Artur Aguilar is a contemporary artist born in Barcelona and currently working between London and Barcelona. He studied in the Fine Arts Faculty of Barcelona and has won the First Drawing Award granted by the Spanish General Management of Culture and Arts. The Government of Catalonia awarded him a Plastic Arts scholarship. Since 1980 his work has been shown in different museums and galleries of Spain and in other European countries. His pictorial practice is based on the application of geometric and mathematical rules. His work is formally reductionist because he returns to geometry in two-dimensionality. He uses pure shapes and offers rationality through series of elements that are placed in the space, but the colour brings us closer to the warmth of the sensibility. In the Spaces series he invents interior perspectives increasing the geometric space towards a virtual dimension.
Kirsten Baskett is a contemporary artist based in London. Receiving an MA in printmaking from Camberwell College she engages with digital technology based on an understanding of traditional methods rather than regarding them as an out-dated medium. She is represented by galleries in London, New York and Paris. Her work explores time and memory, traces and absence. The impetus is obsolete technology, which has developed a patina through intense or prolonged human use. She begin by constructing paper sculptures, which were then cast in resin blocks. Through photographic, digital and traditional drawing processes, she dissolves away the original form and materiality of the image in order to create a photographic etching plate; a suspended moment. Changing physical materiality is present in her pieces; where the etched delicate images are printed onto fine Japanese Kozo paper, later encasing them in clear resin. The works are frozen in time, permanently available to view, but never to experience the true materiality of the object captured within. All that remains is the latent emotional energy, which the original object had absorbed and the viewer is left uncertain, as to whether the images are dissolving, or coalescing into being.
Mark Charlton, born in Margate in 1976, studied at the North East Wales Institute of Art and Design, gaining a BA Hons in Animation Design in 2001. After spending many productive years working as a freelance animator and motion designer primarily in the music industry, he has devoted his time to developing his own style in mixed media art. His work is an abstract combination of screen print, painting and collage technique, which allows the exploration of surface texture and graphical composition and he takes inspiration from space exploration and science fiction from the 1950s and 1960s in which he embraces colour and shape and amalgamates with a contemporary gritty urban feel. The work is energetic and spontaneous, using multiple layers, which are built up over a substantial period of time, until a final composition is realised and refined. He finds a unique excitement in this layered approach which sees screen print forced to react with painted and collaged surfaces. Multiple techniques are used to decay and age the surface, which culminates in a final piece that has a striking first impression and a gentle beauty within its close up detail.
Harriet is drawn back to the Western Isles of Scotland with their outstanding beauty and unspoilt landscape. The weather conditions are fast moving and powerful and it is this combination that provides Harriet the opportunity to capture a single moment in her paintings with the aim of evoking both an emotional connection and visual memory for a place. Harriet establishes a connection with a place by spending time there before starting the process of capturing and recording. She will first make oil sketches on gesso panel, paper or card en plein air, as well as photographs. Some of the oil sketches that are produced have been left in their raw form whilst others form the foundations for further development back at her Bristol studio. Choice of materials and preparation is very important to Harriet and in order to obtain a smooth surface she applies many layers of gesso primer. This allows her to add texture in the form of many layers of oil paint, which are then worked back and exposed to achieve a translucency that attempts to capture the moment. A lot of time is spent mixing and making her colours and this process is integral to the painting as it provides the link between form and emotion.
British artist Jeremy Dickinson lives and works in London and attended York College of Art from 1982-83 and Goldsmiths College in London from 1983-86. Through precise and playful mastery of oils and acrylics he is bridging several generations of imagination and memory with his work. Relatable subjects and themes of mapping, transportation and collections have been the common threads of his work for the past thirty years. Toy cars, buses and trucks are stacked, in line, hanging and even flying across the canvas in fresh palettes and true detail. Jeremy embodies the mastery of traditional still life painting with a conceptual and contemporary edge that verges on timelessness.
