Anima Mundi Mixed Winter Catalogue 2018 / 2019

ONYA MCCAUSLAND

Anima Mundi Mixed Winter Exhibition
Anima Mundi are delighted to close another exciting and eventful year with our annual Mixed Winter Exhibition.
The Anima Mundi Mixed Winter Exhibition offers visitors an elaborate overview of the idiosyncratic artists who we have the
privilege of working alongside, emphasising the kaleidoscope of themes and issues represented within our programme.
The display will feature a curated selection of works from gallery artists, shown across all three floors of the gallery and
includes works from William Arnold, Simon Averill, Sarah Ball, Samuel Bassett, Harriet Bell, Trevor Bell, Paul Benney, Jim
Carter, Mat Chivers, Phoebe Cummings, Andrew Hardwick, Rebecca Harper, Youki Hirakawa, Joy Wolfenden Brown, Henry
Hussey, Sax Impey, Arthur Lanyon, Andrew Litten, Jamie Mills, Richard Nott, Dr Martin Shaw, Tim Shaw, Roger Thorp, Abbie
Trayler-Smith, David Kim Whittaker and Carlos Zapata.
We look forward to sharing it with you.
Joseph Clarke . Gallery Director
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Sarah Ball
Sarah Ball’s is a British artist born in Yorkshire, England in 1965. She currently lives and works in west Cornwall.
Her practice relies on the gathering of found source material, from newspaper cuttings, archival photographs and historical
documentation. She selects subjects with, and without, known narratives. From these images, Ball paints intricate portraits that
re-establish the imagined life of the often anonymous, unknowing sitter. Physiognomy is a primary concern. This supposedly outdated
practice, whereby character or a persons morality are decided by the geometries of a face, was a common 19th century method, which
dictated that an individual’s appearance was connected to their ethics and character. Sarah Ball’s paintings reflect her intrigue with these
concepts and the history of the people she encounters.
The painted portraits are placed on a neutral background with space around them, allowing for a metaphorical clean slate so that
the viewer can investigate each subject close up in intimate detail with out prejudice. The viewer is compelled to empathise with
the subject and draw their own conclusions and perhaps contemplate how we still continue to judge others based on aesthetics
and assumption.
Sarah Ball studied at Newport Art College in the early 80s, followed by a MFA at Bath Spa University from 2003 - 2005. She has
exhibited widely and Internationally. Her work has been shown at the Threadneedle Prize, The Royal Academy, Somerset House
and The V&A Museum. In 2016 Ball had a solo show at The House of St Barnabas, Soho Square and her work was shown
alongside John Currin, Paul Macarthy, Juan Fontanive and Celia Paul in Dallas, USA as a part of Art for Aids TWO x TWO
charity auction. The Australian National Portrait Gallery published an 11 page feature article this year on my Immigrant series,
with an essay by historian Dr Sarah Engledow. She has held four solo exhibitions at Anima-Mundi. Works are included in
collections worldwide.
Immigrant (Romanian)
oil on gessoed panel . 18 x 13 cm
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Immigrant (Italian)
oil on gessoed panel . 18 x 13 cm
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Mat Chivers
Mat Chivers is a British artist born in Bristol, England in 1973. He currently works in Devon.
Chivers’ artwork examines how fundamental phenomena that exist below the surface of things informs the way we experience
the world around us. For Chivers, the process of making draws on combinations of analogue and digital technologies in works
that embody a hybridisation of old-world and contemporary envisioning and production processes. Mat Chivers sculpture often
incorporates the use of heavy, solid and dense media such as metal or stone, shifting the context of the raw material to reflect an
ephemeral an indeterminate subject matter from cloud formations, waves data or altering climactic statistics. Through the materiality
of his sensuous sculptures, drawings, prints and performance, he offers the viewer an alternative view of these notions.
Chivers studied Fine Art at Nottingham Trent University and Escula de belles Artes, Barcelona (1993-6). A formative influence
on Chivers’ practice are the years that he spent working and travelling in Southern Europe and Morocco, culminating in a journey
overland to Iran, Pakistan, India & Nepal where he spent time in the mountains of the Hindu Kush, Zanskar and Himalaya. On his
return to the UK he established a studio in Devon where he is now based but travels regularly on international artist residencies. His
placement at the Nirox Residency in South Africa and the Kappatos Residency in Athens both culminated in major solo exhibitions.
