Yuel Web Catalogue

Yule

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.
‘Yule’ is the third in an evolving 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 flavours the selection
of works presented.
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“I love to watch the fine mist of the night come on,
The windows and the stars illumined, one by one,
The rivers of dark smoke pour upward lazily,
And the moon rise and turn them silver. I shall see
The springs, the summers, and the autumns slowly pass;
And when old Winter puts his blank face to the glass,
I shall close all my shutters, pull the curtains tight,
And build me stately palaces by candlelight.”
Charles Baudelaire, Les Fleurs du Mal
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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.
Volvox
oil on board, 112 cm diameter
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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.
What if Dog Was One of Us (Collaboration with Nathan Hollis)
mixed media on wood, 76 x 38 x 10 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.
Big Rick / Yule Rick (Double A Side) (front)
oil on bespoke panel, 43 x 21 x 1 cm
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Big Rick / Yule Rick (Double A Side) (back)
oil on bespoke panel, 43 x 21 x 1 cm
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Luke Frost (b. 1976)
Luke Frost is a British abstract painter
living and working in West Cornwall.
Despite his notable heritage, as Son of
the English painter Anthony Frost and
the Grandson of the celebrated Modernist
painter Sir Terry Frost, his paintings could
be seen to instead echo a formality found in
1960s American hard-edge, post-painterly,
abstraction. However Frost has developed
his own means of exploring complex
colour relationships, be they harmonious
or provocative, and their impact on their
surroundings alongside an internal and
more contemplative space.
Frost began exhibiting in 2003 following
studies at Falmouth and Bath Schools
of Art. His work was featured in ‘Art
Now Cornwall’ at Tate St Ives in 2007
and in 2008 he was awarded a Tate St
Ives artist in residency during which
time he worked at Porthmeor Studio No.
5, formerly occupied by Ben Nicholson
and Patrick Heron. His solo exhibition
‘Paintings in Five Dimensions’ was shown
at Tate St Ives in 2009. He has since
exhibited in Cornwall, London and USA,
with essays written on his work by Matthew
Collings, Tony Godfrey and Michael Klein.
Red Burnt Sienna Volts
acrylic on aluminium, 55 x 40 cm
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Faye Eleanor Woods (b. 1998)
Faye Eleanor Woods is a Scottish artist
currently living and working in West
Yorkshire. Her symbolic artwork acts as a
love letter to her own experience, full of
life’s joy, absurdity, humour, loss and fear.
Recent works explore her own personal
journey through grief, one she describes
as dark, weepy and often hilarious. She
hails her work as a tangilble form of inner
catharsis. Using raw pigments and acrylic
ink she forces rich colour into the grain
of the canvas, blurring edges with copious
amounts of water or using thin layers of oil
to blend the figures with their backgrounds
creating an ethereal presence. As Woods
says “I try to bring attention to the surreal
aspects of life and the way the oddness of
experience manifests within individuals and
how that manifestation then affects me. In
my vulnerability I crave strange moments of
intimacy. I imagine drinking straight from
the tap of all emotion, drinking so much
of it, I take on too much and I’m sick and
everything I spew out ends up in my work.”
Team Work Makes The Dream Work
raw pigment, acrylic ink & oil on canvas, 183 x 107 cm
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You Can’t Make Me Do The Washing Up, I Don’t Want To
raw pigment, acrylic ink & oil on canvas, 92 x 122 cm
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Simon Allen (b. 1967)
Simon Allen was in born in Bristol and
currently lives and works on the edge
of moorland, in a remote area of West
Cornwall. With his immaculately gilded and
expressively carved wooden wall sculptures
often diriving from direct experience of
and within nature, Allen has conceived
a modus operandi that incorporates
natural elements with two distinct but
conjoined disciplines. The carving stage
is physical and emotive. The rhythmically
rippling surfaces, swooping undulations
and swirling peaks and troughs represent
the trace elements of a process that has
its own bodily rhythm. By contrast, the
painstaking application of gesso and ‘bole’
— the gilder’s ground formed from clay
and pigment — and the gentle brushing
on and burnishing of white gold leaf call
on a more contemplative cast of mind. It
is the tension between these two modes of
awareness that gives the finished works their
unique singular transcendental presence.
