Mabon
Fully illustrated publication for the international mixed art exhibition at animamundigallery.com
Fully illustrated publication for the international mixed art exhibition at animamundigallery.com
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Mabon
In many traditions, time is considered to be cyclical
rather than straight line. Perceived as a perpetual
cycle of growth and retreat tied to the Sun’s annual
death and rebirth. This cycle is also viewed as a
micro and macrocosm of broader life cycles in an
immeasurable series of rotations composing the
Universe. The days that fall on the landmarks of the
yearly cycle traditionally mark the beginnings and
middle-points of the four seasons.
‘Mabon’ is the first in a series of Anima Mundi
online mixed exhibitions following this rhythm of
the seasons, known as ‘the wheel of the year’. This
‘calendar’ provides a cue for the duration of each
show, and inevitably, albeit not deliberately, fla-
vours the selection of works presented.
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“Sunrise Chant Hail sun, light and arc, fight again
against the dark!”
Diana Rajchel
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David Kim Whittaker (b. 1964)
Most of David Kim Whittaker’s paintings are
based upon a metaphysical interpretation
of the human head. These portrait portals,
are often ambiguous, with the aim of
representing the totality of the human
condition - both the universal and the
empathetic alongside personal experience.
The works often juggle dual states of inner
and outer calm and conflict, offering a glimpse
of simultaneous strength and fragility,
conscious and subconscious, masculine and
feminine. The paintings express Whittaker’s
constant focus on an attempt to express
something far greater than oneself. Recent
works depict the artists deep sensitivity
and increasing unease when confronted
with the compounding global tensions of
this particlar moment. A dual reflection of
hope and warning stares back at us from
the frame.
Whittaker is a British artist born in
Cornwall where he still resides. Exhibitions
have been held internationally, notably
including a major solo exhibition at
the prestigious Fondazione Mudima in
Milan in 2017. Works are in numerous
museum collections, art foundations and
international private collections. Whittaker
was further acknowledged in 2011 as the
recipient of the Towry Award (First Prize) at
the National Open Art Competition.
‘The Sisters : Figure of the Nocturns’
oil on acrylic on panel, 76 x 76 cm
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Antony Micaleff (b. 1975)
Antony Micallef is a British contemporary
artist working in London, UK.
He first appeared on the British art
scene after becoming a prize winner of
the BP Portrait Award competition at the
National Portrait Gallery. Since then,
his oevre fused political imagery with
contemporary expressionism winning him
worldwide acclaim. Described as a Modern
Expressionist, Micallef roots his visually
charged figurative paintings in the
fields of social commentary and physical
and metaphysical self-examination in
the search to capture something of the
human condition. In his more recent
works, he builds up a substantial
relief-like surface with extensive paint
mass sited upon a benign background.
By using significant layering, and heavy
impasto, the materiality of his medium
is pushed to its extreme, blurring
the boundaries between painting
and sculpture.
Micaleff was notably taught by the painter
John Virtue, who was in turn taught by
Frank Auerbach. He has been selected
as one of Louis Vuitton’s ‘Visionaries’
and is currently taking part in a world
tour showcasing his work. His paintings
features in private and public collections
across the world, with work exhibited
in exhibitions in institutions including
The National Portrait Gallery, The Royal
Academy, Tate Britain and the ICA.
‘Constructing Auras with Red and Ochre
oil with beeswax on canvas, 40 x 40 x 30 cm
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Henry Hussey (b. 1990)
Henry Hussey’s artworks are often
emotionally and physically raw, yet
contrastingly beautiful and intricate, created
with force through often paradoxically
laboured mediums, including textile,
glass, ceramic, paint and film. Whether
through an expanding vocabulary of quasimythological
symbols, or in embellished
lines of text extracted from performative
situations, Hussey explores personal and
national identity in response to aggravating
relationships and events. Recent
experimentations reveal a deep concern
with control and chaos and the sweet spot
in between these two distinctive states.
Henry Hussey is a British artist born in
London in 1990 where he still resides.
Hussey studied Textiles at Chelsea College
of Art before completing an MA in Textiles
at the Royal College of Art. His work is
widely respected and has been exhibited
in notable exhibitions including The
Textiel Biennale 2017 at Museum Rijswijk
in the Hague, a solo presentation at Art
Central in Hong Kong, the Bloomberg New
Contemporaries in 2014 at the Institute of
Contemporary Art in London, the Royal
Academy London and Volta New York and
the Young Talent Contemporary Prize at
the Ingram Collection in 2016. Hussey has
participated in residencies at La Vallonea,
Tuscany, Italy in 2018 and participated
in a residency at Palazzo Monti, Milan
in 2020. His work is held in collections
worldwide including Simmons & Simmons,
Hogan Lovells, The Groucho Club and
Soho House.
‘Prometheus Bound’ / ‘Joan’
oil-based monotype on paper, 42 x 30 cm
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‘Judas’ / ‘Wound Man’
oil-based monotype on paper, 42 x 30 cm
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Judith Nangala Crispin (b. 1970)
Judith Nangala Crispin is an Australian visual
artist, poet and musician, and a descendant of
Bpangerang people of North East Victoria. Her
skin name, Nangala, was given to her by the
Warlpiri people of the remote Tanami Desert
in northern Australia, a place she has lived
for a few months each year for over a decade.
Her work includes themes of displacement
and identity loss, a reflection on her ancestry,
but it is primarily centred on the concept of
connection with the land. This work forms
a part of Crispin’s ongoing series depicting
the transcendent ascending forms of recently
deceased fauna. Crispin’s camera-less method
of photography incorporates a range of
processes. Her own developed alternative
process of ‘lumachrome glass printing’,
combines elements of lumen printing, cliché
verre, chemical alchemy and drawing. She
works within a mobile geodesic dome which
functions as a giant lens where light streams
penetrate its plastic walls. The mobility of
her studio allows her to go to the site of her
subject, prior to respectful burial. The muse,
is raised onto a plastic box, rested on special
photographic paper for up to 50 hours as the
passage of sun and moonlight exposes its
posthumous portrait. Each work is viewed as
a collaboration with nature, where honouring
the subject is a key objective. In each work
the animals are diaphanous where light has
literally passed through their bodies. They
appear drawn in a primitive motion by a
slipstream of spirit, levitating in a space of
brooding luminosity that appears sentient
and wholly focused on the task of enfolding
each creature back into its care. The result
offers a profound sense of what lies beyond.
Nangala Crispin has published a collection of
poetry, The Myrrh-Bearers (Sydney: Puncher
& Wattmann, 2015), and a book of images and
poems made while living with the Warlpiri,
The Lumen Seed (New York: Daylight Books,
2017). She is a member of Oculi collective, one
of the chapter leads of Women Photograph
(Sydney), and was the 2021 Artist in residence
with Music Viva. She is also the Poetry
Editor for The Canberra Times. She has
also directed and worked on two major
social justice research projects – The Julfa
Project, which preserved photographic
records of a destroyed Armenian cemetery
and digitally reconstructed the site from
new and existing images; and Kurdiji 1.0, an
Aboriginal suicide prevention app, which
strengthens resilience in young indigenous
people by reconnecting them with community
and culture. Nangala Crispin work has been
exhibited internationally.
‘On a night of meteor showers and lit uranium mines, Jeremy, released from his chickenhawk body by
a passing truck, unfolds his thousand-eyed wings.’
Lumachrome glass print, cliche-verre, chemigram, drawing. Roadkilled chickenhawk, sand,
vegemite, household and decomposition chemicals, rodinal, graphite, biro, bromide, wax, and
marbles on Fomapan fibre paper. Exposed 47 hours in rainlight in a geodesic dome, 130 x 82 cm
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Tim Shaw (b. 1964)
Tim Shaw RA’s sculpture is often dualistic,
incorporating current affairs, societal
complexity and human conflict with
ancient, mythical, metaphysical and primal
concerns. Shaw’s powerful oeuvre connects
these elements to create wider, timeless
portraits of humanity. The tension between
ancient past and a prosaic presence,
between solidity and breakdown, becomes
an organic part of his worldview, whether
he’s looking at human transgression or the
enlightenment of primitive ritual.
Shaw is a British artist, born in Belfast, he
currently lives in Cornwall. He was elected
an Academician at The Royal Academy
in 2013 and made a Fellow of The Royal
British Society of Sculptors and a Fellow
of Falmouth University the same year.
Shaw has had a number of significant solo
shows throughout the UK, Ireland and
internationally. Most recently the major
public solo exhibitions ‘What Remains’
and ‘Something is Not Quite Right’ a
collaboration between The Exchange and
Anima-Mundi, ‘Mother the Air is Blue,
The Air is Dangerous’ was held in the F.E
McWilliam Gallery in Northern Ireland,
‘Black Smoke Rising’ toured from Mac
Birmingham to Aberystwyth Arts Centre
and Back From the Front presents: Shock
and Awe – Contemporary Artists at War
and Peace at the Royal West of England
Academy. He has undertaken a number of
public commissions including ‘The Rites
of Dionysus’ for The Eden Project, ‘The
Minotaur’ for The Royal Opera House and
‘The Drummer’ for Lemon Quay, Truro.
A more political side to his work became
evident in a number of sculptures responding
to the issues of terrorism and The Iraq War.