He has been involved in numerous cross-disciplinary projects with research scientists at The University of Bristol. His site-specific film
work ‘Purbeck Vanitas’ was shown in 2012 as part of the commissioned project ExLab in conjunction with the Cultural Olympiad and
The National Trust at the coastal UNESCO designated World Heritage site in Dorset. In 2014 he completed ‘Axiom’ a major public
commission for the Mathematical Institute in Oxford. His work also features in many other collections internationally notably
including the Berengo Collection, Italy, Crisis UK, Fitzwilliam Museum Cambridge, Mochary Collection, USA, Thelma Hulbert
Gallery, Soho House and The Met Office. Chivers has been included in numerous high profile international exhibitions including
‘Daydreaming with Stanley Kubrick’ at Somerset House, ‘Air: Visualising the Invisible in British Art 1768-2017’ at the RWA, Bristol,
‘A Place In Time’ at Nirox Sculpture Park, South Africa, Premio Fondazione Henraux, Italy, ‘Out Of Our Heads’ in London, ‘The
Knowledge’ at the Gervasuti Foundation, 54th Venice Biennale and ‘Glasstress: White Light/White Heat’, Pallazo Cavalli Franchett
at the 55th Venice Biennale and a solo presentation at the Venice Biennale the same year titled ‘Satyr’ in association with Venice Arts
Factory. Most recently Chivers presented ‘Migrations’, his largest public exhibiton to date at Musée d’art de Joliette, Canada.
(It's Not) Black and White (Brazil) charts the moment of climate change that we are now in. Yearly graphs of ocean wave heights
from a number of randomly selected locations have been robotically milled into slabs of cast sea-salt recycled by desalination plants.
The first year of data marks the moment when accurate measurements began to be transmitted back to earth from scanning orbital
satellites, up until the present day. Ocean swells (waves) are driven by low and high pressure atmospheric events (storm cells) which are
themselves a result of thermal flux in global ocean currents. Wave height data is a key marker for understanding how climate change
may be affecting extreme weather events.
(It's Not) Black and White (Brazil)
cast recycled sea salt panels . 110 x 150 cm
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Phoebe Cummings
Phoebe Cummings is a British artist born in Walsall, England in 1981. She currently resides in Stoke-on-Trent.
Cummings sculptural work builds on an ongoing interest in time and nature and how this has been represented and
stylised through design. She works predominantly using unfired clay to make poetic and performative sculptures and
installations that emphasize materiality, fragility, time, creation and decay. Cummings' impressive interventions are
constructed directly on site, allowing an instinctive development of tensions between object and location. In her current
work, Cummings' practice has developed to exist beyond the duration of the exhibition. Cummings questions what we
will carry forward into the future by producing intricate, hand made and exquisitely delicate sculptures based on ancient
plants and primitive ritual, imbued with a sense of magic and mysticism
Drawing together elements of English Paganism as well as the aesthetic excess of Baroque and Rococo design, the
resultant objects could be considered as dystopian ornaments of a future anthropology.
Phoebe Cummings studied ceramics at Brighton University in 2002 before completing an MA in ceramics and glass at
the Royal College of Art in 2005. She has undertaken a number of artist residencies in the UK, USA and Greenland,
including a six month residency at the Victoria & Albert Museum in 2010. In 2017 she won first place at the inaugural
Woman’s Hour Craft Prize with work exhibited at the V&A Museum, before touring to venues around the UK. Cummings
was selected as the winner of the British Ceramics Biennial Award in 2011 and awarded a ceramics fellowship at
London’s Camden Arts Centre (2012–13). ‘Supernatural’ was her first solo exhibition at Anima-Mundi. In addition,
Cummings’ work has been featured in numerous group exhibitions, including '60|40 Starting Point Series’ at Siobhan
Davies Studios, London, 'Formed Thoughts' at Jerwood Space, London; and 'Swept Away: Dust, Ashes, and Dirt in
Contemporary Art and Design' at the Museum of Arts and Design, New York. In 2013, she had a solo show at the
University of Hawaii Art Gallery in Honolulu and The exchange in Penzance. In 2018 she was the inaugural winner of
the Woman's Hour Craft Prize and was shortlisted for the Arts Foundation Awards..
This works displays the remnants from ‘Antedeluvian Swag’, an ephemeral, unfired clay sculpture made and displayed
at the New Arts Centre.
Antedeluvian Swag - Remnants
framed photograph and fired clay on shelf . frame 60 x 82 cm / shelf 22 x 22 x 82 cm
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Sax Impey
Sax Impey is a British artist born in Penzance, Cornwall in 1969. He currently works from on of the prestigious
Porthmeor Studios in St. Ives.
Sax Impey’s paintings and drawings are often large scale, immersive and elemental incorporating staggering detail
and dexterity and an expressive, behavioural use of medium. Since 2005, Impey has produced works derived almost
exclusively from experiences at sea. A qualified RYA Yachtmaster he has sailed many thousands of nautical miles around
the world. These extensive trips have had a profound impact on his life and subsequent development as an artist.
Reconnecting with nature through this powerful element has the almost inescapable effect of calling to question some
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.”
After graduating from art college, Impey spent time in East Africa where he participated in film, theatre and performance
projects before returning to Cornwall to paint. In 1995 he was elected a member of the Newlyn Society of Artists
and in 1997 was awarded a 'Kunstbrucke' residency in Berlin. From 2005, he has collaborated with the cross-cultural,
environmental art group Red Earth in the creation of site-specific installations including a multi media performance
at Trafalgar Square, London and Birling Gap in Sussex. In 2007 Impey's work was selected for the ‘Art Now Cornwall’
exhibition at the 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 Sax 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. Impey has had numerous exhibitions with Anima-Mundi securing
a long term, fruitful working relationship. His paintings are in multiple collections including The Arts Council, Warwick
University, the Connaught Hotel and the collections of Roman Abramovich and Lady Victoria Getty alongside other
private collections worldwide.