Simon Allen’s work has been
exhibited extensively and can found in
numerous major private and corporate
collections worldwide.
White Moon Field
12 ct white gold leaf on carved wood, 100 cm diameter
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Youki Hirakawa (b. 1961)
‘Frozen Leaf’. is poetic, single channel,
silent, 7 minute video of a leaf slowly
glistening until all frozen water gradually
evaporates, eventually rendering the image
of the leaf no longer visible.
Youki Hirakawa is a Japanese artist born
in Nagoya, Japan in 1983. He currently
lives and works in Toyota, Japan, following
a long residency in Berlin, Germany.
He was invited to show at the ‘48th
International Film Festival Rotterdam’ and
‘65th International Short Film Festival
Oberhausen’ in 2019 and has held solo
exhibitions internationally, including Ando
Gallery, Tokyo, Double Square Gallery,
Taipei, Kunstlerhaus Bethanien, Berlin,
Kunstkraftwerk, Leipzig, Minokamo City
Museum, Japan. Hirakawa has also been
invited to exhibit in international art
festivals including Digital Art Festival
Taipei, International Contemporary Art
Festival Kaunas, Sapporo International Art
Festival and Aichi Triennale. His inaugural
solo exhibition ‘Secret Fire’ at Anima
Mundi was held in 2016 and his follow up ‘A
River Under Water’ in 2018. He was finalist
of the Sovereign Asian Art Prize and was
recently included in ‘Spirit & Endeavour’ to
celebrate 800 years of Salisbury Cathedral.
alongside Craigie Aitchison, Sir Tony Cragg,
Martin Creed, Barbara Hepworth, Elisabeth
Frink, Antony Gormley, Bill Woodrow,
Bruce Munro, Grayson Perry, Eduardo
Paolozzi, Mark Wallinger, Henry Moore,
Conrad Shawcross and Lynn Chadwick.
Works are held in numerous public and
private collections.
Frozen Leaf
single channel 4K video, 7 min, silent
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Sarah Gillespie (b. 1963)
“It is my hope, through a process of longlooking
and close attention, focusing on
quieter moments of beauty and oft hidden
lives, to reveal something of the natural
world’s remaining loveliness and, in so
doing, to see what answering grace that
might awaken in ourselves.”
Sarah Gillespie is an expert in the intricate
and painstaking method of mezzotint, also
known as ‘the English Method’, a form
of engraving using a copper plate. She
sees it as a labour of love, a method of
quiet application, creating an image which
emerges from darkness to light. Her work
is about staying still and paying attention
to the natural world that we inhabit. She is
not concerned with self expression, stating
that “we are at our most creatively powerful
when we can overcome or more precisely
forget ourselves, staying open and attentive
to the way things are.”
Sarah Gillespie was born in Winchester
and currently lives and works in Devon.
She studied ‘16th & 17th century methods
and materials’ at the Atelier Neo-Medici in
Paris and then read Fine Art at Pembroke
College, Oxford (BFA Ruskin School of
Drawing & Fine Art). Upon leaving She
was awarded the Elizabeth Greenshield
Foundation International Award for
figurative art. In 2016 she was elected a
member of the Royal West of England
Academy. Her work has been exhibited
widely and is held in numerous private
and public collections including: the
V&A Museum; Victoria Gallery in Bath;
the Government Offices for the South
West; the Royal West of England Academy;
Sharpham Trust; Chatsworth House; Castle
Howard; Damien Hirst; Museum of Fine
Arts in Yekaterinburg, Russia; The Xuihui
Museum of fine Art in Shanghai and Calvin
University in Michigan
Black Arches
mezzotint (ed 30), 27 cm diameter
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Sempiternal
hand-finished mezzotint (ed 20), 39 cm diameter
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Alastair & Fleur Mackie (b. 1977)
Alastair and Fleur Mackie’s sculptural
practice is one of contrasts. It is as labourintensive
as it is formally effortless,
as grounded in ideas of nature as it is
in the intrinsically human struggle to
define a role within the environment;
it is as intellectually ambitious as it is
aesthetically understated. Alastair grew up
in an agricultural community in Cornwall,
UK while Fleur’s childhood was split
between Cameroon, France, and the UK.