elena garcía de la fuente
Elena García de la Fuente was born in Madrid (1975) and raised in Málaga. She has lived and worked in London since 1999. She studied Fine Art at the Universidad Complutense in Madrid, before finishing her studies at Leeds Metropolitan University in 1997. She completed an MA in Contemporary Art at Sotheby’s Institute in London in 2001. Most recently, in 2016, she has been shortlisted for the Lynn Painter-Stainers Prize and her work was selected to exhibit at the RA Summer Exhibition. In 2015, she was shortlisted for the ‘Winsor & Newton Painting Prize’ and the ‘National Open Art Competition’. Elena makes contemporary figurative paintings that explore certain codes of behaviour inside the museum in a playful manner. When visiting exhibitions she becomes a voyeur looking for interesting scenes that catch her attention and taking photos of people without them noticing. She later use these photos as source material for her paintings, which make reference at how we’re looking and interacting with the world around us, touching themes such as the way we look at art through modern technology. The paintings also reflect spaces of quietness and stillness that hold a poetic element, inviting us to meditate and create our own narrative. She’s interested in the meta-referential aspect of the paintings and the parallelism created by the scene represented and the moment the viewer faces it, realizing they have become part of the work and that they’re probably being observed by an audience.
Vaughn Horsman creates art inspired by the systems, memories and patterns of a synthetic world. Each sculpture is assembled in wood, metal, paint, machinery and code. Deliberately designed to resemble architectural forms and the familiar products of industry, they tell stories about the hidden structures inside the city and the complex flows of the present.
JakBox is a collaborative founded and led by Simon Williams. An architecture graduate and owner of Feast Creative, a major theatrical design company, Simon has turned his attention to his own artistic endeavours. JakBox has a wide-ranging practice that explores existing markings and surfaces, alongside an element of playfulness and unpredictability. Nature, science and man’s contact with materials all play a part in the work. Focusing on texture, JakBox transforms the everyday into distinctive and evocative pieces.
Jiménez’s work explores the intimate and personal ways of seeing the human form. He confronts parallel themes of isolation and attachment as a duality of the human condition. These works depict the effusive desire to capture the soul and the innocence of the human form through art. Full of feelings and ideas, textures and forms, these works reveal the essence of the human condition. Francisco’s aim is to immerse the viewer in his world with his characteristically strong style. This is a world of intimate places, imperfections and sensibility which follows the lines of the human body and the aura that surrounds people. Francisco was born in 1987 in Jerez de la Frontera, Spain. He soon moved with his family to Madrid, where he became absorbed by the great world of painting. It was in this big city where he became absorbed by the great world of painting and in particular the beauty of the human body in art; the nude. Francisco was influenced by the rich artistic scene in Madrid and began to find his artistic style by experimenting with different mediums and materials. A significant turning point in the development of his work was attending an exhibition by artist Antoni Tàpies. Seeing the work of Tàpies allowed Francisco the freedom to experiment with applying different textures and materials to canvas.
Masako Kamiya is a recipient of the Massachusetts Cultural Council Fellowship in Painting in 2006 and 2010. She has a BFA from Montserrat College of Art, and an MFA from the Massachusetts College of Art and she is an associate professor in Painting & Foundation Department at Montserrat College of Art. In her painting, she engages in a dialogue with paint. Her statement is composed of each dot that is made with the brush. It requires intimate on the surface, and yet also moving away from the surface in order to see how the layers of mark-making negate earlier marks and reveal a new form. In this way, she slowly arrives at her own truth, which is visual satisfaction. The painting are made with gouache on a watercolor paper. A build up of dots of color into half-inch, stalactite-like columns with rich variations in color layers. From a distance the painting is a series of dots, which create larger patterns toward a uniformed center. When observed more closely the third dimension is revealed, a forest of multicolored columns. The surface is dense. Colors on the flat surface of the paper react with the colors on the surface of each stalk when perceived closely. Masako challenges the way a painting is conventionally perceived. The sculptural surface moves viewers across the field of the painting. This forces the viewer’s eyes to mix and optically process the various properties of color. Ultimately, the viewers experience the subtle metamorphosis of the color in the paintings as the painting shifts from two dimensions to three dimensions and back again, according to the viewer’s angle to and distance from the work.