‘Light Between Squalls’ has taken 6 months of gruelling and intricate work to produce in charcoal on paper, made in
response to the artists voyage in Biscay.
Light Between Squalls
charcoal on paper . 120 x 150 cm
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Youki Hirakawa
Youki Hirakawa is a Japanese contemporary artist born in Nagoya, Japan in 1983. He currently lives and works in Toyota,
Japan and Berlin, Germany.
Through his still and installation-based video artwork, Youki Hirakawa explores a mysterious and immeasurable sense
of time, loss and longing. His monochromatic imagery is imbued with a melancholic quality, reconnecting a fragile
past with a vivid present casting questions over the future. Deftly contrasting static imagery and moving footage, his
work recalls its basis in frames per second, through which Hirakawa questions and in turn plays with our sense of
time. Hirakawa constructs his artworks as if to reveal hidden memories or narratives contained within the subject,
resuscitating sensibilities that may have since been obscured, primarily through progressive human activity. Youki
Hirakawa has exhibited extensively worldwide.
His inaugural solo exhibition ‘Secret Fire’ at Anima-Mundi was held in 2016. In 2017 he was finalist of Sovereign Asian
Art Prize. Works are held in numerous public and private collections.
In this work a burning candle lies on a piece of paper, liquid wax melts and draws a passage of time spontaneously.
A Candle
single channel video . silent . 30 min loop
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Richard Nott
Richard Nott is a British artist born in 1963 in Cornwall. He currently lives and works in west Cornwall.
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 years 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 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 site-specific 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.
Scrinium
mixed media on panel . 63 x 63 cm
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Paul Benney
Paul Benney is a British artist born in London, England in 1959. He currently lives and works from studios in London
and Suffolk.
Benney 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 80s
NY art scene. Despite living and working in this extraordinary environment Benney’s painting maintained a uniquely
English sensibility.
Paul Benney is a multi-disciplined artist whose oeuvre moves beyond clear and definitive categorization although his
work could be seen to continue the strong tradition of ‘British Mysticism’ championed by the likes of Samuel Palmer
and William Blake. Clearly, the primary mode of expression is paint, which he handles with profound technical dexterity,
but to add to this he is also a goldsmith (skills learned from his father, the celebrated goldsmith Gerald Benney), a
sculptor, film maker, a musician and also a perfumer, all of which he is able to carry out with notable esoteric ability
and accomplishment. He is a polymath. Marcus Aurelius once stated that: “Nothing has such power to broaden the mind
as the ability to investigate systematically and truly all that comes under thy observation in life.” But the tangibility of
technique is only one face; the artist must also have a passion to use the senses to delve into the unsolved.
For the past thirty years Paul Benney has worked both in the United States and United Kingdom. His paintings are
notably represented in a plethora of public 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. 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’ in 2008. 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 which explored themes that deal more
with the subconscious and metaphysical world 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, located at Chiesa San Gallo,
just off St Marks’s Square. The paintings from ‘Speaking In Tongues’ were subsequently purchased by a significant
US art foundation based in California for permanent exhibition. Paintings are held in multiple collections worldwide.
Conceptus
oil on canvas . 56 x 71 cm
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Roger Thorp
Roger Thorp is a British artist born in Chapel-en-le-Frith in Derbyshire in 1955. He currently lives and works
in Cornwall.
Roger Thorp’s artwork consists of still images exhibited alongside complex, multi-media, immersive and participatory
installations. Thorp’s work effectively transmits his enormous sensitivity towards the earth, humanity and spirituality,
becoming a manifestation of deep joy and a proclamation of existence for those who forget where they are going.
After leaving lm school, Roger Thorp started out as a runner in the film industry, moving on to work as Producer and
PM on music videos for U2, The Clash, Iggy Pop and others. Thorp has also directed programmes for NGO’s such as
WWF, ILO and the Red Cross, working in Australia, Mongolia and the USA. He has also made two feature films.
Other work by Roger as a writer/director has been screened in Rome, Barcelona, Copenhagen and London. In 2004 he
co-founded the art-house online gallery ‘Littlesong lms’ and 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.
Angel 1517
video in gesso frame (edition of 5) . 30 x 36 cm
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Joy Wolfenden Brown
Joy Wolfenden Brown is a British artist born in Stamford, Lincolnshire in 1961. She currently lives in Bude,
North Cornwall.
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 graduated from Leeds University then completed a post-graduate diploma in Art Therapy at
Hertfordshire College of Art & Design. She worked as an art therapist for ten years before moving to Cornwall in 1999.