They met at art school in London in the
late 90’s. Initially their creative practices
were separate, but over time their work has
evolved into a natural collaboration. In 2011
they moved to live and work in Cornwall, the
landscape of which has played a key role in
the shaping of their vocabulary. Naturally
occurring elements (native metals, wood,
sea shells) are meticulously rearranged and
transformed in a knowingly quixotic attempt
to make sense of the primordial. Each work
is something of an enigma, enriched by the
loaded associations of its material and the
story behind its making. Ally and Fleur
operate by reduction; materials are pared
down to their core. In their work, process
dictates form, no matter how poetic or
Romantic the piece’s origin.
Alastair and Fleur Mackie have shown
extensively in the UK and internationally,
including exhibitions at the Saatchi Gallery
in London, the Venice Biennale and the
Reykjavik Art Museum. They have worked
on a number of public commissions and
their work is held in collections including
The Olbricht Collection in Berlin, the
Salsali Private Museum in Dubai and the
Wellcome Collection in London.
Assemblage (Vavona)
vavona burr veneer, beech substrate, 58 x 94 x 8 cm
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Katie Sims (b. 1988)
Painting, for Katie Sims, is the closest
thing to an act of communion. Her work
reinforces the complexities of engagement,
of seeing beyond first appearances and
in questioning the origins and absolutes
presented. Constraints are an integral part
of her process, from a conceptual, painterly
and physical stance. These limitations help
her pare back to the essential, towards a
directness of emotional statement and to
silence; the silence the process facilitates
and the silence the work is trying to get
at. It is a simplifying, but not in the sense
as to reduce complexity for it is layered
with complexity and thus demands more
from the viewer. Maintaining a balance
around the transition point requires great
focus akin to any devotional practice. The
repetition and movement between prior
intention and intention-in-action supports
the virtues of listening and humility
as she ‘assists’ something into being.
Her work is a process that leads to a resolve.
She places herself in an in-between space,
between two opposing poles, challenging
what resolve is through the middle ground
until these two states are in a complete
tension. Each resolution is different;
chromatically, compositionally, through
colour or light, yet each involves a circular
dialogue of adding and removing. Thus
her resolve sustains an instability of form,
which manifests as hesitant and uncertain
of itself. Sims sees this liminal space as the
place where distinctions dissolve and the
best opportunity for renewal is found. It is
a fluid, malleable situation that enables new
customs and identities to be unconcealed.
Katie Sims was born in Shropshire, England
in 1988 and currently lives and works on the
small island of Gozo, Malta. Her paintings
have been exhibited internationally and
can be found in collections worldwide.
Around, Across, Upon
oil on panel, 30 x 24 cm
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Thin Skin
oil on panel, 30 x 24 cm
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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.
The Winter to Come
mixed media on panel 187 x 126 cm
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Jamie Mills (b. 1983)
Jamie Mills’ practice is underpinned by an
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 materials often sourced
or retrieved via immersion into nature or
borderlands 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.
A Fragrance of Forgiveness
encaustic, oil, chalk, graphite & hessian on board, 20 x 15 cm
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An Indivisible Distance
encaustic, oil, chalk, graphite & hessian on board, 20 x 13.5 cm
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Leah Gordon (b. 1959)
Leah Gordon is an artist, film maker curator,
and writer born in Ellesmere Port between
Liverpool and Manchester. Her work explores
the intervolved and intersectional histories
of the Caribbean plantation system, the
Trans-Atlantic Slave Trade, the Enclosure
Acts and the creation of the British workingclass
and could be said to be about joining
dots of meaning. Gordon’s photographs
represent an exchange as well as encounter:
a paradox as well as a power dynamic. At
once anonymous and assertive, her subjects
connect with the lens while maintaining
their disguise’s remove.