Volker Kühn was born in a small town called Neuenkirchen in 1948, but predominantly grew up in Lilienthal, near Bremen. Eventually his studies brought him to Bremen in 1968 and he majored successfully in sculpting after four years, attending the Bremer University of Artistic Design. He was honored with the young-advancement award, given by the Bremen Senate. He continued his path of success and placed first, in a contest, created by the Bremer College of nautical science in 1976. That same year he created his first etchings, which vastly conquered exhibitions all over the world. After seeing the world during his exhibition tour, he decided, it was time for something new. Since 1968 Volker Kühn combines his inexhaustible creativity and his motto “Just do it” into art objects.
Marianthi Lainas (born 1964) is a visual artist currently living and working in North West England. Having spent most of her life living a stone’s throw from the coast, her photographic work is informed by the dynamic places at the far edges of the land, cycles of ebb and flow and the transience of the littoral landscape. Recent work has focused on visual explorations of remote northern areas, including Arctic Greenland. Hand-crafted artist books have increasingly become an integral part of Marianthi’s practice, offering an alternative and highly creative approach to presenting series of work. She is represented by galleries in London, Scotland and North West England and copies of her Collector’s Edition books are on permanent display in Ilulissat Kunstmuseum, Greenland.
Delphine Lebourgeois (born 1976) studied Fine Art in Lyon then went on to complete a Masters in Illustration at Central St Martins in 2005. She works in various medium including digital, collage, pencil, pen, ink, watercolour and screenprint but her working process always starts with an initial collage of found elements. Her most recent work draws from various stylistic sources (ranging from Botticelli to comics) mixing symbols and cultural references in a playful and sometimes irreverent way. In 2014, Lebourgeois created a whole series of original drawings on the power of crowds “The Girl has a Gun” that was launched at the Other Art Fair in October 2014 : “My aim is to tell stories via precise scenarios that explore the realm of power relations whilst questioning Illustrative and Fine Art traditions.” Detailed and layered as if to underline the complexity somehow chaotic of groups’ psychology, Lebourgeois’ figures are replicated and organised in a geometrical way, but heads and expressions are unique, allowing ideas such as conformism and peer pressure, solidarity and belonging to be conveyed. Her latest series “Smoke” moves away from the intricacy of crowds and armies, with images portraying a single individual smoking alone in calm surroundings. “Smoking’ is an interesting topic nowadays… in a society becoming more and more sanitised, we are not far from it turning into the next rebellious thing. For me, it belongs to youth and living the moment.” Delphine Lebourgeois was the winner of the Images 29 Critics Award. She has worked for an extensive list of prestigious clients including The New Yorker, L’Obs, Le Monde, Harper Collins and her work is shown at international art fairs in London, New York, Singapore and Hong Kong.
Alistair is a Scottish photographer based in London. His work is inspired by both rural and cosmopolitan themes: from documenting the lives of wild horses on the Loughor Estuary, to abstraction from modernist architecture and to collaborating with actors, performers and artists from around the world. Ideas of transience and the beauty of imperfection have a significant influence on Alistair’s work. Alistair’s work has been exhibited and selected throughout his career and most recently honoured by inclusion into The Leica Meet and their ‘A Selection of Excellence 2016’ collection.
Graham is a Scottish artist who trained at Edinburgh College of Art and is now based in East London. He is interested in architecture and urban spaces, in particular the social housing and iconic tower blocks built throughout London, Glasgow and more widely the UK in the 60’s and 70’s. His paintings, drawings and prints document these buildings, the surrounding urban environments and our interaction with them. His focus for the past two years has been the rapidly changing landscape of East London and more recently he has been working on a series of paintings, drawings and prints of the Red Road flats in Glasgow, the remaining blocks of which were demolished in October 2015. He works principally in acrylics, building up layers of paint in order to achieve a level of luminosity and transparency. He works from photos and drawings in an attempt to accurately represent his subject whilst incorporating areas of abstraction in his work.
Hazel Mountford is a contemporary painter of wildlife. She received a BA (Hons) from Wimbledon School of Art and is recipient of the award BBC Wildlife Artist of the Year- British mammals. Working in acrylic on wood panels, Hazel’s art is a response to living and working in London. She is fascinated by the evolving relationship of space between humans and animals, Earth’s jigsaw, how we all fit in together. Hazel’s paintings have been shown in London, Glasgow, Dublin, Stockholm, New York, Singapore and Hong Kong.