Wolfenden Brown has had a number of sell out 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 prizewinner at the Sherborne Open in
2007. Works were acquired by the Anthony Pettullo Outsider Art Collection in Milwaukee with further works held
in collections worldwide. Wolfenden Brown has exhibited internationally with five solo exhibitions at Anima Mundi
marking a long and fruitful working relationship
Undone
oil on paper . 31 x 20.5 cm
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Quiet Voice
oil on paper . 15 x 16 cm
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Ancient Tree
oil on paper . 16 x 15 cm
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Andrew Hardwick
Andrew Hardwick is a British artist born in Bristol, England in 1961 where he still resides
His often large scale, sedimentary paintings display his captivation with 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 cris-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 a painting’s 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 centre), plaster, plastics, soils, pigments, roofing felt, hay and other unconventional materials. To this rich
surface relevant artefacts are often added, creating reminders or triggering memories 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 the developments now filling the land. Hardwick’s entire
oeuvre makes reference to concepts of change, memory, history and emotion. Ever redolent is the notion that we are
but another layer in time.
Andrew Hardwick 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.
Moor, White Cloud and Road
mixed media on support .
96 x 151 cm
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William Arnold
Living and working in west Cornwall, UK, William Arnold is interested in the layers of history, human and natural, that
comprise the making of the landscape and the role played by the photographic surface both literally and metaphorically
in recording, interrogating and representing these histories.
Arnold is a photographer influenced by the first pioneers of the medium and perhaps of the theory that has pervaded
photography since its birth. Sir William Newton, the academic painter, declared in 1853 that photography could never
capture the ‘atmospheric veil’ which nature throws across the world, and yet Arnold seems to both refute and capture
this aspect by exploiting light and shade to produce artistically driven portraits of the world around him. The work
explores themes of temporality and attributes of photography as both art and source of documentation. Interested in
the politics of representation, the works draw from the subjectivity and objectivity involved in the act of photography
and in how photographs are perceived.
Suburban Herbarium is a collection of William Arnold’s photographs made in odd moments as he escaped from daily
routine. Bounded not by an ecologist’s quadrat but by the length of a regular lunch-break walk – in the outskirts of a
small but rapidly expanding city – this work is an ‘edgelands’ homage to Victorian botany.
A reflection on contemporary notions of wilderness, building the 'Suburban Herbarium' represents both an attempt
to regain personal agency against the often alienating backdrop of the 9-5 and a celebration of the natural history of
these outskirt “landscapes of disappointment”… the building sites, road verge, business parks, wasteland and identikit
housing, where were it not for the necessity of stable employment nearby one would never choose to spend time.
Suburban Herbarium
cameraless, single edition, silver galatin print . 40 x 30 cm
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David Kim Whittaker
David Kim Whittaker is a British contemporary artist born in Cornwall in 1964 where he still resides.
Most of David Kim Whittaker’s paintings are based upon a metaphysical interpretation of the human head. Whittaker’s
portraits are ambiguous, with the ambitious aim of representing the totality of the human condition, both the universal
alongside the personal. The works often juggle dual states of inner and outer calm and conflict, offering a glimpse
of strength and fragility, the conscious and the subconscious, the masculine and the feminine. These universal states
of conflict clearly identifiable in Whittaker’s works are arguably reinforced by Whittaker’s ‘gender dysphoria’ and the
personal struggle with a condition that he/she has learned to live with through painting and the endeavour of expressing
something bigger than oneself.
David Kim Whittaker artworks consist of mixed media paintings on canvas or panel, painted studies incorporating
collage and occasional assemblage ‘still life / portrait’ sculptures. Whittaker artworks are a harmonized conflict of
delicate figurative and expressive abstract elements.
David Kim Whittaker exhibitions have been held internationally, notably including a solo exhibition at the prestigious
Fondazione Mudima in Milan in 2017 curated by Joseph Clarke. 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 in the UK.
The Molecular Mirror (The Landscape Bacame His Suffering, A Portal of Balance)
oil and acrylic on panel . 90 x 90 cm
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Tim Shaw
Tim Shaw is a British artist, born in Belfast in 1964. He currently lives in Cornwall.
Tim Shaw’s sculpture and installation 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. Shaw is an artist schooled in the traditions of heavy metal casting
and academic modelling, however his approach to materials and subjects is totally contemporary. He often creates
environments which include sound, light and FX. The tension between tradition and the new, nowness and the ancient,
between solidity and breakdown, is an organic part of his worldview, whether he’s looking at the atrocities of Abu
Ghraib or the transgression or enlightenment of primitive ritual.
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. This work
alongside 5 other major installations are exhibited in Shaw's largest public exhibition to date, 'Beyond Reason' which is
currently on show at San Diego Museum of Art, USA.
Eric
old clothes, fabric and steel . 65 x 180 x 50 cm
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Rebecca Harper
Rebecca Harper was born in London in 1989 where she still currently lives and works.
Her often large-scale paintings, underpinned by intense drawing, demonstrate a mode of reconstructing visual appearances;
events, beliefs, dreams, memory and mediated imagery, whereby seamless, sometimes fictional fragmentations are
rearranged and presented as plausible happenings.