Leah Gordon’s film and photographic work
has been exhibited internationally including
the Museum of Contemporary Art, Sydney;
the Dak’art Biennale; the National Portrait
Gallery, UK; Parc de la Villette, Paris and
NSU Museum of Art, Fort Lauderdale. Her
photography book ‘Kanaval: Vodou, Politics
and Revolution on the Streets of Haiti’ was
published in June 2010 and she co-directed
the documentary film ‘Kanaval: A People’s
History of Haiti in Six Chapters’ currently
on BBC iPlayer. She is the co-director of the
Ghetto Biennale in Port-au-Prince, Haiti;
was a curator for the Haitian Pavilion at the
54th Venice Biennale; was the co-curator of
‘Kafou: Haiti, History & Art’ at Nottingham
Contemporary, UK; on the curatorial team for
‘In Extremis: Death and Life in 21st Century
Haitian Art’ at the Fowler Museum, UCLA
and in 2018 was the co-curator, with Edouard
Duval-Carrie, for PÒTOPRENS: The Urban
Artists of Port-au-Prince. In 2015 Leah
Gordon was the recipient of the Colección
Patricia Phelps de Cisneros Travel Award
for Central America and the Caribbean.
Hooden Horse of Kent (Invictus of Hythe)
c-type lambda print from scan of black & white medium format analogue negative, 100 x 100 cm
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Laurence Edwards (b .1967)
Laurence Edwards’ sculptural practice
has long been concerned with the
physical and metaphysical, orderly and
entropic, entwining of man, nature and
time. Organic matter is often built into
the casting process, perhaps a detritus
of leaves, branches, stone and / or rope.
One of the few sculptors who casts
his own work, he is fascinated by the
metamorphosis of form and matter that
governs the lost-wax process which is
an inherent part of his process. It is a
method of working which also registers
symbolically and conceptually. His
primary working material is bronze, an
alloy that physically and metaphorically
illustrates the natural tendency of
any system in time to tend towards
disorder and chaos. His sculptures
express this raw material potential,
harnessing molten liquid versatility to
achieve solid mass. Each process mark
is both embraced and retained, telling
the story of how and why each work
came to be.
Based in Suffolk, Edwards studied
sculpture at Canterbury College of Art
and bronze casting at the Royal College
of Art with Sir Antony Caro. After
winning a Henry Moore Bursary, the
Angeloni Prize for Bronze Casting and
an Intach Travelling Scholarship, he
studied traditional casting techniques
in India and Nepal, an experience that
not only influenced his treatment of
form and technique, but also gave him
the necessary tools to establish his
own atelier and foundry. In November
2019, ‘Man of Stones’ was unveiled
at the Sainsbury Centre in Norfolk.
In 2018, Edwards was commissioned
by Doncaster Council to create a
sculpture that celebrates the lives of
those who worked in the collieries
around Doncaster. ‘A Rich Seam’
was unveiled in Print Office Street
in 2021. In November 2021, Edwards
installed a 26-foot-high sculpture,
alongside the A12 highway in Suffolk,
called ‘Yoxman’. This colossal figure
embodies his fascination between the
human figure and the environment;
he is part tree, cove, cliff and figure.
‘Gathering of Uncertainties’ opens at
The Orange Regional Gallery NSW
early 2023. Edwards is represented by
Messums Wiltshire.
Coil
bronze (edition variee), 97 x 65 x 52 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.
Amphiorama
oil on canvas, 70 x 90 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.
Druid
polychromed carved wood, 27 cm height
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Miles Cleveland Goodwin (b. 1980)
Miles Cleveland Goodwin’s upbringing
in the American South is a recurring
theme in his brooding paintings and
sculptures. Goodwin draws parallels
between the people he portrays, the
rhythm of their rural ways of life, and
the rugged landscapes that they inhabit.
