A warm welcome to the Roedean London Art Exhibition, a highly anticipated celebration of the work of our newest alumnae, alongside artworks by established OR artists.
Art has always been a cornerstone at Roedean and we are hugely proud of the school’s Art Department. Roedean’s Art Studio is an inspirational space where our students can challenge and express themselves in countless ways. For decades, it has been a transformative place and therefore it is somewhere that holds fond memories for many of our alumnae, whether they have pursued artistic careers or not.
We are delighted to showcase a diverse range of works and techniques in this exhibition, representing the rich and varied talents of Roedean’s artistic community. It is a joy to share these artworks with you today and we very much hope you will enjoy the exhibition.
Niamh Green Head
Abigail Boisot is an Oxfordshire-based artist fascinated by nature and the world around. She uses a diverse range of media from oil painting to printmaking; she paints local landscapes, horses in sport, and is commissioned to paint portraits of people’s pets! Abigail recently took a drawing course, learning to use pen and ink to draw trees, and can now often be found sketching and painting trees in the local woods.
Abigail graduated from Massachusetts College of Art in 1996 with a BFA in painting, spending one term at the Escuela de Bellas Artes in Barcelona as part of the Erasmus Programme. She spent two years at Heatherley’s School of Art in 2006 doing a Diploma in Portraiture. Abigail has been a visiting artist in primary schools for over two years as part of the Cotswold Arts Through Schools programme.
Abigail Boisot (No. 4, 1982-88)
Ode to Myrtle
Pen and ink on paper
£1,800
www.abigailboisot.com
Instagram: @abigailboisot
Facebook: @AbigailBoisotArtist
Email: aboisot@mac.com
Valeria Burmistrova is a multifaceted creative based in London who seamlessly balances her architectural career with a deeply personal artistic practice, allowing these two worlds to intertwine and inspire one another. Her current work in ceramics features a series of hand-built sculptures composed from carefully cut slabs of clay that are refined by intricate carving, creating the final form and texture. In her work, she draws inspiration from natural forms, ancient myth and personal narratives.
The sculpture in the exhibition evokes the mystical allure of the number three, drawing a parallel to ancient triads. Inspired by the Greek myth of the three Gorgon sisters, renowned for their petrifying gaze, the piece reflects on the often-overlooked protective quality within this power. Much like the mouldable clay, transformed into unyielding stoneware through the firing, the Gorgons, particularly Medusa, possessed the ability to turn any who gazed upon them into stone. Yet, beneath this formidable aspect lies a deeper layer of symbolism - a shield, a guardian, a protector. The piece recalls a time when artefacts were imbued with protective qualities and passed down through generations. In this fusion of past and present, the sculpture invites the viewer to reconnect with the timeless bond between art and protection.
Triad
Burmistrova (No. 3, 2007-14)
Ceramic Sculpture
Not for sale
Email: valeria.burmistrova@gmail.com
Instagram: @valeriaburmistrova
Anabela Chan is a pioneer for pairing sustainable material science with artistic creations. Jeweller to the Stars from Beyoncé, Rihanna to Oprah, she is Founder, CEO and Creative Director of the first fine jewellery brand in the world to champion laboratory-grown diamonds, colour gemstones, and recycled materials, paired with high jewellery designs and artisanal craftsmanship - always driven by a focus on circular innovations.
Anabela is a Design and Innovation Ambassador for Great Britain and Visiting Lecturer at The Royal College of Art. She is named Walpole’s 50 Most Influential People in British Luxury in 2022, and winner of the prestigious Game Changer Award in 2024 for innovators of British luxury - people, products and services which have demonstrated meaningful change within their sector, shifting the dial for a better future.
Anabela Chan (No. 1, 1995-2003)
Citrine Swallowtail Ring, Rose Cinderella Ring, Rose Geranium
Earrings and Sapphire Peony Ring
Gouache Jewellery Designs
Not for Sale
www.anabelachan.com
Instagram: @anabelachan
Grace Stephanie Rachel Conway is an artist and designer from Buckinghamshire. She graduated with a BA Hons in Fine Art from the University of Leeds in 2023.