‘Tank on Fire’ was awarded the selectors
prize at the inaugural Threadneedle Prize
in 2008 and the installation ‘Casting a
Dark Democracy’ was reviewed in 2008
by Jackie Wullschlager of The Financial
Times as ‘The most politically charged
yet poetically resonant new work on show
in London’. Shaw has been supported by
the Kappatos Athens Art Residency, The
Kenneth Armitage Foundation, The British
School of Athens,The Delfina Studio Trust
through residencies in Greece, Spain and a
fellowship in London. Most recently as an
Artist Fellow at the Kate Hamburger Centre
for Advance Study in the Humanities of
‘Law and Culture’ In Bonn, Germany where
he began work on ’The Birth of Breakdown
Clown’ an existential sculptural work
utilising sculpture, robotics and AI.
‘We Remain at the Mercy of Nature (Figure I)’
bronze (edition of 9), 74 cm (H)
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‘We Remain at the Mercy of Nature (Figure II)’
bronze (edition of 9), 52 cm (H)
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‘We Remain at the Mercy of Nature (Figure III)’
bronze (edition of 9), 65 cm (H)
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John Robinson (b. 1981)
John Robinson’s technical prowess could be
seen to be shared with the great pantheon
of masters of the 17th and 18th centuries
including artists such as Diego Velazquez
and Francisco Goya with a developing
unguarded focus on self portraiture adopted
by the likes of Rembrandt Van Rijn or more
recently Frida Kahlo. However Robinson’s
figurative works offer a contemporary
subversion of the rich tradition of self
portraiture. Somber protagonists dominate
the canvas, usually presented in theatrical
situations which barely mask a more
prosaic ‘kitchen sink’ vulnerability. They
are often simultaneously absurdly comic
and psychologically revealing. Robinson’s
process often involves private performance,
where his actions are then exquisitely
rendered, in oil on canvas. For Robinson
these paintings embrace personal concern,
disclosure and catharsis, for the voyeur
the experience appears both elaborately
grandiose and awkwardly revealing.
Robinson was born in Worcester, UK where
he still resides. He studied Fine Art at
Falmouth College of Arts, spending most
of the time whilst there skipping tutorials
to travel to Plymouth to be taught by the
notorious and idiosyncratic painter Robert
Lenkiewicz. Robinson was awarded the
Richard Ford Scholarship by the Royal
Academy of Arts and spent a summer as
artist in residence at the Prado Museum
Madrid absorbing the works of Velazquez
and Goya. He stayed in Madrid for a
further decade broken by a year at Central
Saint Martins on a Masters degree in fine
art. He later developed his duel use of
‘the painting’ as revelation and disguise;
‘self portrait as (other…)’. Robinson has
exhibited internationally. He has won
the Peter Spicer Award for Excellence
in Creative Arts (First Place), Richard
Ford Award for Painting, Royal Academy,
London (First Place), South Square Trust
Scholarship for MA study at Byam Shaw
school of Art, Central Saint Martins,
London, Alfa Romeo Award Art (‘Best of
show nominee’) Madrid, Spain, Premio
de Pintura Focus-Abengoa, Seville, Spain
(Winner) and the Hauser and Wirth Prize,
Hauser and Wirth Somerset UK, (First
Prize). Works are held in notable collections
including University of the Arts London
permanent collection, London, UK, Nicolas
& Maxinne Leslau collection, London,
UK, Focus-Abengoa Foundation, Seville,
Spain, Coldwell Banker, Madrid, Spain,
Falmouth College of Arts Library, Falmouth
UK, Museo del Ferrocarril, Madrid, Spain,
Stedlijk Museum Amsterdam Netherlands,
Wellcome Collection London UK, British
Council Collection UK.
‘Heaven All Over My Face’
oil on canvas, 180 x 150 cm
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David Cooper (b. 1972)
“There are acts of terror that can’t be ignored or
cleared from the mind. These ‘War Hed’s’ came
about following Russia’s invasion of Ukraine.
In this series destruction is the making. Clay, a
simple medium from the ground, moulded with
taped hands, and bitten, to sculpt the brutal
yet fragile pieces. Biting the clay became
symbolic of an act of unarmed survival.”
David Cooper’s work deals with disorder.
His work is examined inside out, and outside
in, through a series of unpremeditated and
intuitive processes. The works inquire into
a humanity that feels, fears and confronts
restriction and control; a state of being
often conducive to an abominable sense
of desolation and fettered anxiety. These
unknown (and unknowable) aspects of the
human condition, driven by momentary
absences of restraint, structure and
control are embodied. Broken happenings,
motivated by instinct, assemblage
techniques and random thoughts, naivety
and energy are exploited to sculpt the
identity of these unfathomable aspects of
human experience.
David Cooper was born in Wakefield, West
Yorkshire in 1972. He currently lives and
works in Suffolk. Cooper studied Fashion
at John Moores University followed by an
MA in Fashion Design at Central Saint
Martins where he went on to become
lead designer and head of menswear at
Alexander McQueen. More recently Cooper
attended Fine Art summer school at the
Slade School of Fine Art in 2008. Works
have been exhibited extensively in the UK.
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‘War Hed (1)’
clay, 20 x 19 x 17 cm
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‘War Hed (2)’
clay, 32 x 20 x 16 cm
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GL Brierley (b. 1964)
In GL Brierley’s pictorial stages, we often
witness simultaneously seductive and
grotesque themes tilting over and collapsing
into a sort of pantomime-like comedy.
In addition to their representational
quality, paint remains paint as material
oscillating between a form of abstraction
and figuration. Brierley symbolically plays
with the term ‘base-matter’ as a word rooted
in the term ‘mater’, which also means
‘mother’ in Latin and Greek, gracefully
fusing two concepts: object and desire. Her
exquisite oil paintings feature individual
subjects, often appearing engaged in
dialogue, positioned alongside fragments
that perhaps resemble still life. The paint
appears corporeal, organic and almost
living, congealing as a result of technical
alchemy, casting ambiguous folds in a
unique materiality which simultaneously
demonstrates a virtuosic use of light and
shade. All pictorial elements are given the
same ornamental treatment, which means
that the viewer’s gaze freely roams across
the entire image: filigree inlays in sharp
angular shapes are applied, simulating a
floor covering that may appear abruptly
foreshortened. Broad brushstrokes rich
in contrast generate a figurative element,
perhaps punctuated with parasitic colour
sequences that freely resembles an
imaginary covering or garment. In sharp
contrast, thick applications of colour dot
the surface here and there in an almost
violent act of embellishment. Brierley’s
paintings serve as a stage for diverse
forms of reconciliation and transformation
between the male and female, mind and
material, body and object.
GL Brierley is a British artist based in
London. GL Brierley. She completed her
Masters in visual arts at the College of Art
in London and graduated with an M.F.A.
from Goldsmith College, London. Her
works have been presented in numerous
exhibition internationally. And are placed in
renowned cas numerous private collections.
‘Untitled (1)’
oil on panel, 30 x 40 cm
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‘Untitled (2)’
oil on paper, 28 x 38 cm
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David Quinn (b. 1971)
Working on several pieces at once, David
Quinn’s studio is an intimate, white,
rectangular space where small scale, interrelated
yet instinctively painted works, hang
in line or grid. Each piece a self contained
unit, both unique and yet part of a greater
whole, as if individual words as part of
a sentence, notes in a tune or hours in a
day. What at first glance appears simple,
minimal and understated, reveals itself
upon closer inspection to be multilayered
and imbued with quiet complexity, where
a unique history is accumulated, built
like strata in sedimentary rock. A finished
painting is the summary of the process of
its creation: a concentrated form or essence,
containing both purity and imperfection,
each tablet a poetic palimpsest, considered
by Quinn as a marker of time, spent
in contemplation - akin perhaps to a
physical embodiment of meditation or
a prayer.
David Quinn was born in Dublin, Ireland
in 1971 and currently lives and works in
Shillelagh, County Wicklow. His paintings
have been exhibited internationally and
can be found in collections worldwide.
‘Cloghan (1)’
mixed media on panel, 21.5 x 13.5 cm
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‘Cloghan (3)’
mixed media on panel, 21.5 x 13.5 cm
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‘Cloghan (3)’
mixed media on panel, 21.5 x 13.5 cm
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Kate Clark (b. 1972)
Kate Clark’s sculptures invite the viewer to
experience an instinctive and primal reaction,
that encourages further examination of our
own humanity. Stitched over a hand-sculpted
human face, the material quality of her ethically
sourced animal hide brings an authenticity to
the final sculpture, through what the artist
describes as a unique energy and presence.
We identify with animals through both our
connection with and separation from them.
Recognising these contradictions, Clark’s
fusion of human and animal suggests that our
human condition is fully realised only when
we acknowledge and reconcile our current
state and our natural instincts, acknowledging
the animalistic inheritance within the human
condition. She achieves this through emphasis
on the characteristics that differentiate us
from the rest of the animal kingdom, and,
importantly, the ones that unite us.