The artist frequently evokes themes of
mortality, decay and solitude with a sense
of phantasmagoric realism combined
with a haunting stillness. Goodwin’s
‘Southern Gothic’ works conjure the
ambivalent beauty of a place that is both
simultaneously desolate yet deeply soulful.
Goodwin lives and works in Georgia, USA.
He graduated from the Pacific Northwest
College of Art in Oregon in 2007 with a
BFA in painting and printmaking. His work
has been featured in group exhibitions
at the Hallie Ford Museum of Art, the
Grace Museum and the Amarillo Museum
of Art among others and can be found in
collections worldwide.
Sleeping Wizard
oil on linen, 61 x 76 cm
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Storm Over Sea
oil on linen , 61 x 91 cm
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Ian Everard (b. 1953)
Ian Everard’s artworks address a range of
themes which uduslly evoke a scence of
nostalgia as well as current concern. The
subjects of his paintings are often found
objects, which are exhibited alongside. He
considers this search for subject / object
to be a primary aspect to the making
of his work. The objects are primarily
books, photographs or ephemera which
are repurposed to address the artists own
preoccupations and concerns. Once the
object becomes subject, he attempts to copy
what he see’s, usually in watercolour, in
exact scale and detail, with all the visible
wear and tear, right down to each blemish or
crease. The paintings are seldom finished,
but are eventually considered ‘complete’.
This produces a sort of visual rhetoric,
with the painting, in effect, interrogating
its subject. The process involves close
observation, pattern recognition and
inquiry. Everard aims to present the real but
also evoke the imaginary. Ultimately, these
artworks, which present a mise en scene,
result in a mise en abyme, where meaning
shifts between fact and fiction, imagination
and reality. He is interested in the associative
states of mind these objects, copies and
pictures evoke, such as displacement and
haunting, daydreaming and remembering.
For Everard, the studio space or exhibition
space is a means of imaginary transportation
to both somewhere and elsewhere.
Ian Everard is a British artist, born in
St. Ives, Cornwall and living in Santa
Cruz, California, USA, since the 1980s.
He studied at Stourbridge College, the
University of California and San Francisco
State University. His work has been
displayed at the Institute of Contemporary
Art, in San Jose, Sherry Frumkin Gallery in
Los Angeles, Mirage Gallery in Tokyo, and
most recently at Jack Fischer Gallery and
the De Young Museum, in San Francisco.
He is represented by Jack Fischer
Gallery, in San Francisco. His work is in
collections worldwide.
Rough Stuff
found postcard (top) watercolour (bottom), 20 x 25 cm
51

Vanishing Point
watercolour taken from Grandmother’s postcard, 25 x 20 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 Boy Holding His Dreams
oil and acrylic on canvas, 208 x 180 cm
55

Jarno Vesala (b. 1977)
Jarno Vesala makes installations, which
often consist of empathy inducing, humanlike
sculpture, sound and projected image.
His immersive environments are perplexing,
mysterious and unsettling. The work pays
with the act of perception, memory and
illusion. Recurrent themes are often relate
to isolation, loneliness, exclusion and loss
which are made manifest and palpable
through his rendering.
Jarno Vesala is a Finnish artist born in
Rauma in 1977. He currently lives and works
in Nokia, Finland. Vesala graduated from
Tampere University of Applied Sciences’
in 2004. He first exhibited in Tampere in
2003. Vesala’s has featured in Mänttä’s
art festival, Kluuvin galleria, Pirkanmaa
triennial, Helsinki Art Museum and Forum
Box and was selected as the Finnish
Young Artist of the Year in 2013. In 2014,
Vesala won the Turku Biennale Prize. In
addition Vesala has featured in numerous
exhibitions internationally including
‘Out of Our Heads’ curated by James
Putnam and Vassiliki Tzanakou, the Nordic
Delights festival in Soho, London and
two solo exhibitions at Anima-Mundi.