Andrew Neumann is a Boston based artist who works in a variety of media, including sculpture, film and video installation, and electronic/interactive music. His original artistic output consisted of single channel videos and films. He then moved on to integrate a variety of electronic and digital technologies into his 3D and sculptural work. In addition to this, he has been building electronic musical interfaces and is very active in electroacoustic improvisation.
Claire Newman-Williams was born and raised in the UK and moved to America in 1988. She worked primarily as a portrait photographer with her work appearing in national and international publications. Returning to the UK in 2005, she began working with alternative processes and old cameras, blending photographs with found images and old text to produce intensely personal multi-media pieces that challenge the viewer to examine the role that memory and nostalgia play in our lives.
francisco nicolás parra
Francisco Nicolás Parra, lives and works in Spain and London. Having studied at the School of Applied Arts and Artistic trades of Barcelona, Faculty of Fine Arts in Barcelona and the Ecole Nationale Superieure et des Beaux-Arts of Paris he is now immersing himself in figurative elements, particularly the landscape, through the use of his unique “picture window” technique. He has also begun to introduce and combine the written language into his pictorial language, graphically represented through acrylic and digital technologies.
Jack is a contemporary artist who started his fine art career in stencil graffiti on the streets of London. After graduating from Winchester School of Art with a BA in Painting he has become known for his amusing and thought provoking work. His early street artwork has been published alongside Bansky in the book ‘The London Street Art Anthology’. Recently Jack has focused on dioramas, small individual scenes that tell unique and often humorous stories. The viewer is invited into the lives of these tiny people, to create their own narrative to a moment captured within the work. His newest work is framed in custom acrylic boxes, antique projector lenses and some incorporate electronics, used to illuminate and add atmosphere to the miniature scenarios encapsulated in individual worlds.
Adam Robinson was born and raised in Sydney and has been living in London since 2002. He graduated in Australia with a degree in Theatre Design and has since worked mainly in television as an art director, developing his art practice at the same time. His work reflects his passion for colour and the processes of collecting and arranging. Found and sometimes forgotten materials with their own history are his source of inspiration. He aims to transform these objects to exist in a more contemporary and ordered context, with a clean and vibrant aesthetic. Adam also enjoys the emotional response that colour and repetition can bring, and the notion that once the materials are rearranged and framed they become preserved in an altogether different way.
grant simon rogers
Grant Simon Rogers is a visual artist who lives and works between London and Berlin. His highly individual style of photography references a mid-twentieth century cinema technique known as “Day For Night” or “American Night”, which gives the impression that many of the pictures were made in the night time or twilight hours. He likes to use the available daylight; so he sets up his camera to make a very dark, underexposed image and then uses a hand held flash to relight the main subjects, trees and plants. Grant has set himself the challenge to make a photograph in the camera, and to not post process on the computer. All of the pictures in this body of work are virtually straight out of the camera with the bare minimum of post processing. Grant trained at Portsmouth College of Art, and is devoted to art education and visual literacy for all ages. He regularly contributes to the free life long learning programmes at the National Gallery and other museums and cultural institutions in London and across Continental Europe.
Satoru Tamura, born in 1972 in Tochigi, graduated from the College of Art and Design of Tsukuba University, Japan, in 1995. Satoru creates art based on a theme or destruction of meaning and seeks for his artwork to be of a pure white idea without any distraction. The destruction takes place lightly and never gravely. It may even bring laughter. In the artwork, he constructively destroys the meaning, or creates a situation where no meanings are attached. His aim is to stay liberated from meaning, establishment, and purpose of its material and form. Perhaps, because he has doubts about them. Satoru Tamura lives and works in Tochigi, Japan.
Michael Ward has a sensitivity for all things made of metal and the function and beauty of industry. A lot of his work includes references to his own very early fragments of sensation via colour, pattern, surface, material and touch. There can be a lot of details, symbols and layers in his paintings. Following a Foundation Course at Manchester, Michael attended Ravensbourne College of Art gaining 1st class hons in Fine Art Painting and then studied at The Slade School of Art obtaining a Higher Diploma in Fine Art. He was then appointed Junior Fellow in Fine Art Painting at Cardiff School of Art. Following that he taught sculpture at The Central School of Art and painting at Lina Garnarde Foundation Course. Then was temporary Senior Lecturer in Painting and Photography at Camberwell School of Art and lectured in Photography, Film and Furniture Restoration at Southwark Institute. He was also shortlisted for resident artist at Caius and Gonville College Cambridge. He then became lecturer in Painting, Photography, Printmaking and Sculpture at South Thames College.