Kate Clark lives and works in Brooklyn, New
York. She attended Cornell University for her
BFA and Cranbrook Academy of Art for her
MFA and has been awarded fellowships from the
Jentel Artists Residency in Wyoming, The Fine
Arts Work Center Residency in Provincetown,
MA, and the Marie Walsh Sharpe Studio
Program in New York. Clark was nominated
for a USA Fellowship, a Louis Comfort Tiffany
Award and an American Academy of Arts
and Letters award. She was awarded a grant
from The Virginia Groot Foundation in 2013
and a New York Foundation For the Arts
(NYFA) Fellowship Award in 2014. Clark has
exhibited in solo museum exhibitions at the
Mobile Museum of Art, The Newcomb Art
Museum and the Hilliard Museum and in group
museum exhibitions at the Aldrich Museum of
Contemporary Art, The Islip Art Museum, and
The Bellevue Arts Museum, MOFA: Florida
State University, Cranbrook Art Museum, Frist
Center for the Visual Arts, The Winnepeg Art
Gallery, the Glenbow Museum, the Musée de
la Halle Saint Pierre, Paris, The Art Gallery at
Cleveland State University, the Hudson Valley
Center for Contemporary Art, the Nevada
Museum of Art, the David Winton Bell Gallery
at Brown University, the Bemis Center for
Contemporary Arts, the Biggs Museum of
American Art, the Royal Melbourne Institute
of Technology, and the J. Paul Getty Museum.
Her work is collected internationally and is in
public collections such as the JP Morgan Chase
Art Collection, the 21c Collection, the David
Roberts Art Foundation and the C-Collection
in Switzerland. Clark’s sculptures have been
featured in the Wall Street Journal, New
York Times, New York Magazine, Art21:Blog,
The Village Voice, PAPERmag, The Atlantic,
Hyperallergic, NYArts, Huffington Post, Hi
Fructose, the BBC World News Brazil, Hey!
Magazine, Time Out, ID Paris, Cool Hunting,
Wallpaper, Creators Project/VICE, Sculpture
Review and many other publications.
In addition she was filmed by National
Geographic in her studio over a 2 month
period for a short documentary about her work.
‘The Sisters’ Embrace’
coyote hide, foam, clay, pins, thread, rubber eyes, 122 x 89 x 36 cm
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Massimo Angei (b. 1962)
Massimo Angèi’s elemental, tempestuous
yet ethereal oil paintings reflect varied
emotional states whilst remaining open to
physical and metaphysical interpretation.
Tableaus and forms are suggested but
never fully established, perhaps evoking
landscape, weather patterns, natural
systems, inner psychology or spiritual
connectedness. Voluptuous cloud-like
billows intersperse with delicate spiralling
marks forming an ecstatic unity reminiscent
of both renaissance grandeur and primitive
automatic drawing.
Massimo Angèi was born in La Spezia, Italy,
he currently lives and works in Sarzana,
near the borderline between Liguria
and Tuscany. Following art school, he
collaborated with various institutions and
museums exhibiting early representational
depictions of flora and fauna. After finishing
his degree at the Fine Arts Academy in
Carrara/Painting (Accademia di Belle
Arti\Pittura), he participated in his first
exhibitions, and the creation of the Idioma
group along with Marco Casentini, Fabio
Linari, Jacopo Bruno, Andrea Geremia.
He then began to work as an independent
freelance photographer working for photo
agencies including Grazia Neri of Milan,
and Bilderberg of Hamburg, publishing his
images in both Italian and international
magazines. A vivid dream in the spring of
2006 made him realise that his destiny was
as a painter, and he vowed to never again
abandon it.
‘Ricordi confusi (Confused Memories)’
oil on board, 47 x 40 cm
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‘Linee solide e tenere (Solid and Tender Lines)’
oil on board, 47 x 40 cm
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‘Odore di ruggine (Smell of Rust)’
oil on board, 47 x 40 cm
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Alice Ellis Bray (b. 1994)
Alice Ellis-Bray is an artist from Lamorna
in Cornwall. She works with self made
costume, painting, performance and
script to explore the infinite possibilities
of identity and experience. Through
learning the properties of nature and the
nature of people, Bray seeks to portray
an interconnectedness she feels with all
things. Painting has assisted her as a tool
to transmute stubborn emotions laying
dormant within, painting the strength
she seeks in the eyes of her paintings,
helping her to find a way through life with
painting as her remedy. With her oeuvre
she has created something of a temple
to mythical women, using arch-shaped
boards tinged with gold in an allusion to
religious iconography, which frame ‘selfie’,
‘alter -ego’, subjects that are either direct
references to well-known figures, looser
notions of the primitive.
Alice Ellis-Bray has exhibited her work
widely, most recently at Tate St Ives.
She has also taught at a number of art
galleries and schools including Newlyn
Art Gallery, Tate St Ives and CAST in
Helston, Cornwall. She was selected as an
‘Artist to Watch’ by Elephant Magazine in
August 2022.
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‘I am the Stone’
oil and 23.5ct gold on board , 44 x 30 cm
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‘Selfie Under the Elder’
oil and 23.5ct gold on board , 44 x 30 cm
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‘Selfie in Eden’
oil and 23.5ct gold on board , 45 x 30 cm
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Andy Harper (b. 1971)
Andy Harper’s intricate oil paintings deal
with the fruits of labour in the shadow of
uncertainty. On one side they are concerned
with the immediate process of painting, the
mechanical, almost automated act of laying
down mark after mark on a wet surface. On
the other hand, they are subject to longterm
strategy, each mark developed over
time and embedded into a composition that
provides an architectural structure for the
work. While this framework may be logically
ordered, the marks themselves are organic
entities, forming a broad visual library that
has taken on a life its own, growing through
repetition and recombination in each new
work. The paintings act like a Petri-dish for
the culturing of this visual language, and a
greenhouse for its cultivation. The forms may
seem organic, but upon closer inspection
they are not specific to anything the natural
world has to offer. Rather they appear
as a synthetic form of nature, generated
from compulsive repetition and subjective
reinterpretation, a world that has somehow
evolved beyond the point of progeny to
become its own independent alien entity.
Andy Harper lives in St Just, the most
westerly town in Cornwall and works from a
studio at the renowned Porthmeor Studios
in St Ives. He studied his BA in Fine
Art: Painting & Printmaking at Brighton
Polytechnic and then MA Fine Art: Painting
at the Royal College of Art, London. In
1996, with some peers from the RCA, Harper
co-founded NotCut which ran a studio and
photographic darkroom in London and
curated ‘Lightness & Weight’ in Birmingham.
During this time he also studied part time
at Middlesex University for an MA in Visual
Culture and had his first solo exhibition
in London in 1998. After attending the
Braziers International Artist Workshop in
2000, Harper became a member of the
organising committee until 2008. Harper
has taught in many institutions nationally
and internationally, and had teaching posts
at Central St. Martins, The City Lit and
is currently a Senior Lecturer on the
MFA Fine Art programme at Goldsmiths,
University of London. Harper has exhibited
widely in Europe, North America and
South Korea.
‘Staghorn’
oil on linen, 90 x 122 cm
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Simon Averill (b. 1961)
Albert Einstein’s ‘spooky action at a
distance’ theory referred to the subject of
‘quantum entanglement’. This principle
has inspired this ongoing series of paired
paintings by Simon Averill. Quantum
entanglement is a physical phenomenon
which occurs when pairs or groups of
particles are generated, interact, or share
spatial proximity in ways such that the
quantum state of each particle cannot be
described independently of the state of
the other(s), even when the particles are
separated by a large distance—instead, a
quantum state must be described for the
system as a whole. Physicist and feminist
theorist Karen Barad coined the term
‘intra-action’ to describe the concept of
‘entanglement’, (not only of fundamental
particles but of all material, matter, of nature
and of meaning). There is a distinction to be
made between intra-action and interaction;
when bodies interact they retain a degree
of independence, each entity existed before
the encounter. When intra-action occurs
individuals materialise and agency emerges
from within the relationship not outside of
it. These works further enhance Averill’s
reputation for attempting to record elusive,
transitory yet fundamental phenomena.
Produced through a multi layered, process
of glazing where methodical and repetitive
series’ of motifs, are used to describe
intangible potentials.
Simon Averill is a British artist born in
Brighton, England in 1961. He currently
lives and works near Marazion in West
Cornwall. Averill studied Fine Art
at Brighton Polytechnic and graduated
with Honours. In 1986 he established a
Printmaking Workshop near Penzance,
Cornwall, which he ran until 1990. He
has been a member of the Newlyn Society
of Artists since the late 1980s. Averill
has exhibited widely with exhibitions in
the UK, Europe and USA including the
Royal Academy of Arts Summer Show,
The Discerning Eye exhibition at the Mall
Galleries, Royal West of England Academy
in Bristol, Sherborne House, Plymouth
Museum, Plymouth Arts Centre, Truro
Museum, Falmouth Art Gallery, Newlyn Art
Gallery and the Festival Hall in Chicago,
USA. He has had 12 exhibitions and
won the Wells Art Contempory painting
prize in 2020.
‘Entanglements’
acrylic on panel, 40 x 40 cm each
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Amy Gillian Wilson (b. 1997)
“I used to be a woman who knew how to
make things out as I saw them, but I have
since committed the pathetic error of
thinking. Wanting to understand was one
of the worst things to have happened to me.
I care too much about the utter darkness,
the void of unfulfillment, to receive and eat
back the lives that have been tossed forth
from the womb to fail, to kiss and bestow
them all a second chance. I’m sending my
true love back to the bitch that bore you.
She is the world-generating spirit who all
creatures rise through: space, time, and
causality – the shell of the cosmic egg.
She is the enticement that budged the
self-brooding absolute to the act of creation.
All information inside her is systematized
around an enigma invisible even in its most
private nucleus. I’m handing you a world
on fire. I’ve given up on figuring out how
to figure things out. Every lure seems to be
an expanding vortex. Fear comes from what
surpasses me, and I fear myself becomes
I’m always ready to suffer. To protect me
who persecutes me, I’ll float in emptiness
and become air, energetic air, or maybe I’ll
be more like an instant of air. Yes, I want
to be an instant. Rather than a soul in a
body, I’ll be a body in a soul.” - Amy Gillian
Wilson, 2021
Amy Gillian Wilson was born in Boston,
Massachusetts in 1997. Her interdisciplinary
approach consists of sculpture, painting,
installation, writing, video and performance.