The work is centred around Portuguese craft and architecture with the influence from the Middle East, additionally using botanical and floral design from living in South Africa as a child. The designs are meticulously drawn to be delicate, elegant and spontaneous. Perfect symmetry is never used to create fluidity. The work reflects and honours art, craft, design and architecture with vibrant colours to elevate the designs.
Grace Conway (No. 4, 2016-18)
A spectrum of waves inhaling, exhaling, dancing around the spine.
Screen Print £800
Instagram: @gracesrconway
With over 20 years in the creative industry, Lydia’s artistic journey has been fuelled by a passion for visual storytelling. While her professional work spans prestigious live events and media projects, painting is where her true expression comes to life. This instinctual, hands-on process allows her to explore creativity freely, much like the joy she felt as a child discovering art.
After years as a computer artist, Lydia finds deep satisfaction in spending time in front of a canvas, immersed in the tactile world of colour and form. Lobsters inspire her with their resilience, adaptability- their visual difficulty and uniqueness. Their intriguing form symbolizes her own artistic character, change, growth, solitude, lost in the deepness and tainted with mystery. Painting is not just a profession for Lydia - it’s a passion and the purest reflection of who she is.
Lydia Cunningham (Baker, No. 4, 1993-98)
Spiny Lobsters
Oil on Canvas
£7,900
Email: lydia@lydiabaker.co.uk lydiacunninghamart.co.uk
An alumna of the University of Cambridge School of Architecture, Margaret holds a degree in Architecture, and in addition is a registered architect with Architects Registration Board (ARB). With a notable professional background working for Foster and Partners, Margaret seamlessly transitioned from being architect to artist.
Amidst a global pandemic, Margaret embraced long stretches of quarantine as a means to further refine her artistic skills and vision, delving into the realm of hyper-realism in the form of larger-than-life depictions of nostalgic snacks and sweets.
Through this medium of paint and canvas, she seeks to help viewers of her works rediscover the nostalgic sense of comfort and joy associated with childhood treats. In describing her motivation as an artist, Margaret shares "I find snacks to be comforting, familiar and accessible as a food which provides a sense of home in people". She further notes that snacks, being affordable and easily relatable serve as a universal means for people of all backgrounds to connect.
Margaret Lau (No. 3, 1991-95)
Haribo Goldbear
Mixed Medium
Not for Sale
Instagram: @margie.lau_artspace
Sophie Molins’ creative work always speaks to the human condition. A photographer, filmmaker, anthropologist and New York Times and Arts Council award-winning artist, Molins is also an activist and group facilitator with a long history working in education, addiction and climate change.
Molins creates through the lens of psychology, philosophy, feminism and anthropology; addressing universal emotions and responses, constantly questioning what it is to be human.
Sophie Molins (No. 3, 1976-80)
Amaterasu
Digital Print
Limited Edition of 25
£250
sophiemolins.com | weddingdressinspace.com | lostsheep.black
Instagram: @sophiemolinsart
Anouska Samms lives and works in London. Her practice draws on matrilineal memory, women’s bodies in relationship to domesticity, and the intersection between design and fine art. She produces distinct ceramic sculptures, tapestries and moving image work.
Samms was an artist in residence from 2022-23 at the Alexander McQueen foundation - Sarabande, London, and was a Research Fellow in the Design, Architecture and Digital department at the V&A, London from 2017-21.
Her work has been the subject of numerous group and solo shows including Sarabande Foundation, London (2023, group) and London Design Festival, London (2022, group). Her award winning moving image works have been included in international film and arts festivals including BFI Southbank - as part of the UK Competition Screening for the London Short Film Festival, London (2023); The Artist Forum, Festival of the Moving Image, New York (Winner for Best Documentary Short both in 2017 and 2023) and Mana Contemporary Chicago’s Body + Camera Festival, Mana Contemporary, Jersey City, (2017).