Born in Los Angeles, graduating with a Bachelor in Industrial Design and a Masters of Architecture from the University of Oregon, the following years, prior to moving to Europe and pursuing life as a conceptual artist full time, were spent practising architecture in Boston as a licensed Architect. / As learned through the design of building, mainly public buildings, projects become rich and thoughtful through the process of design. Working and re-working iterations in a tactile manner through models and drawings moulds and develops a project from a simple idea into an interweaving of informed decisions that transcend the work from good to great. Counterintuitively, the more constraints placed on an architectural project from the beginning inform the design and guide the process towards a better outcome. / The process of making art is not dissimilar. Discoveries are made and built upon during the total immersion of making a piece which informs that work and/or contributes ideas for the next. As in Architecture, craft is an important component in working. Thoroughly immersing oneself in craft and honing this skill throughout the process of creating yields pieces that are just as important as the finished work that is being constructed. Jigs are made. Waste is collected and saved. A book has been cut in order to extract the words or names needed for a drawing. Something from everything and everything is potentially a work of art. / As a conceptual artist I am most drawn to working with material and content that comes loaded with ingrained meaning and nostalgia. I typically identify with a concept, whether playful or cynical, in the media I choose and this becomes the starting point. From here I begin to deconstruct and completely displace the intended form from its original context. Re-imagining and refitting in a very tactile process until a new form emerges along with the hope that a new perspective will be perceived from something that had such en-grained prepossessed meaning, challenging what we all take for granted.
Originally from Sheffield, Yorkshire, Kate trained at Camberwell School of Art and the Royal College of Art. IShe now lives and works in both Rodmell, Lewes, East Sussex and South West France. Kate originally trained and worked in ceramics but about six years ago moved from ceramics into painting full time. She is the founder and head of the Ceramics Diploma course at City Lit in London. Her work is loosely based on landscapes, seascapes and aerial views of areas she knows well – West Penwith in Cornwall, South West France, The South Downs, the West of Scotland and the East Sussex coast. Landscapes, seascapes – mapping the land -, memories and symbols are explored to convey meanings beyond representation, by combining painting with gestural drawing and mark-making using a variety of mixed media.
Michelle Graduated from central St Martins College of Art and Design with a degree in Textiles Design. Her speciality was print making. Hand painting screens gave her work a loose, painterly and expressive immediacy. After college Michelle took her textiles and painting knowledge to work on feature films in costume departments for over 10 years. Only a few years ago Michelle finally returned to her first love, painting. Her collections most often are inspired by and start with a series of her own photographs which capture’s beauty and simplicity in the human world, quite often showing the stark contrast between harsh, angular industrial landscapes juxtaposed by the uncertainty and ever-changing nature around it. Then distilling compositions down to their raw, abstract, engaging interpretation through mixed media, collage and paint. The simplicity of her aesthetic belies a rigorous and frenetic work ethic which prevents her from ‘overthinking’ and stifling her mark making. Her thought process becomes a stream of conscious decisions flowing from one to another. Pushing each idea, and concept into the next.
Camilla Wordie is a multi-disciplinary art director, set designer and stylist. She started out at Chelsea College of Art, on to Edinburgh College of Art and Copenhagen School of Design. She works with a variety of photographers to capture food as a form of art. By creating minimal yet expressive still life’s she brings ingredients together to design series of conceptual images. For her, composition is key and the idea of treating food as a material to form a sculpture. (photography collaboration with Vici Watkins and Tasos Gaitanos)
Nadim is a practicing artist who lives and works in London. He graduated in BA Fine Art from the Slade School of Fine Art in 2008. Since then he has been working on art projects that incorporate a sense of playfulness and humour within the disciplines of photography, drawing, painting and sculpture.