She earned her undergraduate degree
from the School of the Art Institute of
Chicago and is currently completing the
Masters of Fine Arts program in Ceramics
at Cranbrook Academy of Art in Bloomfield
Hills, Michigan. She has exhibited her
artwork widely in the USA and beyond.
‘I Opened Myself And You Were Born For You Yourself’
mixed media wall hanging, 90 x 61 cm
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Luke Hannam (b. 1966)
Luke Hannam describes his work as the
result of an ‘ordered chaos’ where poetic
paintings are made ‘in the eye of the storm’,
where creativity spins wildly, through bursts
of impulse around a silent meditative deep
well of meaning. Ideas emerge out of an
energetic dedication to drawing and a
relentless desire to explore images and
motifs. His work is instantly recognisable
through his strong punch of colour and
definite use of line which weaves its way
sensuously across the surface, denoting both
the delicacy and strength of the form and
spirit of the subject. Hannam’s paintings
expressively offer a singular view on how
what he sees, how he thinks and pivotally
how he feels about the human condition and
what lies beyond our materiality. His work
could be seen to continue the Romantic
tradition, embracing reality and mysticism
with the wonder of experience.
Luke Hannam was born in 1966 and currently
lives in East Sussex, UK. He studied Fine
Art in the 1980s and whilst others of his
generation faithfully chanted the conceptual
mantra of the time, Hannam focussed on
perfecting his expressive drawing skills
seeking inspiration from the earlier masters.
Works have been exhibited and collected
internationally, including the collections
of Stefan Simchowitz and David Kowitz.
‘The Betrothed’
oil and acrylic on canvas, 220 x 176 cm
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‘The Pathway to Being and Time Remains Hidden’
oil and acrylic on canvas, 120 x 90 cm
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Claire Curneen (b. 1968)
Claire Curneen’s iconic sculptures are
poignant contemplations on the liminal and
precarious nature of the human condition;
exploring themes around death, rebirth and
the sublime. Universal and profound states
of fear, loss, suffering and sacrifice fuse
with devotion, desire, wonder and mystery
to underlie each intricate, porcelain figure.
Their translucent and fragile qualities offer
potent, metaphoric abstract narratives.
Porcelain, terracotta and black stoneware
create a grounded vulnerability to these
works, with dribbles of glaze and flashes of
gold to embellish denoted sacred qualities.
Claire Curneen was born in Tralee, Co.
Kerry, Ireland in 1968 and currently lives
and works in Wales, UK. Works have been
exhibited internationally and appear in
many notable public collections including
The Crafts Council, London; Shipley
ArGallery, Gateshead; National Museum
& Gallery of Wales, Cardiff; Victoria and
Albert Museum, London; The Fitzwilliam
Museum, Cambridge; Manchester City Art
Gallery, Manchester; National Museum of
Scotland, Edinburgh; Aberystwyth Arts
Centre, Aberystwyth, Wales; Cleveland Craft
Centre, Middlesbrough; Oldham Art Gallery
and Museum, Manchester; York City Art
Gallery, York; Middlesbrough Institute of
Modern Art, Middlesbrough; Crawford Art
Gallery, Cork, Eire; Limerick City Gallery
of Art, Limerick, Eire; Ulster Museum,
Belfast, Northern Ireland; Benaki Museum,
Athens, Greece; Clay Studio, Philadelphia,
USA; Mint Museum of Craft + Design,
Charlotte, North Carolina, USA; Icheon
World Ceramic Centre, Gyeonggi-do, Korea;
Taipei Ceramics Museum, Taiwan.
‘The Martyr’
porcelain, 30 x 27 x 26 cm
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Rebecca Harper (b. 1989)
Much of Rebecca Harper’s work has revealed
itself through a diasporic consciousness
which can often involve a multiplicity of
belonging and a sense of difference, often
one of ‘otherness’ and displacement. The
identity of the displaced positioning is a
paradox between location and dislocation,
out of place everywhere and not completely
anywhere. Generally, the work frames
expressions of ‘being’ and manifests itself
within an unfolding, wondering, allegoric
commentary on the locations that she
inhabits and those which inhabit her.
Recent work explores a cast of reoccurring
characters that rotate around the outskirts
of the house that she grew up in, where
she also found herself locked down during
Covid. This work is a part of a body of work
that acknowledges the human and worldly
capacity to live at the edge of the precipice.
The characters are never seen as portraits
as such, more like actors that play a role,
filling in for particular people, as they fill
a stage. As Rebecca says of the figure who
resembles herself; “It feels like perhaps this
woman, has almost become a guiding spirit
of myself, one of vulnerability and strength
in the dealings of uncertainty, instability
loss, and grief. She shows up reliably again
and again during terrible turbulence.”
Harper was born in London in 1989,
where she continues to live and work. She
studied at UWE Bristol then The Royal
Drawing School and Turps Art School
(Postgraduate’s). Rebecca was Artist in
Residence at The Santozium Museum,
Santorini, in summer 2019, and Artist in
Residence for the Ryder Project Space at
A.P.T Studios, Deptford in 2018-19 before
becoming a studio and committee Member
in 2019. She was winner of the ACS Studio
Prize in 2018. Chameleon, her debut solo
show at Anima Mundi met with great
acclaim including a review in the FT by
Jackie Wullshlager. Most recently Rebecca
was selected for The John Moore’s Painting
Prize 2021, and previously selected for
Bloomberg New Contemporaries in 2018 at
South London Gallery, Other curated shows
include Huxley Parlour, Public Gallery, The
Royal Academy Summer Show, Christies
London and NYC, Flowers Gallery’, Paul
Stolper Gallery, Turps Art Gallery and
Arusha Gallery. Her work is on long term
display in the Albright Collection at
Maddox Street Club in London curated
by Beth Greenacre and at the Santozeum
Museum in Santorini. Harper is represented
in many public and private collections
internationally including the Ullens and
the Royal Collections.
‘The Shell of the Sacred Water’
acrylic on canvas, 180 x 130 cm
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Arthur Lanyon (b. 1985)
Arthur Lanyon paintings combine intuitive
figurative motifs with an emotive, gestural,
abstracted language. His energetic works
are sited on a physical and metaphysical
cross roads, like a belay between numerous
visual and emotional pinnacles. They offer
a progressive link between the outside
world, the inner architecture of the
brain, altered states of consciousness,
memory and the unencumbered essence of
child’s drawing.
Arthur Lanyon is a British artist born
in Leicester, England in 1985. He lives
and works from a studio near Penzance,
Cornwall. Born in to an artistic family, his
father was the painter Matthew Lanyon and
his grandfather the celebrated, influential
and world renowned modernist painter
Peter Lanyon. He won the Hans Brinker
Painting Award in Amsterdam in 2007 and
gained a first class degree in Fine Art
from Cardiff University in 2008. Upon
graduating he was featured in Saatchi’s
‘New Sensations’ exhibition. In 2014,
his work was in the long-list for the
Aesthetica Art Prize and was included in
the award’s published anthology. His debut
Anima Mundi solo exhibition ‘Return
to Whale’ opened in 2016, which was
followed by ‘White Chalk Lines in 2018,
‘Arcade Laundry’ in 2020 and ‘Coda for an
Obol’ in 2022. Works have been exhibited
extensively, notably including Untitled Art
Fair in Miami; Zona Maco, Mexico City;
the Saatchi Gallery London; The House of
St Barnabas, London; CGK, Copenhagen;
Tat Art, Barcelona and Herrick Gallery,
Mayfair. Arthur Lanyon paintings are held
in private collections worldwide.
‘Sunny Luster’
mixed media on linen, 117 x 110 cm
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James E Crowther (b. 1974)
James E Crowther has earned his reputation
for painting his idiosyncratic signature ‘cut
out’ portraits, rendered in oil on panel. It is
through his attention to detail and his skill
at ‘capturing’ his subject that the sensitivity
of their inner psyche is revealed.
Crowther is a British figurative painter
living and working in rural Oxfordshire
with his two daughters, three dogs and
partner. He was born in Southampton in
1974 and grew up on the River Hamble
Hampshire where his father ran a boatyard.
He secured a place at Brighton art college
in 1993 where the world opened up for him.
He graduated under principle tutors of
Andrzej Jackowski and Brendan Neiland and
continued to live in Brighton for the next
ten years embracing the rich club scene.
In 2004 he had his first painting accepted
for BP Portrait Prize. The highly acclaimed
writer Blake Morrisson said on seeing
James’ painting at the National Portrait
Gallery, “A good portrait painting does not
merely capture a likeness, but connects with
the inner energy of the sitter, showing the
‘flickers of feeling, shadows of thought, or
what Leonardo da Vinci called The motions
of the Mind”. Crowther has been shortlisted
for the Sequested Art Prize 2021/22 at
Unit Gallery and has had several solo
shows in London and exhibited at the
Royal Academy Summer Exhibition, the BP
Portrait Prize, Figurative Art Now at the
Mall Galleries, Lynn Painter Stainers Prize,
The Discerning eye, The Threadneedle
Art Prize and art fairs in London, New
York, Miami, Paris, Switzerland and Greece.
Works are in numerous private collections
internationally.
