold screenprinted mark-making and some bead embellishment. It is presented on a deep-edged canvas.
£895
Kirsten Riley Tangled up in Time Mixed media 77 x 77cm Metal frame A contemplation on ‘Threads’ literally and figuratively. Informed by a frame of reference examining what is concealed and what is revealed in Art and Life. Threads take us to different places; dead ends or diversions. We lose them and pick them up. They can be dense and hide things or tantalisingly fragile, imparting a glimpse of other vistas. Not always straight, sometimes harmonious, often at cross purposes; they can leave us hanging. Blown by wind, dancing, part of a nest. They may be woven into luxuriousness or worn away by time and use, patched and repaired.
£875
Tracey Ross Stormy Weather Acrylic, collage, pencil on board 47 x 47cm White frame My artwork explores the horizon inspired by the huge skies and ever-changing light and atmosphere of North Norfolk. Capturing the essence of Turner and the powerful awe of nature.
£695
Kathryn Rowden Towards Heaven Oil on canvas 30 x 30cm Deep canvas, unframed
£300
Jill Sharpe Penrosed Stitched textile 71 x 76cm A design derived from the Penrose Triangle worked by hand using silk fabrics.
£1,000
Rachel Shaw Ashton Dreaming of Water Hand cut Arches watercolour paper, spray painted pins, foamboard 67 x 87cm White hand-painted box frame This work is a personal representation of climate change. The trees are created with a jumble of swirling figures, maybe dancing or maybe fighting, some falling to the earth in their self- absorption. The trees stay static, as if waiting for the rain to arrive. There is the faint memory of a house in the background reminding us of the life we would like.
£1,200
Rachel Shaw Ashton Breaths for my Brothers Hand cut Arches watercolour paper, pins, foamboard 85 x 45cm White hand-painted box frame This work is a personal representation of hope, generosity and empathy
£1,200
Anna Sims Reflections in a Venetian Church Oil 40 x 30cm Narrow black frame
Design Smith Piano Limited edition screen print 1/15 43 x 43cm Black frame with mount Bold, simple and vibrant composition inspired by mid-century jazz record covers.
£175
Gina Soden Peacock Digital photograph on Baryta paper 94 x 94cm White matte moulded frame, with window mount Peacock is a photograph by contemporary artist Gina Soden. Here is a fine example of Moorish architecture, but in a castle in Italy. The rooms were all hand designed and painted by one man who had a vision to build this beautiful castle and open it as a hotel.
£2,340
Eleanor-Rose Stamp Aequo Animo Oil on canvas 100 x 80cm Framed
“With even mind: calmly”.
Horses are natural teachers of mindfulness. In order to best communicate with the horse I need to be in a neutral emotional mind set. Any excitement, nervousness, anger, trepidation will pass on to various parts of my body and these messages will then pass through to the horse - interfering with the conversation I am intending to have. They teach me to become aware of what effect my mind has on my body and visa versa eg am I carrying my shoulders high, forward, tucked up into my neck in response to a nervous mind set I am currently in? In making a conscious effort to breath into my shoulders, dropping them down and back, I not only ensure I don’t miscommunicate with my horse I also start to find my nervous mindset subsides. They help me learn to see my mind and body as one entity, linked intrinsically to one another. I learn that the only way to successfully communicate and form a relationship with the horse is aequo animo. £8,000
Beth Stilgoe Epona’s Portrait Oil on board 108 x 67cm Unframed Norwich University of the Arts Fine Art Masters student Beth Stilgoe utilizes the visual iconography of the horse as a resource for trauma processing and self-representation, combining themes of mythology with fantasy while exploring and challenging the relevance of equine art as well as the use of paracosmic immersion for creative idea generation and incubation.
£3,000
Nic Stratton Tyler Hot Day, Weybourne Cliffs Oil on gesso panel 35.5 x 45cm Plain white box frame Taken from an oil sketch worked plein air on the cliff in Weybourne, when I was Artist in Residence at 4, Coastguard Cottages, June 2022. A very hot, still day, when you could feel the heat resonating from the sandstone cliffs and shingle beach. I used a pink ground to amplify this sense of warmth and the handle of the brush to scratch details into the oil paint.
Emilia Symis Losing Paradise Acrylic on canvas 85 x 65cm Unframed Strelitzia flowers are very unusual and striking, and I love that they resemble birds. In this painting, I wanted to create a rainforest scene that was abundant with beautiful plants and ‘wildlife’. However, it appears that everything has been singed. Losing Paradise is a comment on deforestation, an issue that continues to trouble me. I wanted to preserve the beauty of the flowers and foliage, but when looked at closer, the wisps of smoke and charred edges become apparent. The title simultaneously references the famous poem by John Milton, Paradise Lost, and the more commonly known name for the Strelitzia plant, Bird of Paradise.
£1,100
Heather Tamplin Travellers Oil 80 x 30cm Unframed A future world where change and rising seas make travellers of us all.
£650
Mary Thatcher Autumn Nude 28 x 25cm White frame I worked mainly from life, but also photography on this Autumn Nude and as always with my work it’s the colours giving atmosphere which are important.