Looking heavily towards the observation of the theatre of life, a triangle of conflicts; between how ones mind
internalizes, body language are presented, and others perceive. She looks behind the scenes at the psychology of
characters, social dynamics, and human behaviours within the space that is occupied. Her observations, drawn from life,
are often intimate, thus allowing her specific access to her subject; she seizes moments with insight and records from
her memory.
The diasporic condition presents itself in her paintings as an unfolding allegoric commentary on its life-source. The works
are a contemplation of transience, a theatre in which human instinct compassionately addresses ideas of settlement, (the
fixed image) a reaction to one’s transient restlessness and displacement and a complex dispersion of un-at-homeness
and groundlessness. Her often large scale works allow for ‘paintings’ potential to play voyeur, allowing distance enough
to play the narrator without a need for the images to be fixed, settled or stable. The motives of her works are intended
to be contradictory, at once both particular and general, restrained and ornate, whole and fragmented, detectable and
imperceptible, relatable and distant, reflecting the complex duality of the human condition.
Harper studied at UWE Bristol 2008-2011, The Royal Drawing School 2012-2014 and Turps Art School 2016-2018, since
2014 having taught through the Royal Drawing School at various institutions; The Saatchi Gallery, The V&A Museum
of Childhood, Cass Arts, Drawing School Central / Selfridges, The Southbank centre, The National Gallery; She was
awarded The Michael Moritz residency Tuscany and The Modi Institute of Fine Art, India 2014.
Harper is represented in both public and private collections and has exhibited in numerous group shows including
Christies London and New York and most recently been included in Bloomberg New Contemporaries 2018. She has also
exhibited at ‘Artist of the Day’ at Flowers Gallery 2018, Supersimetrica Art Fair, The PieFactory/Turner Contemporary
- Turner show in Margate and The Turps Gallery London. She is currently Artist in Residence for the Ryder Project at
A.P.T in Deptford 2018-1 and recently won the ACS (Artists Collecting Society) Studio Prize 2018.
Dreaming of Another World
acrylic on canvas . 180 x 220 cm
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Henry Hussey
Henry Hussey is a British artist born in London in 1990 where he still resides.
His artworks are emotionally raw, created mainly through the paradoxically laboured and intricate medium of textiles.
Whether through an expanding vocabulary of quasi-mythological symbols, or in embroidered lines of text extracted
from performative situations, he explores personal and national identity in response to aggravating relationships and
events. Recent experimentations with other materials including glass and bronze reveal a deeper concern with control
and chaos and the sweet spot in between these two distinctive states.
Hussey studied Textiles at Chelsea College of Art before completing an MA in Textiles at the Royal Academy. His work
is widely respected and has been exhibited in notable exhibitions and collections including Textiel Biennale 2017 at
Museum Rijswijk in the Hague, a Solo presentation at Art Central in Hong Kong, the Bloomberg New Contemporaries
2014, the Institute of Contemporary Art in London and Volta NY, New York. His inaugural solo exhibition at Anima-
Mundi was held in 2017. His work is already held in collections worldwide.
The Sickness
antique linen naval flag, screen print . 145 x 120 cm
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Abbie Trayler-Smith
Abbie Trayler-Smith is Welsh contemporary artist born in 1978. She currently lives and works in London.
Trayler-Smith is a self-taught documentary and portrait photographer whose intimate reportage reveals a deep-rooted,
emotional engagement to her subjects. Trayler-Smith’s multi award-winning photographs often capture the anguish,
humility and extraordinary courage of her subjects. At the heart of each image lies the deeply human story, one fought
out against a turbulent backdrop of social degradation or the aftermath of conflict. Trayler-Smith reveals an intense,
personal connection to each and every subject, sensitively captured through her lens. Extensive travels as a documentary
photographer have exposed Trayler-Smith to some of the world’s most troubled and turbulent places, where lives are
turned upside down and ravaged by war and famine.
Closer to home, her award-winning collection of portraits ‘The Big O’ presents a study of the young people behind the
troubling obesity statistics, revealing the damaging psychological effects of a society obsessed with ‘perfection’.
Abbie Trayler-Smith spent eight years as a photographer with The Daily Telegraph, covering significant world events
such as the Darfur Conflict, the Iraq War and the Asian tsunami, before pursuing a freelance career in 2007. Commissions
include: Time, The Sunday Times, The Independent Review, Marie-Claire, Tatler, Monocle, Vice, Oxfam, Save The
Children, IRC, UNICEF, Sony and BBC worldwide. Trayler-Smith joined Panos Pictures in 2008 and the following year
she presented her first major solo exhibition, ‘Still Human Still Here’, at HOST Gallery in London. Trayler-Smith’s
portrait of Chelsea from the childhood obesity project, ‘The Big O’, won 4th prize in The National Portrait Gallery’s
2010 Taylor Wessing Prize. In 2014, Trayler-Smith received the World Press Photo Award (Staged Portraits) for the
image of Shannon from ‘The Big O’ and won the Ideastap Magnum Photographic Award. In 2017 Trayler-Smith was
awarded the Peoples Prize in the Taylor Wessing Prize for her portrait ‘Fleeing Mosul’. Fleeing Mosul was also included
in ‘After Darkness’, her inaugural solo exhibition at Anima-Mundi.