‘Backstroker’
oil on bespoke panel, 27 x 15 cm
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‘Rare Red Flame’
oil on bespoke panel, 22 x 21 cm
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Gabriel Tendai Choto (b. 1995)
Gabriel Tendai Choto’s artwork combines
the twin disciplines of printmaking and
painting. Through his singular technique
Choto seeks new pathways into the painted
image by taking cues from the surface quality
produced by the printmaking process. His
evolving, experimental practice involves
layering painted areas of naturalism over
the delicate compositional architecture
of etching, resulting in paintings where
physical presence and absence imply a
metaphoric liminal state. Sensitive and
intimate, these images include close family
members, depicting quiet moments of
contemplation or affectionate domestic
scenes taken from old photographs,
increasingly progressing in to self portraits
where through constructed situations the
artist examines his own identity. Choto’s
intimate paintings draw on themes of
home, pride, identity diaspora, change
and personal as well as cultural fragility.
Choto was born in 1995 in Harare, Zimbabwe.
He was raised in Bradford, Yorkshire and
currently lives and works in London. After
completing his Diploma in Art and Design
at Leeds Arts University in 2012, Choto
gained a BAFA in Drawing from Camberwell
College of Art (UAL), London, in 2014
and more recently has completed an MFA
at Central St Martins, London. Selected
group exhibitions include FBA Futures,
Mall Galleries, London, UK (2018); Flock,
GX Gallery, London, UK (2017); Blxckout
Revolution: The Exhibition, 198 Gallery,
London, UK (2017); BAME, Hotel Elephant
Gallery, London, UK (2016); and Long Live
the New Flesh, Tower Gallery, London, UK
(2015). In 2018, Choto was selected for the
Clyde & Co Art Award. Choto’s debut solo
exhibition at Anima Mundi featured in 2021
and most recently he has been personally
invited by Yinka Shonibare to submit for
the 2021 RA Summer Exhibition.
‘Falling Angel’
oil and etching on paper, 76 x 48 cm
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‘Hate Thy Neighbour’
oil and ethcing on paper, 76 x 56 cm
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Carlos Zapata (b. 1963)
Carlos Zapata predominately makes
idiosyncratic carved and painted wooden
sculpture alongside mixed media
installation. His work deals with many
challenging and potent humanist themes
including poverty, conflict, religion
and race, yet perhaps paradoxically, the
overriding characteristics of the work are of
emotive empathy and compassion. Zapata’s
work belongs to and takes inspiration from
folk and tribal artforms from all over the
world but specifically from South America,
from its indigenous populace and the
trade routes and traditions that have fed it
over the centuries. Many of his sculptures
have evolved from personal experience of
living in a foreign land and from his home
country where civil issues continue to
trouble its people.
Carlos Zapata is a Colombian artist who
currently lives and works near Falmouth in
Cornwall, UK. He has exhibited extensively
internationally with works held in numerous
private and museum collections around
the world.
‘Stigmata’
polychromed carved wood, 53 cm height
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Gabrielle K Brown (b. 1994)
Embodying a natural and intuitive,
seemingly naive, yet extremely complex
aesthetic, Gabrielle K Brown is a multifaceted,
multi-media artist who eagerly and
energetically seeks new ways to tell stories
through her artworks. Her pieces retain an
object, often shrine-like quality, utilising
materials including wood, various paints,
resin, fabrics and even hair - nothing
is beyond limits. The works dissect the
relationship we have with ourselves, our
companions, our society and our past with
an awe and celebration of nature and
the divine, shedding light on how we
grow and how we suffer as human beings.
Confrontational imagery is often contrasted
with uplifting symbolism, actions and
words - emphasising the extremes of the
human condition and experience, and
yearning within the energetic and fraught
times that we live in.
Born in 1994 on the east coast of Canada in
New Brunswick, Brown grew up along the
riverside and mountains which is where she
connected to art and began painting and
sculpting. She has spent much of her life
traveling the world and moving throughout
Canada which has always reflected in her
work, but has recently moved back home to
St John, the oldest city in Canada.Work has
been exhibited at Art Basel Miami, as well
as Montreal and New York and LA in the
United States.
‘Hot Steel & A Block of Ice’
mixed media on canvas, 105 x 80 cm
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‘Birth Comes In Many Forms’
mixed media on canvas, 105 x 80 cm
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Jamie Mills (b. 1983)
Jamie Mills is a musician, sound and visual
artist. His practice is underpinned by
investigation surrounding the dissemination
of gesture between materiality and
environments – referencing both internal
and external landscapes. These concerns
are reinforced by an interdisciplinary
approach to working and are made manifest
through the renderings of sounds or
materials often sourced or retrieved via
immersion into nature or borderlands,
and with particular reference to his aural
works, articulated and manipulated through
unorthodox instrumental preparations
and the incorporation and processing of
field recordings. The term ‘gestalt’ refers
to a concept within psychotherapeutic
fields, inferring that the nature of a
whole is greater than the sum of its
parts. Mills’ employment of the mediums
of photography, sound and mark-making
can be read in this sense whereby a reality
is constructed not by the sole surface
representation of any individual element
alone, but instead there is a sense that
the artists reality is presented through
the relationships and the spaces between
elements. In other terms, it is work that
requires both on one hand a stepping
away from, and on the other an immersion
into, in order to extract an empathetic
understanding of the essence of the
work that presides from both a conscious
and subconscious framework of mind.
Universally inherent within his process of
rendering, there is a conscious dialogue
between, on one hand material intent (or
‘essence’) and on the other, control (or the
relinquishing of control), so as to make work
that negotiates thresholds and occupies at
times a liminal status. In this sense Mills’
“intuitively composed” sound works, and
his images or assemblages become markers
to a series of internal journeys or rituals
informed by an often poetic dialogue
between material, form and environment.
‘Memory and Space (Vestige)’
perforated paper, ink, beeswax, 25 x 21 cm
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Jonathan Michael Ray (b. 1984)
Jonathan Michael Ray’s ‘mono no aware’
artworks examine the multilayered
histories, fictions and beliefs assigned
to artefacts, materials and the places he
encounters. A practice comprising of
stained glass, photography, sculpture,
print, drawing, video and installation,
much of his work is deeply connected to
his surroundings. He regularly uses found
objects and images imbued with their
own histories, as well as material direct
from the landscape, appropriating their
symbolism while creating a new context
and meaning. By layering and combining
material, he is interested in looking beyond
the surface of a purely physical existence
and breaking down the institutions by
which we are taught to see and experience
the world. His work alludes to the sublime
power that inanimate material and objects
can contain when we give them space, time
and authority to do so.
Jonathan Michael Ray was born in High
Wycombe, UK and has been based in
West Cornwall since 2018. He studied at
Nottingham Trent in 2007 and at Slade
School of Fine Art in 2016. Earlier this year
Ray was selected to take part in Masterclass
at Zabludowicz Collection, London, he
and Verity Birt organised “Gathering” a
group exhibition at Grays Wharf, Penryn,
and has been shortlisted for the National
Sculpture Prize which is currently on show
at Broomhill Estate in Devon. His work will
be subject of a two person presentation
with Willeminha Barnes Graham at Tate St
Ives in 2022.
‘Sylvan Crop 1 & 2’
photogram, gelatine silver print on resin-coated paper, 38 x 31 cm
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Richard Nott (b. 1963)
Richard Nott’s paintings are unique. There
are no oil or acrylic paints in his studio, he
works with industrial materials, bitumen,
emulsions and varnishes, building them
up layer upon layer, often over intimately
drawn or gouged grids, lines or marks, into
a textural palimpsest, before courageously
scraping or burning them back to reveal what
lies underneath. Viewing Richard Nott’s
artwork is witnessing a protracted collision
of creative and destructive processes. An
evolution of matter, exposed, concealed,
exposed, concealed, continuously. His
paintings become the consequence of
protracted time spent where Nott’s history
merges with the history of the elements
used. He has little interest in illusionistic
‘texture’, the work must be its own entity,
have its own story and be its own statement.
His objective is to create an organic object
that evolves like a living thing with truth
and imperfection. His process of working
allows for a contemplation of a cycle of
existence to become imbued in to the work.
Not a beginning with an end but a journey
where genesis leads to dissolution, and on
once again to genesis. Something eternal
akin to alchemy.
Richard Nott is a British artist born in 1963,
who lives and works in west Cornwall. Nott
gained his Fine Art degree at Lancashire
Polytechnic and his MA in fine art at
Reading University. In 1985 he worked as
an assistant to Andy Goldsworthy on sitespecific
sculptures in the Lake District. He
was gallery assistant at the Royal Academy
from 1986-7 and at Oldham Art Gallery from
1991-2. He won the South West Arts Visual
Arts and Photography Award in 1994. He
gained a residency at the 12th International
Weeks of Painting in Slovenia. Exhibitions
have been extensive and international
notable included numerous solo exhibitions
at Anima Mundi over a long and fruitful
working relationship, ‘Art Now Cornwall’ at
the Tate St Ives and Chashama, Avenue of
the America’s, NYC.