Corrin Tulk Harbour Elements Oil 30 x 30cm Framed Abstracting the essential elements from memory of the East Anglian coastline inspire the creation of this oil painting. First, I walk and sketch the area of interest and later in the studio develop the artwork in layers using palette knives and brushes. The vibrant lifeboat station at Caister on sea makes a regular appearance in my canvases.
£425
Imogen Tyler Plastic Oceans Dress Mixed media: plastic bags, wire mesh Wall hanging 120cm high This dress is a response to pollution of the world’s oceans, largely with plastic and other man-made items. I wanted to make something beautiful that showed the juxtaposition of nature and synthetic. The bodice is a ‘coral garden’ made of plaited plastic bags formed into roundels. The ‘tulle’ skirt is made from layers of plastic sheeting which I have pleated and is designed to resemble spun water.
NFS
Imogen Tyler Infestation I Mixed media 46 x 46cm A sculptural piece, made of wire and masking tape within a wooden drawer, lined with pages from an antique book. I was looking at the way insects swarm. These are butterflies. I had seen a kaleidoscope of monarch butterflies in Pismo, California. I used the drawer as a means of framing, to confine the swarm.
Peta-Stacey Wainwright Sky over Bircham Oil on board 50 x 60cm Framed Expressive impressionistic oil painting of an atmospheric sky over a Norfolk landscape.
£550
Emilia Lotta Wald Inertia Oil on linen 77.5 x 57cm Unframed Influenced by the debate about whether there is a free will and questioning my own spiritual beliefs about fate, I explored the feeling of control, or not being in control. Primarily, this work focuses on decision making, when intuition is not clearly guiding, resulting in a feeling of floating while trying to regain some sense of stability and security from somewhere. The questions about free will or fate are ultimately questions about how much control we actually have. As a result, I wonder if holding on to temporary supports is ultimately just an obstacle to get out of this “floating” stage.
£700
Jane Weinle Iterations-cincotych Oil on canvas 20 x 20 x 5cm Modes of thought are twisted and turned, stretched and folded, engaging with the vagaries of memory as a material presence in two and three-dimensional forms. Most are not about fixed moments or coherent accounts of things remembered, but rather memories distorted and hidden are embedded in the folds, giving rise to audience interpretation.
£600
Sammy Weston Owl Oil on board 50.8 x 40.64cm I started oil painting in 2020 during lockdown. This was one of my first pieces that I’ve slowly been adding to over the last two years, as my knowledge improved! Inspired by my love of nature, I gravitated towards animal portraiture. I wanted to make this piece a bit more modern, interesting and experimental - I love colour and wanted something that I’d never get bored of looking at. I was really happy with the texture of the background mixed with the imperfect wooden board, I think it creates a nice rustic/natural look!
£475
Icy White Constriction Study 2 Plaster and steel 80 x 100cm (varies depending on placement) A 3D study of constriction, using plaster and steel welded rods. I wanted to create a series of engorged biomorphic forms that looked warm, pulsing and tactile to a viewer, like beating human organs, but had the surprise of being solid, hard objects when they were touched.
NFS
Mary Whitlock Time to Party Oil on canvas 40 x 30cm Black floating frame around 3cm wide Time to Party after two years of lockdowns.
£550
Ray Whyard Boulder Stream Acrylic 66 x 51cm Gilt frame Exploring tonal variatons as shapes, leading into three-dimensional forms.
£250
Bobbie Wilson Paddy and Joey Oil on calico 42 x 64cm Unframed This piece is dedicated to the lulling moments of student life in between the melodrama that defines this unique stage. It is inspired by a conversation over drinks with my friends in which I realised how much we had all grown up throughout our time in university and the pandemic. Using a still, heavy composition combined with bold angular strokes, I wanted to create a tension in this calm encounter which explores our struggle to come to terms with becoming an adult. I used a limited palette of rich, heavy red and browns with light, wispy beiges to create contrasts that echo the intensity of this wonderful, ordinary moment.
NFS
Rosie Winn Rising Pyrography wood-burning pen and paint on wooden panel 64 x 34 x 4cm Box frame Rising has been drawn onto a wooden panel, the lines seared on with a wood-burning pen, against a painted background. Drawing with a woodburning pen promotes an economy of line that encourages non-essentials to be stripped away, allowing purity of form to be revealed.
Izzy Wright No Means No Tonal pencils, acrylic paint 30 x 100cm Unframed This is a tonal piece I created for my school project which was based on ‘how can art be used to address social issues’. The piece visualises the emotional pain of sexual assault and how it can happen to any woman of any shape or size. The style was inspired by the artist Barbara Kruger but all photos/concepts used are my own.
£350
Paul Zawadski Curtain Call Oil on canvas 30 x 80cm 3cm plain black wood frame, 1cm gap to canvas edge It is the end of a performance and the now empty stage is flanked by lilac-coloured curtain drapes painted in a loose, dripped paint technique. The intense red void of the stage is populated by ghosts of performers depicted in scattered areas of primary coloured pigment. The actors are gone but not forgotten.
£250