New Life & Love You, August 2017
c-type print, edtion of 7 . 30.5 x 37.5 cm
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Carlos Zapata
Carlos Zapata is a Colmbian artist born in 1963. He currently lives near Falmouth, Cornwall.
Carlos Zapata makes idiosyncratic carved and painted sculpture and installation, primarily from wood. His work deals
with many challenging and potent themes from poverty, conflict, religion and race, yet paradoxically, the overriding
characteristics of the work are of empathy and compassion. Zapata’s work belongs to and takes inspiration from Folk
and Tribal Arts from all over the world but specifically from South America, from its indigenous populous 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.
Zapata has exhibited International with works held in numerous private collections and museums around the world.
Son, You Still Alive!
wood, acrylic, oil . 30 cm high
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Andrew Litten
Andrew Litten is a British artist, born in Aylesbury, Buckinghamshire in 1970. He currently works from his studio in
Fowey, Cornwall.
His 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. Paintings 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.
Litten 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
each of which included publications 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 large-scale solo exhibitions at Spike
Island and Motorcade FlashParade in Bristol. Ordinary Bodies, Ordinary Bones was conceived with support from The
Arts Council, UK and will be 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.
Thinking of Flight
oil on canvas . 140 x 120 cm
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Simon Averill
Simon Averill is a British artist born in Brighton, England in 1961. He currently lives and works near Marazion in
west Cornwall
Simon Averill’s paintings are informed and motivated by his response to light and a compulsion to record the fleeting
and transitory effects of light on his immediate surroundings. The experience of being in a certain place will mark itself
indelibly on Averill’s conscious – resulting in a methodical and repetitive series of motifs, which describe the intangible
effects of light in varying degrees of diffraction, reflection and distortion.
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. Since 1989 he has lectured at Falmouth University, where
he is now a senior lecturer, specialising in painting and drawing. 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.
Entanglements
acrylic on panel . 40 x 40 cm
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Harriet Bell
Harriet Bell is a British artist born in Turkey in 1905, she currently lives and works in West Cornwall.
Her work is multifaceted ranging from sculptural components, to installation, to drawing. Her works are made in private
and very rarely shown.
There is no specific narrative to the work but Bell often ‘borrows’ words and often rearranges those words, which are
then cast like seeds. The images that she works from are stored in the details and intuitions of her life, her inner culture.
Running from one to another, becoming clarified and whittled down of extraneous material, being forced – in the end –
to express the essence of themselves. Her objective is to make work that is completely integrated; each piece to contain
it’s meaning within but emanating that meaning as a presence around it. This spirit continues with numerous exquisite
works made with pencil or collage on tracing paper, there is a sense of a narrative that once again exists beyond words.
Clearly, Harriet Bell is an artist who remains suspicious of artist’s statements. Feeling that there is a sense that translating
the meaning of the work in to the written word distracts from the language that the work itself contains. So her works
must be experienced and the results of doing so are profoundly moving and personal. The only words present in the
exhibition catalogue for her most recent solo exhibition catalogue were “We all have to leave”, this simple ‘summing
up’ leaves little doubt that Bell is an artist who is able to just say it, without having to say much at all, it also gives clear
insight in to the preoccupation of her artistic and existential questioning. Her sculpture and installations utilise materials
that she finds in hedgerows or pound shops or anywhere for that matter. Harriet Bell is hoarder or collector, which is
evident from the specimens she gathers and arranges. Materials such as stones, dried roots held inside milkbottles, empty
eggshells, wiry stalks and folded cloth, are all examples from her collections. Like the remains from an archeological
dig, works often feels archaic, like a museum archive, of drawers that are brimming with specimens all held under a
single pin in categorical lines. Bell’s works on paper, like the forensic trace of plant or animal life, incorporating collage
with exquisite drawing offer alternative evolutions, of life beyond. Rather like a botanist uses specimens for scientific
experiments, Bell then selectively displays her findings and drawings taking us beyond the realms of science and our
present understanding of life and what lies beyond. The ever-changing cycle of life. Absence, presence, death and decay,
growth and metamorphosis.
Despite her reclusive nature Harriet Bell’s works have been exhibited internationally, with major works acquired for
private and public collections.
Untitled
pencil and book cutting collage on paper . 70 x 100 cm
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Trevor Bell
Trevor Bell was a British artist, born in Leeds, England in 1930. He passed away in 2017 at his home in west Cornwall.
Bell’s creative interest focussed primarily, on painting’s power to evoke sensation, which for him superseded any
illusionistic properties that it might have. Ambitious in scale and dynamic in form, the range of work is diverse,
Bell’s oeuvre is 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 conflicting or
harmonious physicality found in the natural world to the spiritual concerns which connect all that surrounds us.