‘Integument (1)’
mixed media floating panel, 106 x 106 cm
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‘Integument (2)’
mixed media floating panel, 106 x 106 cm
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Jim Carter (b. 1967)
break open the chest
if you desire gold, oil, bleach.
let it smother you and see how
your skin blisters, your eyes turn
to dust, the rib cages nothing.
ask him what he has gained,
and he will say / everything.
burrow into his palm and
drain your milk; the North Star
thrashes in his paper folds.
let it blind you and you will see
the narrow skull of a boy, his
hollow cheeks ruddy, the bullet
between his eyes bleeding light.
ask him what he regrets,
and he will say /
Polaris, Brigitta McKeever
Jim Carter was born in Worcestershire
in 1967. He received an MA with
distinction in Art and Environment from
Falmouth University and an MSc Award
in Ecopsychology, Centre For Human
Ecology. Carter’s work has appeared in
The Dark Mountain, About Place Journal,
Unpsychology and Earthlines magazine.
‘The North and South Star :
1. Not Descended from a Common Father / 2. I Cast the Lots from the Left Hand’
fox, crow and jackdaw marks, crow feathers, wood from the brook, clay, charcoal, inks, brook water,
fox tooth, deer and sheep bone, bracken and willowherb, earth and debris, 66 x 42 x 12 cm / 35 x 33 x 17 cm
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Dr Martin Shaw (b. 1959)
Dr Martin Shaw tells stories and explored
wild ideas about how myth used to be a
kind of language that spoke-across-species.
That myth itself can be a place where we
witness not just narratives about the earth,
but moments where the earth itself speaks
through these stories. With inspirations
ranging as far as Gaston Bachelard to Islamic
Cosmology to the work of Joseph Beuys,
Shaw celebrates electrifying storytelling and
thought-stimulating ideas.
Dr. Martin Shaw’s first book, ‘A Branch From
The Lightning Tree’ was awarded the Nautilus
prize for non-fiction, and was followed by
‘Snowy Tower’ and ‘Scatterlings’ to complete
a trilogy of works on mythology, landscape and
the nature of soul. An international teacher,
he has designed andLife’ courses at Stanford
University, and, lead both the ‘Oral Tradition’
and ‘Mythic Life’ courses at Stanford
University and as a fellow of of Schumacher
College in Devon, co-created their MA in
Myth and Ecology. His school of independent
scholars in mythopoetic’s and wilderness
studies is just entering its fourteenth year.
Recent collaborations have included Mark
Rylance, Coleman Barks and David Abram. He
is a painting scholar from The British School
in Rome, and his translations of Gaelic and
Welsh folklore (with Tony Hoagland) have
been published in The Mississippi Review,
Poetry International, Kenyon Review, Orion,
and Poetry Magazine. 2018 will see the
release of his new book, ‘Courting the Dawn:
Poems of Lorca’ (with Stephan Harding), with
several more in completion: all involving
a revisioning of the word romanticism in
the early twenty first century. is essay and
conversation with Ai Weiwei on myth and
migration was released by the Marciano
Art Foundation.
‘Flowering Owl’
charcoal on paper, 30 x 21 cm
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‘Winnowing Fork’
charcoal on paper, 30 x 21 cm
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‘Merlinus’
charcoal on paper, 30 x 21 cm
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Shiri Mordechay (b. 1974)
Shiri Mordechay’s extraordinary painted
works have a cinematic quality, where
expansive imagery seemingly passes
through time and space, like fleeting scenes
in a film or interconnected snippets of
dream. Both 2D and 3D painted installation
works are made piece by piece, where a
narrative unfolds, like a trail of instinct.
Imagery seems to arrive with fluidity,
through the artist as conduit, moving
within an unguarded realm, seemingly free
of structured morality or logical confine,
conjuring what Julia Kristeva calls an
“oceanic feeling”. Mordechay’s form of
ambiguous realism is revealed through an
intuitive rendering of unmediated internal
psychology or event, which through her
translation offers up a wider metaphysical
and perhaps spiritual context. She attains
a preservation of the enigma of the
unconscious, where constructed ego is
eroded or absorbed into something more
widely connected, not necessarily at one
with beauty, yet seductive none the less,
like a forbidden fruit promising to lure us
towards darkness or light. As expressed by
Alfred Lord Tennyson, Mordechay paints an
inner and outer world where nature is “red
in tooth and claw”. Acclaimed American art
critic Jerry Saltz wrote “Shiri Mordechay
gives us a topsy-turvy world of mundane
and mad images... It’s Charles Adams meets
Edgar Allen Poe meets Animal Planet.
Mordechay never allows us to look at any
one thing; chaos and tumult reign.”
Mordechay was born in Israel and raised
in Nigeria. She received her BFA from
the San Francisco Art Institute and an
MFA from School of Visual Arts in New
York, where she now lives and works.
In 2013, he was named as one of “25
Artists to Watch & Collect” by Artvoices
Magazine. Solo exhibitions have occurred
in San Francisco, Los Angeles, New York
and Italy.
‘Untitled (1)’
watercolour on paper, 36 x 28 cm
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‘Untitled (2)’
watercolour on paper, 51 x 41 cm
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Luke Routledge (b. 1988)
Luke Routledge creates a phantasmagoric
caste of grotesques constructed a
re-assembled from an ever growing body
of figures. Routledge’s sculptural output is
focused on the description of an alternate
society of nonsensical, protohumans,
anthropomorphic beings and the speculative
fictional multiverse that they call home.
This multiverse is used as a framework
within which to explore and unite diverse
research topics, creating a living, collage
territory. The hypothetical beings that these
sculptures represent are positioned as a
band of travellers exploring and striving to
understand the cosmos they inhabit. They
are building their cultures and communities
as Routledge, through research, stitches
new information into the fabric of their
reality. As his research expands to include
new topics, the beings transition from
place to place - with each presentation they
are simultaneously charting the boundaries
of their existence. Central to both the
material nature of his sculptures and the
narrative setting is the idea of assemblage.
His sculptures are constructed in a modular
method that allows them to be dismantled
and reassembled in new configurations,
resulting in new narrative threads emerging
across the installations and feeding the
stories that he creates. The sculptures,
their tools, possessions and elements of
their landscape are predominantly made
from an air dry clay material that he
has been developing for a number of
years. This material can be manipulated
to achieve a diverse range of finishes and
is used alongside other clays, silicones
and CAD components. He combines these
elements with altered electronics, treating
them as found objects; utilising them to
create a semblance of the technology and
architecture of this other space, brought to
life by animatronic elements.
‘Woodland Sprite’
mixed media, 50 x 28 x 18 cm
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Andrew Litten (b. 1970)
Andrew Litten’s dynamic and gestural
figurative paintings express a strong
interest in the universal complexity of
everyday existence. Dealing with humanistic
themes such as love, sensuality, fear,
anger, loss, nostalgia, mundanity, personal
growth and perceived identity normality
or disturbance. Works are created with an
unguarded, empathetic attitude, like so
many expressionistic artists, a rawness of
approach combined with an often viscous
application of paint is also key to the extreme
experience felt from the work. Gesture and
nuance inspire extreme emotive reading,
perhaps subversive, tender, passionate,
ambivalent, malevolent or compassionate,
our response becomes one of allure
or repulsion.
Andrew Litten is a British artist, born in
Aylesbury, Buckinghamshire in 1970. He
currently works from his studio in Fowey,
Cornwall. He is a self-taught artist leaving
art college as a teenager having found
it to be too restrictive to his aspired
method of working. For a decade he created
mostly small-scale works using humble
domestic or found materials (including
envelopes and assembled furniture parts).
The work made at this time deliberately
challenged ideas of art elitism and art as
commodity. He then moved to Cornwall
in 2001 and chose to begin exhibiting.
Early success came when his work was
included in an exhibition titled ‘Nudes’ in
New York City, (along with Jacob Epstein
and Pierre-Auguste Renoir), where his
work was highlighted and reviewed by the
New York Times. Shortly after he had four
consecutive solo exhibitions at Goldifsh
Fine Arts in Penzance, Cornwall. Other
notable exhibitions included ‘Move’ at Vyner
Street, London, during Frieze Art Week
2007, where his work ‘Dog Breeder’, created
as a twisted and emphatic anti-art statement,
was exhibited. He was also included in ‘No
Soul For Sale’ at Tate Modern Turbine Hall,
London in 2010. In 2012 he held a major
solo exhibition at Millennium in St Ives,
Cornwall and that year was given a guest
solo exhibition at L13 Light Industrial
Workshop, London. He has also held largescale
solo exhibitions at Spike Island and
Motorcade FlashParade in Bristol. ‘Ordinary
Bodies, Ordinary Bones’ was conceived with
support from The Arts Council, UK and
was exhibited at Anima Mundi in 2018.
Works have been included in numerous
international curated mixed exhibitions
in Berlin, Dublin, Siena, Milwaukee and
New York City and in Venice during the
54th Biennale. Most recently paintings have
been exhibited in four major museums in
China. Andrew Litten paintings feature
in numerous international private and
public collections.
‘Nurture’
oil on canvas, 90 x 80 cm
93
‘Dog Idol’
oil on canvas, 70 x 60 cm
94
95
96
Trevor Bell (1930-2017)
“I feel that what we should get from art is a sense
of wonder, of something beyond ourselves, that
celebrates our ‘being’ here.”
Trevor Bell, (1930-2017)
Trevor Bell was a British artist, born in
Leeds, England in 1930. He passed away in
2017 in West Cornwall. Bell’s creative interest
focussed primarily, on painting’s power to
evoke sensation, which for him superseded
any illusionistic properties. Ambitious in
scale and dynamic in form, the range of
work is diverse. His focus was a celebration
of mutable energy, elemental forces and a
quest for contemplative stillness. He achieved
significant critical acclaim and recognition for
his direct, abstract forms which emphatically
represent the conflic and harmony found in the
natural world to the spiritual concerns which
connect the inner with all that surrounds
us. Chris Stephens (former head of displays
at Tate Britain) said “Bell’s art is, in the
loosest sense, spiritual. It evokes, or reflects,
an idea of some abstract force that exceeds
material reality... The dangers and losses of
the modern world would be compensated
through the rediscovery of natural order and
process, and a renewed sense of individual
identity would be established through the
exploration of forces larger than ourselves.