Anouska Samms (Wise, No. 2, 2008-10)
Spark (Birth)
Tapestry – Human hair, silk, wool, cotton, leather, art glass, wooden frame
£2,200
anouskasamms.com
Instagram: @anouskasamms
Rosie Sanders’ unique style of painting pushes the boundaries of botanical art with her grand scale, magnified flower paintings. Whilst fitting loosely into the botanical tradition in terms of subject and accuracy, the size of her compositions and intensity of colour set her apart from her contemporaries and defy categorisation. In the large scale watercolours Sanders explores the sculptural and sensual nature of flowers, at the same time capturing their abstract qualities, unique textures and interesting plays of light. More recently Sanders has been exploring other media, large landscapes in graphite, conte crayon and oil on Mylar, and oils on gessoed panel. More experimental works done with mixed media and acrylic. Alongside painting, Sanders enjoys printmaking and is a member of Make South West.
Sanders is represented by Jonathan Cooper of Park Walk Gallery in Chelsea, London where she has had regular solo exhibitions of her work since 2002. Her paintings were included in the 7th International exhibition at the Hunt Institute of Botanical Documentation at Carnegie-Mellon University in Pittsburgh and many are in the collection of Dr Shirley Sherwood, the world’s most foremost botanical collector and supporter. Rosie’s paintings were included in the opening exhibition of the new Shirley Sherwood Gallery at Kew as well as numerous other world-wide exhibitions curated by Dr Sherwood.
Publications include The Apple Book, a comprehensive fully illustrated monograph covering 144 varieties of apple, Rosie Sanders Flowers a celebration of botanical art, and Rosie Sanders Roses.
Rosie Sanders (Burnet, No. 4, 1955-61)
Poem without words
Watercolour
£20,000
Jonathan Cooper Gallery, 20 Park Walk, London SW10 0AQ
Email: mail@jonathancooper.co.uk
Telephone: +44 (0)20 73510410
In her early twenties, Celia became an air stewardess with British Caledonian and travelled the world. Just before leaving the airline, she started an Open University maths degree and graduated in 1993 with first class honours.
In the early 1990s, whilst renovating an old house with her husband (Brian), they needed oak Tudor roses for a fireplace surround. After getting a ridiculously expensive quote, Brian suggested Celia have a go at doing them. That got her started on woodcarving which she has done ever since.
Celia and Brian had a new house built in 2015 with a workshop on the ground floor where they both do woodwork.
Wood
£1,800
Email: tewehe@gmail.com
From her studio in County Durham Gillian transforms second hand textiles into unique pieces of clothing and accessories. Inspired by the surrounding plant life she uses the eco print process to create permanent images on the textiles from plant material.
Aiming for as circular process as possible she also offers a return programme for any item purchased from her and reprints and reuses returns to create new products.
Gillian Smellie (Aikin, No. 1, 1973-81)
Nova
Textiles: Eco printed upcycled pure silk shirt using eucalyptus leaves £120
www.gilliansmellie.com
Instagram: @gilliansmellie
LinkedIn: @gilliansmellie
In her personal investigation, Niamh explored the hidden meanings and societal influences of colour, focusing on those found in the natural world. While studying flowers, she discovered that using a slower shutter speed to blur her photographs allowed the colours to bleed together, creating a soft, abstract effect. Inspired by this, she researched Gerhard Richter’s work, particularly his exploration of dragged paint and abstract shapes. She then experimented with recreating her blurred photos through mono-screen printing and oil painting, aiming to capture the fluidity of colour.
The cascading wool in Trish Anderson’s tufted works resonated with her blurred flower images, leading her to explore tufting as a medium. For her final piece, Niamh drew inspiration from Alexandra Kehayoglou’s large-scale tufted tapestries, which span both walls and floors. Her installation incorporates vibrant colours and abstract shapes, with the tufting designed to envelop the viewer. The tapestry is shaped organically, long, thin, and uneven at the top to mimic natural forms.
Cascading strands extend to the floor, evoking the impression of tree trunks or streams branching out. She intended to create the sense that the tapestry is growing into the exhibition space.
Niamh Atwood
A Levels in Art, English and Classic Civilisation. She is currently on the Art Foundation course at Kingston School of Art.
As a culmination of her exploration into landscapes, mark-making, and colour, Martha produced two paintings for her final piece. Using photographic collages created from images taken during a visit to Stanmer Park, she constructed dynamic compositions. After experimenting with different approaches, Martha selected an orange underpainting, finding it the most effective base. In a bold decision, she left the sky as the original underpainting, allowing the natural texture to shine through. Though she initially planned to use neutral tones, Martha introduced vibrant, bold colours during the painting process, enhancing the depth and drama of each piece.