In 2007 Tate St Ives presented a ‘Beyond Materiality’ a solo exhibition from Trevor Bell. Chris Stephens (then 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.”
In 1955 he was encouraged by Terry Frost, to travel to St Ives where he would find a place that he could focus on his
painting amongst the town’s expanding artistic community. There he joined Ben Nicholson, Peter Lanyon, Barbara
Hepworth and Patrick Heron amongst others. Patrick Heron described Bell as “The best non-figurative painter under
30”. The following year Bell was awarded the honour of the prize for painting at the Paris Biennale. During this year Bell
visited the ‘Museum of the Man’ which was to have a profound affect on him. Bells says of this encounter “To see the
power of the masks and the actual presence of things, it made me realise that I wanted the work to have an equivalent
that would be ‘it’ rather than the ‘illusion of it’, to be the ‘God’ rather than an ‘illusion of a God’”. Bell also described
an early meeting with Zen monk and teacher Snhunryu Suzuki at the house of Bernard Leach as particularly pivotal.
Bell credits Suzuki with describing what he was “feeling” he had to do in painting, these lessons remained with him
all his life. John Elderfield (head curator of MOMA New York) said "Bell was making paintings whose interior shapes
referred to landscape - but to the forces as much as to the forms of landscape; and it was this concern for what is best
described as dynamics which led him naturally into an investigation of the mechanisms of painting itself.” Bell would
sum up his ability to encapsulate and distil natures physical and metaphysical complexity with a graceful rawness and
often profound simplicity with typical humility by stating that “He was just in the middle”.
14 works were acquired by The Tate in 2014 and an acquisition was made in 2015 by the Perez Art Museum in Florida
the most recent major acquisitions in a roster that includes a multitude of important public collections here and abroad.
Gust
mixed media on canvas . 153 x 153 cm
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Samuel Bassett
Samuel Bassett is a British artist born Cornwall in 1982. He currently works from the prestigious Porthmeor Studio
complex in St. Ives.
His artworks display a boundless zeal, sharp humour and honest pathos made with creative, experimental, freedom. His
language of mark-making varies from raw sweeping gestures to draughtsman-like drawn or sgraffitto schematics. His
dexterity enables him to effortlessly capture scattered images of his inner monologue - often erratic, often pinpoint.
The ups and downs. The highs and lows. His paintings could be described as a form of ‘psychological cubism’, where
the inner and the outer self reveal themselves and coalesce. His autobiographical work maps a fast paced and over-active
mind searching for the personal and universal meaning and in turn reflect both positive and negative concerns about
21st century society and the wider human condition.
His most recent works imbue a deep rooted connection to place, the sea and landscape, as well as community and
heritage. The localised placement of these cautionary tales become allegorical for broader more universal hopes and
wider loss, fear and disconnection.
St Ives has been his family’s home since 1695. The artistic traditions of the town had an undoubted influence over his
development, but his Grandfather, a fisherman by trade was also a keen amateur painter, as was his other Grandfather
in Newlyn. The young Bassett was supported early on with encouragement and painting materials. Bassett ’s studio
space is part of a complex that coincidently sits above his Grandfather’s former net loft. He studied in Bournemouth,
England and then lived in London but the pull of the sea brought him home. In addition to his own practice Bassett
founded LETH projects, a curatorial platform for emergent artists. Bassett has already exhibited internationally with a
quickly growing CV including three solo exhibitions at Anima-Mundi and a solo presentation at START at the Saatchi
Gallery in London. Works are held in an increasing number of collections worldwide including the acquisition of
the work ‘Lost Karensa’ by Tremenheere Sculpture Park which is permanently exhibited alongside James Turrell,
Kishio Suga, Richard Long and David Nash among others. Bassett has been featured in numerous articles included
Christies magazine and The New York post which is indicative of a notable and rapid increase in the artists popularity
and ambition.
'Coffin Path' is an Cornish name for a path which links together a series of farmsteads. Tradition has it that preachers
encouraged these straight tracks to their churches in order to attract both the living and the dead. The work embues a
metaphoric sense of modernity cutting a path through ancient fields.
On the Coffin Path
acrylic and ink on canvas . 200 x 180 cm
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Jamie Mills
Jamie Mills is a British musician and visual artist, born in 1983, currently residing and working in West Cornwall.
His interdisciplinary practice is underpinned by investigation surrounding the dissemination of gesture between
materiality and environments. These concerns are made manifest through the renderings of sounds or materials, often
sourced or retrieved via immersion into landscapes and with particular reference to his aural works, articulated and
manipulated through unorthodox instrumental preparations. Universally inherent within these processes, 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 an almost liminal status. In this sense Mills’
“intuitively composed” sound works, and his images become markers to a series of internal journeys or rituals informed
by an often poetic dialogue between material, form and environment.