Bell’s work, one might say, has always derived
in one way or another from this new sublime.”
Bell attended Leeds College of Art from
1947 to 1952 and, encouraged by Terry
Frost, moved to Cornwall in 1955, where
he made his reputation as a leading member
of the St Ives School, who helped establish
British Art on the international stage.
Waddington Galleries gave Bell his first solo
exhibition in 1958. Patrick Heron wrote the
essay for the exhibition, stating that Bell was
‘the best non-figurative painter under thirty’.
In 1959 Bell was awarded the Paris Biennale
International Painting Prize, and an Italian
Government Scholarship and the following
year was offered the Gregory Fellowship
in Painting at the University of Leeds.
Throughout the 1960’s Bell showed work in
major exhibitions in the UK and USA and
during this time his work was first purchased
for the Tate collection. In 1973 he presented
his work at the Whitechapel Gallery, having
just taken part in a major exhibition at the
Corcoran Gallery in Washington DC. Over
the course of the next thirty years Bell
combined painting with teaching eventually
moving to Florida State University to become
the Professor for Master Painting. He went
on to spend the next 20 years in America.
Important exhibitions were held at the
Corcoran Gallery; the Academy of Sciences
in Washington, the Metropolitan Museum
in Miami, The Cummer Gallery and the
Museum of Art at Fort Lauderdale, Florida.
In 1985 Bell was included in the London
Tate Gallery’s St Ives 1939-64 exhibition and
in 1993 he was part of the inaugural show
of the Tate St Ives. Bell had a major solo
exhibition at the Tate St.Ives in 2004 and,
in 2011, a further 14 works were obtained by
the Tate for their permanent collection. Bell
has works in numerous public and private
collections internationally.
.
‘Sharpie’
mixed media on canvas, 56 x 80 x 16 cm
97
Marcelle Hanselaar (b. 1945)
Marcelle Hanselaar was born in Rotterdam,
the Netherlands. Growing up in the formal
atmosphere of a protestant, postwar
country, proved, thanks to her drop-out/
turn-on rebellion, a profound source of
inspiration for the recurring subject matter
in Hanselaar’s work; namely the fierce
and sometimes troubled cohabitation with
those raw desires, secret fantasies and
uncultivated instincts and our functioning
in a civil society. Although Hanselaar
studied briefly at the Royal Academy of
Arts in The Hague, her lust for adventure,
guided by a quest for self-discovery, led
her to years of travel, until, in the early
1980’s she settled down in her studio in
London where she still lives. Self-taught,
she started out as an abstract painter before
turning to figuration. At the same time she
became fascinated by etching, its harsh,
bitten line seemed to perfectly suit her
subject matter. As an artist Hanselaar looks
for ways to express those illusive questions
of who and what we are when the mask is
off, and how we appear when the mask is
on. The shock effect of her work lies in
the contrast of combining her outspoken
subject matter with the conventional
medium of oil painting or etching. Both her
paintings and her prints display her delight
and fascination with theatrical illusions
and although often peppered with a biting
sense of humour, the works reveals her own
vibrant understanding of human nature, in
all its animosity and fragility.
Hanselaar has exhibited her paintings and
prints internationally, and can be found in
private and public collections worldwide
including British Museum Prints Collection,
London; The Metropolitan Museum of Art,
Print Collection, New York; V & A Prints
& Drawings Collection, London; V & A
National Art Library, London; Whithworth
Art Gallery and Museum; Ashmolean
Museum, Oxford; Fitzwilliam Museum,
Cambridge; Clifford Chance Art Collection,
London; The Viktor Wynd Museum of
Curiosities, London; Swarthmore College,
Pennsylvania, US; University of Arizona,
Tucson, US; Sakimi Art Museum, Okinawa,
Japan; Guandong Fine Art Museum,
Guandong, China; Iraq National Library,
Baghdad; Meermanno Museum-House of the
Book, The Hague; Soho House Amsterdam;
AMC, Amsterdam; Amsterdam Arts Council;
Kunstcollectie; Gemeente Haaksbergen, NL;
University of Aberystwyth Print Collection,
Wales; New Hall Art Collection, University
of Cambridge; Clare Hall, Cambridge; The
Ned, London; Rabo Bank, London; Merrill
Lynch, London; Risk Publications, London;
Mitsukoshi Ltd., London and Paintings in
Hospitals, London
‘Under My Skin’
oil on canvas, 110 x 130 cm
98
99
100
James Seow (b. 1971)
James Seow was born in Malaysia and
has resided in the UK since moving there
in the late 90s. He received an MA in
Printmaking from the Royal College of
Art in 2014, where he developed work
across a range of media and techniques,
including print, photography, sculpture
and installation. He explores connections
between traditional Eastern art and the
contemporary, using digital techniques
and modern visual language to interrogate
these connections. The relationship
between nature and urban life is a key focus
in Seow’s practice. His work is informed
by his early life experience, witnessing the
huge transformation of Malaysia through its
massive deforestation and urban planning
policies of the 90s. Seow plays with how
ideals of universal equality and harmony
can be communicated, often drawing on the
imagery of parks and gardens, illustrating
the dichotomy between constructed
environments and the ephemerality of the
natural world. Working with the interplay
between the natural and the artificial, the
rational and the instinctive, he encourages a
critical rethinking of contemporary reality.
James Seow’s work has been exhibited
internationally and is in various private
collections including Central Saint Martins
School of Art and Design, Royal College of
Art, Brookfield Asset Management Inc. and
St James, Berkeley Group, UK.
‘These Fiery Times (1 & 2)’
archival print (ed 15), 21 x 32 cm
101
102
‘These Fiery Times (3-5)’
archival print (ed 15), 21 x 32 cm
103
Kristoffer Axen (b. 1984)
Kristoffer Axén’s atmospheric paintings
are often auto-biographical as a means of
tapping into the wider human condition.
Works revolve around themes including
the utopia of childhood, the temporary,
dreamlike, quality of reality and the
unconscious search for something oblique
or unspecified. A sense of nostalgia is
often tinged with an overarching feeling of
the melancholy of transience. Inspired by
cinematic imagery, anonymous photographs
from the internet and childhood snapshots,
Axén’s paintings and drawings are often
bordering the dreamstate and the inner
world. While contemporary and historic
references include Michael Borremans,
Mamma Andersson, Vilhelm Hammershoi
and Richard Diebenkorn, his use of textured
mechanical pencil for the drawings and
the juxtaposed realism with the simplified
blocks in his paintings are uniquely his own.
Kristoffer Axén was born in Stockholm,
Sweden where his still resides. He is
a selfself-taught painter, who studied
fine-art photography at the International
Center of Photography in New York
between 2008-2009, a city in which he
lived and worked until 2013. Axén’s works
have been exhibited internationally in
solo exhibitions in New York, Copenhagen,
Stockholm and in numerous group shows
around the world, notably at Liljevalchs
Spring Show in Stockholm, Sweden,
Aperture Gallery in New York, USA
and at Musée de l’Elysée in Lausanne,
Switzerland. Axén’s works are included
in many private and public collections
including as the ICP collection, Michaelis
School of Fine Arts and MONA and he has
been published in articles from magazines
including Zoom Magazine, The New York
Times and Vogue Italia.
‘Entropy’
oil and acrylic on canvas, 30 x 24 cm
104
105
106
‘The Beach’
oil and acrylic on canvas, 40 x 30 cm
107
Sax Impey (b. 1969)
Sax Impey’s artworks are often large scale,
immersive and elemental, incorporating
intense detail and dexterity and an
expressive, behavioural use of medium.
Since 2005, Impey has produced works
derived predominantly from experiences
at sea. A qualified RYA Yachtmaster he has
sailed many thousands of miles around the
world. His journeys have had a profound
impact and subsequent development as an
artist. Reconnecting with nature through
this powerful element has the almost
inescapable effect of calling to question
many of life’s existential questions. This
epiphanic moment of realisation, of
revelation, is at the core of Impey’s oeuvre.
Reflecting on and capturing personal
moments and making them universal,
Impey’s work reaffirms the importance
of introspection and confrontation, found
specifically when surrounded by the natural
world; “A mind can breathe, and observe,
and reflect, away from the shrill desperation
of a culture that, having forgotten that it is
better to say nothing than something about
nothing, invents ever new ways to fill
every single space with less and less”.
Impey was born in Penzance, Cornwall. He
currently works from one of the prestigious
Porthmeor Studios in St. Ives. From 2005,
he has collaborated with the cross-cultural,
environmental art group Red Earth. In 2007
Impey’s work was selected for the ‘Art Now
Cornwall’ exhibition at Tate St Ives where
he was placed on the cover of the associated
publication. The same year he was heralded
in The Times as one of the ‘New Faces
of Cornish Art’. In 2010 he was featured
in Owen Sheers’s BBC4 Documentary
‘Art of the Sea (In Pictures)’ alongside
Anish Kapoor, J. M. W. Turner, Martin Parr
and Maggi Hambling among others. His
work was selected as a finalist the 2013
Threadneedle Prize and the year before
was elected an Academician at the Royal
West of England Academy. His paintings
are in multiple collections including The
Arts Council, Warwick University and the
Connaught Hotel.