Martha Bradley
A Levels in Art, Business and Geography. She is reading Geography with International Study at the University of Manchester.
Inspired by the powerful beauty of the sublime, Alissandra chose to explore the emotional impact of vast natural landscapes in her work. Drawing from personal experiences and photographs taken in the Austrian Alps, she sought to create an expansive and almost fantastical environment.
Influenced by artists like James Morrison and Norman Ackroyd, Alissandra carefully collaged together mountains photographed at different times of day and under varying weather conditions to craft a continuous panoramic view. Her final piece consists of three, layered mountain paintings on grey board with a raw sienna underpainting over a thick layer of white gesso.
Using digital collages as references, Alissandra worked in oil paint, adopting a limited palette and forgoing black and grey tones, instead mixing colours to achieve depth and shadow. Inspired by John Constable’s techniques, she focused particularly on the skies, allowing the light and atmosphere to convey the sense of joy and hope she associates with the sublime.
Through these paintings, Alissandra captures the majesty and mystery of untouched nature, reflecting her connection to the expansive and unknown, while evoking the emotional resonance of standing in awe of the natural world.
A Levels in Art, Music and Politics. Alissandra is taking a gap year before applying to drama school.
In her personal investigation, Kary explored the theme of "Reflection." Inspired by Saul Leiter’s street photography, she became fascinated with capturing urban reflections, abstracting mundane scenes through reflective surfaces. Drawing from both Leiter’s distinct use of reflections and Yoshihiko Ueda’s manipulation of light and composition, Kary aimed to incorporate these elements into her work.
Her goal was to evoke a cinematic and nostalgic atmosphere. She photographed urban scenes through shop windows and telephone boxes, experimenting with multiple exposures to explore reflections without using reflective materials.
For her final piece, Kary created an installation using double-exposure images taken during a photoshoot in Hong Kong. Focusing on the Yen Chow Street Hawker Bazaar in Sham Shui Po, where she spent much of her childhood, Kary printed the images on voile to enhance the sense of abstraction and dreaminess. Through this installation, Kary aimed to evoke a sense of nostalgia and abstraction, reflecting both personal memory and urban life.
Kary Kou
A Levels in Photography, Maths and Business. Kary is studying Photography at the University of Middlesex.
During her 15-hour photography exam, Kary employed the lumen print technique to create a deeply personal and evocative final piece. This intricate process began by placing objects, such as natural forms, paper shapes and photographs on acetate as “positives” on expired photographic paper, which was then exposed to sunlight for around 45 minutes. The exposure time varied depending on the intensity of the sun and the desired outcome, making the weather a critical factor in determining the final colour palette. Through experimentation, Kary achieved a harmonious blend of soft brown, purple, and grey tones.
Each lumen print and acetate image was carefully selected, with Kary meticulously arranging them on her exhibition board, nailing each element into place to construct the final piece. The attention to detail in selecting, arranging, and securing the prints reflects her painstaking organisation throughout the process.
This piece is a digital recreation, as the original lumen prints are susceptible to fading due to the fragility of the handmade materials and the organic nature of the printing process.
Kary Kou
A Levels in Photography, Maths and Business. Kary is studying Photography at the University of Middlesex.
Phoebe’s artistic journey began with an exploratory walk along Cuckmere Haven, armed with sketching materials to capture the landscape’s essence. From her initial drawings and photographs, she engaged in etching, painting, and digital manipulation to construct a three-dimensional diorama, embodying a sublime, romantic landscape, the focus of her investigation.
The diorama, once illuminated and photographed, became the foundation for her oil painting. Using the Zorn palette, consisting of just four colours, yellow ochre, vermillion, titanium white, and ivory black, Phoebe confronted the challenge of representing blue in the sea and sky. Through careful brushwork and varying levels of detail, she skilfully achieved depth and perspective, despite the palette’s limitations.
A Levels in Art, Business and Geography. Phoebe is currently reading Management with Marketing at the University of Bath.