Since graduating in Fine Art from Cheltenham, Gloucestershire, in 2006, his interdisciplinary concerns have instigated
collaborations internationally between other artists and across various platforms, including contemporary dance, film,
and television, with work held in public and private collections throughout the UK and Europe. Alongside his interest
in a wider relevance and utilisation of sound and improvisation, combined with wider influences from practices, such as
those taught by the Deep Listening Institute, (founded by American composer, Pauline Oliveros), Mills has also studied
sound within a therapeutic context via the National College of Sound Healing, UK.
Fugitive Devices
mixed media . size variable
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Jim Carter
Jim Carter creates powerful, profound renditions of the animal world and the mythic psyche. He is a story teller, telling
animal stories through words and sculpture. More often than not, the works are about local wildlife and a sense of its
power and vulnerability in relation to humankind. Often uneasy or tragic, irrational or obscure, his stories are linked to a
real world of suffering and transcendence: making sculpture from organic materials as a means of advocacy, atonement
or commemoration; shifting to the written word as a way to enter emotional and numinous spaces of memory and
dream. He strives to be honest in negotiating the complex experiences that arise in relation to land and animal life: there
is anger, fear, sorrow, death, but also fertility, transformation and renewal, with the central theme being the intimate
relationship between land and the human psyche.
Jim Carter received an MA with distinction in Art and Environment from Falmouth University, he is member of the
Newlyn Society of Artists and his work has appeared in About Place Journal, Unpsychology and Earthlines magazine.
Euny
Bird, sheep and fox bone, wood, dirt, ashes, remains, leaves, fox fur, jackdaw feathers . 80 x 30 x 25 cm
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Dr Martin Shaw
Dr Martin Shaw is a painter, author, philosopher, storyteller and wilderness teacher in the ancient and primitive
tradition. Widely regarded as one of the most exciting teachers of the mythic imagination. Shaw believes and exhalts
that myth has something vital to say about the condition of both our lives and the earth. In the troubles times that
we are living through, Shaw maintains that the stories that we need right now arrived, perfectly on time, about five
thousand years ago. Central to this is the notion that culture and wildness have experienced an artificial separation, and
that both initiation and myth can create what Shaw calls a 'Culture of Wildness', a culture that must raise up to heal our
contemporary disconnect.
Shaw is the author of the award winning A Branch From The Lightning Tree, Snowy Tower, and Scatterlings: Getting
Claimed in the Age of Amnesia (2016). He is also director of the Westcountry School of Myth in the UK, Shaw also
devised and led the Oral Tradition course at Stanford University. Principal teacher at the Great Mother conference in
the US, recent collaborations have included Old Gods with Mark Rylance and Paul Kingsnorth at the Edinburgh Book
festival. His translations of Gaelic poetry and folklore (with Tony Hoagland) have been published in Orion Magazine,
Poetry International, Kenyon Review, Poetry Magazine, and Mississippi Review. Current work includes The Nightingale
and the Lion (a poetic rumination on the ecstasies, secret traditions and love myths of the west), and Courting the
Dawn: Poems of Lorca.
Owl Wife
oil on canvas . 60 x 60 cm
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Arthur Lanyon
Arthur Lanyon is a British artist born in Leicester, England in 1985. He lives and works from a studio near
Penzance, Cornwall.
Arthur Lanyon paintings are multi-scale and energetic combining intuitive figurative motifs with a painterly, gestural,
abstracted language. These saturated assimilations where the humdrum rubs shoulders with the exotic, harness joy and
a distinct freedom within their schematics. The colourful spectrums of form, line and content, without the intention of
doing so, could be seen to hold within them that which an artist seeks to re-acquire with the wisdom and understanding
of full creative maturity. In some way, the achievement of the works from this exhibition, is to connect or re-connect
varying and disparate states of mind, separated by decades and carry forward, reconfigure and coalesce these perceptions
in pursuit of a greater knowing.
The dual persona Lanyon gathers in a painting, is, he says; “like having two reciprocal minds. You direct but also take
direction back and forth”. A combination of logical reasoning and emotive intuition. Lanyon’s approach is to hunt with
focus but also fumble and find what he is looking for through doing, widening the imaginative range of possibilities
through a process of layering. This association opens up one’s ‘self ’ immeasurably. Works become something no longer
just observed, they are etched, felt and known. The process creates a sort of material geology, but also a psychological
one. Geology is the study of time and pressure and as such this method of painting serves as an index, encompassing
wide-ranging phenomena and timescales. In his essay ‘To Draw The Flow Of Time’ written in 1957, Henri Michaux
wrote; “Instead of the one vision to the exclusion of others, I wanted to draw the moments that end to end make life,
to show their inner phrase, the wordless phrase, the sinuous strand that unwinds indefinitely and is intimately present
in each inner and outer event.”
Lanyon was born in to an artistic family. His father was the painter Matthew Lanyon and his grandfather the influential
modernist painter Peter Lanyon. Lanyon 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 longlist for the
Aesthetica Art Prize and was included in the award’s published anthology. Lanyon has already exhibited widely with
work collected internationally.
Arcade Laundry
oil and acrylic on canvas . 190 x 170 cm
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Published by Anima-Mundi to coincide with the Anima Mundi Mixed Winter Exhibition
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