‘Gulf Stream Squall’
mixed media on panel, 91 x 122 cm
108
109
110
Roger Thorp (b. 1955)
‘The Dreamer’s Heart’ is a short film
poem that has been previously exhibited
as an audio work at Auditorium Parco
della Musica in Rome. The work is a
nostalgic lamentation which evokes a quiet
and subtle sense of urgency to protect
what is unique and authentic, in contrast
to the pervasive erosion endemic to our
contemporary world.
Roger Thorp’s interest in the poetic
use of word and image, to evoke a deep
emotional response, are key to his creative
process. His artworks are unapologetically
infused with a nostalgic romanticism,
transmitting an enormous sensitivity
towards the earth, humanity and a universal
inter-connectedness between matter and all
living things. Primarily consisting of video
work and multi-media installation, his work
is informed by a deeply-felt belief that as
a society, and as individuals, we need to
come home, to remember a less rapacious
and frenetic way of living, more connected
on an emotional level to each other, and to
the rest of the natural world. If his work
offers up an urgent protest, it remains an
optimistic and tender one.
Thorp is a British artist born in Derbyshire.
He currently lives and works in Cornwall.
He previously worked as a producer on
music videos before directing / producing
programmes for NGO’s such as WWF, ILO,
Greenpeace and the Red Cross, working
in Australia, Mongolia and the USA. He
has also made two feature films. Other
work by Thorp as a writer / director
has been screened in Rome, Barcelona,
Berlin, Oslo, Copenhagen, Istanbul, USA,
Cornwall and London. In 2015 he founded
‘The Olive Network’ a sophisticated web
platform built to foster tolerance and
understanding throughout diverse global
communities by focusing on the positive
long-term contributions of charity, the arts
and humanities. Thorp’s artwork has been
exhibited extensively.
‘The Dreamers Heart’
single channel video (duration 01:38)(duration 01:38)
111
Joy Wolfenden Brown (b. 1961)
Joy Wolfenden Brown’s intimate oil
paintings feel hauntingly familiar
possessing a raw, emotional, honesty. She
captures fleeting fragments of memory,
moments in time where the inherent
vulnerability of the figures depicted, often
in isolation, is palpable. These are lovingly
yet spontaneously executed reflections
on the human condition, which have an
unnervingly, yet simultaneously comforting,
unguarded quality.
Joy Wolfenden Brown is a British artist born
in Stamford, Lincolnshire. She currently
lives in Bude, North Cornwall. She graduated
from Leeds University then completed a
post-graduate diploma in Art Therapy at
Hertfordshire College of Art & Design
which she worked as an for ten years before
moving to Cornwall in 1999. Since then
she has had numerous solo exhibitions and
was the First Prize Winner in The National
Open Art Competition, 2012. She was also
awarded the Somerville Gallery painting
prize in 2003 and first prize winner at the
Sherborne Open in 2007 and the Revolver
Pricze at The RWA in 2019. Works were
acquired by the Anthony Pettullo Outsider
Art Collection in Milwaukee with further
works held in collections worldwide.
‘Gathering Light’
oil on paper, 43 x 29 cm
112
113
114
Peter Randall-Page (b .1954)
During the past 25 years Peter Randall-
Page has gained an international reputation
through his monumental sculpture, drawings
and prints which deal with the fundamental
nature of existence. His practice remains
informed and inspired by the study of natural
phenomena and its subjective impact on
our emotions. In recent years his work has
become increasingly concerned with the
underlying principles determining growth and
the forms it produces. In his words “geometry
is the theme on which nature plays her
infinite variations, fundamental mathematical
principle become a kind of pattern book from
which nature constructs the most complex
and sophisticated structures.
Peter Randall-Page is a British artist born
in Essex, England in 1954. He currently lives
and works in Devon. Randall-Page studied
sculpture at Bath Academy of Art from 1973-
1977. In 1999, he was awarded an Honorary
Doctorate of Arts from the University of
Plymouth, an Honorary Doctorate of Letters
from York St John University in 2009 and an
Honorary Doctorate of Letters from Exeter
University in 2010; from 2002 to 2005 he was
an Associate Research Fellow at Dartington
College of Arts. In 2015 he was made a Royal
Academician. Recent commissions include
‘Give and Take’ in Newcastle which won the
2006 Marsh Award for Public Sculpture,
‘Mind’s Eye’ a large ceramic wall mounted
piece for the Department of Psychology at
Cardiff University (2006) and a commemorative
sculpture for a Mohegan Chief at Southwark
Cathedral (2006). Recent projects include
‘Green Fuse’ for the Jerwood Sculpture Park,
Ragley Hall and a major one person exhibition
in and around the Underground Gallery at the
Yorkshire Sculpture Park, June 2009 - April
2010. In 2015 he unveiled ‘The One and The
Many’ at Fitzroy place London, An 25 tonne
boulder inscribes with origin stories from
around the world in native dialect. Over the
years he has undertaken numerous large scale
commissions and exhibited widely across
the globe. His work is held in numerous
public and private collections throughout
the world including Japan, South Korea,
Australia, USA, Turkey, Eire, Germany and
the Netherlands. A selection of his public
sculptures can be found in many urban and
rural locations throughout the UK including
London, Edinburgh, Manchester, Bristol,
Oxford and Cambridge and his work is in
the permanent collections of the Tate Gallery
and the British Museum amongst others. As a
member of the design team for the Education
Resource Centre (The Core) at the Eden
Project in Cornwall, Peter influenced the
overall design of the building incorporating
an enormous granite sculpture, ‘Seed’, at
its heart.
‘Lunar Stone’
carved pebble, 6 x 28 x 9 cm
115
Andrew Hardwick (b. 1961)
Andrew Hardwick’s often large scale,
sedimentary paintings display his captivation
with ever decreasing wilderness zones; both
natural and man-made. Playing with and
subverting traditional notions of romantic
landscape painting and the sublime. The
paintings often depict edge-land zones
around big industrial conurbations or ports,
such as large-scale car storage compounds,
redundant factories and polluted waste
lands. Other works draw inspiration from
the more typically idyllic locations such as
Dartmoor and Bodmin Moor. However, these
landscapes are also filled with reminders
of human interference. Roads criss-cross
the moor in deeply scratched lines, a
narrow road is etched into an otherwise
massive moorland triptych, likewise a real
car radiator sits in the surface of another
painting as if decaying and buried by
the earth. His medium of working is also
atypical, paintings are heavily layered with
different types of paint (often sourced
from recycling centres), plaster, plastics,
soils, pigments, roofing felt, hay and
other unconventional materials. To this
rich surface relevant artefacts are often
added, creating reminders, triggering
memories or reflecting fears intrinsic to
a particular landscape. The concept of
layering in the landscape arrived partly
a result of the artist’s childhood, during
which his family’s farm was first sliced
in half by the M5 motorway and then
again by the Royal Portbury Dock. The
land once filled with sheep has become a
pure edge-land wilderness with detritus
of continuous development now occupying
and obliterating the land. Hardwick’s
entire oeuvre makes reference to concepts
of change, memory, history, emotion and
transience. Ever redolent is the notion that
we are but another layer in time.
Andrew Hardwick is a British artist born
in Bristol, England in 1961 where he still
resides. He achieved an MA in Fine Art at
the University of Wales. He is an elected
Academician at the Royal West of England
Academy. He has featured in four solo
exhibitions at Anima Mundi. Works have
been exhibited extensively including
numerous public shows and have been
collected worldwide.
‘Gorse Bush & Wilderness’
mixed media on panel, 25 x 30 cm
116
117
‘Moor, Cloud & Rain’
mixed media on panel, 31 x 42 cm
118
‘Brown Moor & Cloud’
mixed media on panel, 27 x 39 cm
119
Paul Benney (b. 1959)
Paul Benney was born in London and
currently lives and works in Suffolk. He
rose to international prominence as a
member of the Soho and East Village
Neo-Expressionist group, whilst living
and working in New York City in the
1980s where he worked and exhibited
alongside peers Marylyn Minter, Jean-
Michel Basquiat and David Wojnarovicz
among the many other others who made
up the exploding NY art scene. Despite
living and working in this extraordinary
creative environment Benney’s painting
maintained a uniquely English sensibility.
Collections including the Metropolitan
Museum of Art in New York, The Brooklyn
Museum, The National Gallery of Australia
and The National Portrait Gallery in London,
The Royal Collection and The Eli Broad
Foundation own works. He has exhibited
in eight BP Portrait Award Exhibitions
and twice won the BP Visitors’ Choice
Award. Benney’s portrait subjects have
included HM Queen Elizabeth II, Sir Mick
Jagger, John Paul Getty III, 7th Marquess
of Bath, The State Portrait for Israel, Lord
Rothschild, as well as Ben Barnes for the
portrait in the feature film ‘A Portrait of
Dorian Grey’. Benney was invited to be
resident artist at Somerset House in 2010.
During his five year residency he held the
exhibition ‘Night Paintings’ in 2012 and
drew over 15,000 visitors. In 2017 his epic
painting and holosonic sound installation
‘Speaking in Tongues’ was a prominent
feature of the Venice Biennale.
‘Bucolia’
oil on panel, 60 x 45 cm
120
121
Published by Anima Mundi to coincide with ‘Mabon’
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