For her exam project, Phoebe chose the theme of "Home," focusing on the shifting light through a window. She observed how shadows and reflections on bottles along the windowsill evolved throughout the day, and these subtle changes inspired a digital collage that captured the passage of time, which later formed the basis of her painting
Phoebe used a soft colour palette and gentle focus to introduce hints of greenery through the window, leading into the garden. Her work captures the quiet beauty of everyday moments, highlighting how light interacts with familiar objects. Intrigued by the subtle changes in her surroundings, Phoebe revisited the same setting over several days, reinforcing a sense of rhythm and routine. The delicate interplay of light and shadow in her piece symbolises the tranquil passage of time.
Phoebe Nightingale
A Levels in Art, Business and Geography. Phoebe is currently reading Management with Marketing at the University of Bath.
In her personal investigation for Art, Anastasia explored how tones, patterns, and shapes can manipulate and distort space. Drawing inspiration from architecture, graffiti, and artists like Jean-Michel Basquiat, she layered vibrant shapes, patterns, and colours to produce a series of paintings that evoke the dynamic energy of the urban landscape. Her work reflects the complexity and rhythm of cityscapes, blending structural elements with the raw, expressive quality of street art.
A Levels in Art, Textiles and French. Currently studying International Foundation Programme (Liberal Arts and Social Science) Kings College, London.
Inspired by the intricate underbodies of mushrooms, Carmen’s work explores the hidden patterns of the microscopic world. Drawing influence from artist Kinga Foldi, she meticulously pleated hand-dyed fabric in rich, earthy gradients to replicate the layered forms observed in mushrooms. A smocking pleater was used to create textured sections, which were layered onto a mannequin, with calico chosen for its ideal combination of crispness and sturdiness.
Carmen employed a unique rust-dyeing process, applying wet rust filings with a vinegar-salt spray to achieve an uneven coloration evocative of pink oyster mushrooms. The garment is dramatically staged beneath 30-40 suspended paper and bamboo shapes, creating an immersive installation influenced by Peter Gentenaar.
Carmen Yeung
A Levels in Art, Textiles and Maths. Currently studying BA (Hons) Fashion at Kingston University.
For her A-Level Art personal investigation, Carmen delved into the relationship between people and their surroundings, highlighting the intimate connections that form between individuals and their environment. Inspired by artists like Harold Gilman and Renato Guttuso, Carmen created a large-scale painting based on photographs she captured during a visit to Borough Market. Her work brings to life the vibrant interactions and shared experiences found within everyday spaces.
Carmen Yeung
A Levels in Art, Textiles and Maths. Currently studying BA (Hons) Fashion at Kingston University.
Alice Mara is a ceramic artist with over twenty years’ experience and is widely acclaimed for her skilled craftsmanship and innovative designs. She has won industry awards including the Ella Doran Award for Best New Designer, the Queensbury Hunt Award for innovative use of ceramics, and the Royal Academy of Scottish Art Award for Best Female Sculptor.
Alice’s work has been exhibited at The Royal Academy, Christies and Fortnum & Mason in London, at the New York Print Fair, and in galleries in Paris and Italy. She has undertaken commissions for museums and galleries including The Hayward Gallery, The William Morris Museum, Sheffield Museum and Brighton Pavilion. Her work is featured in numerous publications including You Magazine, Elle, Ceramic Review and Printmaking Today. She has a Degree and Masters in Ceramics and taught pottery for over ten years to University students across the South East.
Alice has spent her career developing the relationship between form, function and decoration, and has an insatiable appetite for new challenges. She experimented with printing methods before perfecting the art of realising photography in three dimensions, a complex and painstaking process. Her previous work features the architecture of London, Brighton and Eastbourne, capturing the colour, culture and character of these places. Her ceramic pieces offer a narrative of the lives led in these towns which, through the subtle use of symbolism, hint at the emotional backdrop of the residents.
Alice views the hallmarks of a ‘great work of art’ as being well made, functional and conveying a message or aesthetic that provokes a pleasant reaction. The loss of her father from her family life has informed Alice’s latest work in bespoke ceramic houses, which she hopes will help crystallize other people’s precious memories of family and home.
Alice Mara Roedean Artist in Residence 2024
Eastbourne Shopping Spree
Stoneware clay with digitally printed transfers applied and melted glass £1800
alicemara.com
Email: alicemara@hotmail.com
Instagram: @alicemaraceramics