Rest
life-size wall sculpture, multi-projection with minor facial movement, 220 cm diameter
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Christina Bothwell (b .1960)
Christina Bothwell is an American
contemporary sculptor born in New
York and now living and working in
rural Pennsylvania. She is widely known
for her metaphorical, narrative glass,
ceramic, and mixed media sculptures
that often portray the processes of
birth, death, and renewal. Art critic
Mark Zimmerman said “Bothwell’s
work turns symbols into spirits of
creation.” Beginning in childhood,
Bothwell had “experiences beyond the
five senses,” such as premonitions
and lucid dreams, that have convinced
her of a spiritual dimension that
transcends the material world. That
awareness has heavily influenced
her work. Hovering bewteen the
physical and metaphysical and in the
process revealing a vulnerability that
we may recognize as our own.
Christina Bothwell has won numerous
scholarships and grants including a
Pollock-Krasner Foundation Grant and
a Virginia A. Groot Foundation award
for excellence in fine art sculpture. Her
work has been exhibited widely and is
held in many international private
and public collections including the
Corning Museum of Glass in New
York; Racine Art Museum; Shanghai
Museum of Glass Art; Mobile Museum
of Art; Palm Springs Museum and the
Alexander Tutsek - Stiftung foundation
in Munich.
Incessant Dreamer
cast glass and pitt fired clay, 9 x 30 x 13 cm / 12 x 29 x 10 cm
59

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.
Ancient Hope
oil on fine linen canvas, 127 x 85 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
63

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.
Head
bronze (edition of 5), 118 x 43 x 74 including Welsh slate base
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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.
Portrait (1)
acrylic, pencil, china marker, rag, collage on primed panel, 65 x 59 cm
67

Portrait (2)
acrylic, pencil, china marker, rag, collage on primed panel, 65 x 59 cm
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Chris Anthem (b. 1974)
Chris Anthem is a British artist who
has for many years lived and worked
between Lebanon, East and West Africa.
Anthem studied fine art in Liverpool
and then the Slade School of Fine Art
London. Recent projects have included
painting dresses for Basil Soda Haute
Couture and The Budapest Art Factory
Residency. He is presently researching
a new body of work in Dakar, Senegal.
“Paint has an ambiguous nature; on the
one hand pertaining to be other than its
material actuality, whilst it still offers the
possibility of being congruent with an
honesty of spirit. I recognise that honesty
in paintings when I’ve managed to keep
its energy there. In some paintings that
honesty dies, it gets lost in its own rhetoric
and the painting’s energy dies, or rather
the paintings commit their own clichéd
suicide, stillborn in the cowl glister of
varnish. It still surprises me that honesty
and mortality are still so co-dependent
and that short-cuts of effect kill paintings.
Every successful painting that I’ve done has
had at its core a tangible event, something
unresolved and nagging to get itched. That
before the idea, the internal image, before
the composition and the stitching of sources
and technique there is the event. In the
painting, in spite of its seductive surfaces
and its neurotic baroque, there lies some
tender actuality that only a brush and oil
would soothe, and only a humility of mark
can address. Paint and oil are the salve that
cures the surface – balm of a meglip scab.
And I guess it’s that rupture, that intrusion
on the surface tension on the canvas; or
paper, or mind, or body, that the rest of the
painting dresses – like you would, whether
functionally or theatrically, a wound.”
The Madonna of Fatmagul
mixed media on cow hide, 160 x 160 cm
71

Herald
mixed media on cow hide, 180 x 180 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.
Corium
mixed media floating panel, 65 x 65 cm
75

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.
Relentless
bear hide, clay, foam, thread, pins, rubber eyes, 48 x 33 x 38 cm
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Phoebe Cummings (b. 1981)
Phoebe Cummings’ works predominantly
using unfired clay to make poetic and
performative sculptures and installations
that emphasise materiality, fragility, time,
creation, loss and decay. Her impressive
interventions are often constructed directly
on site, allowing an instinctive development
of tensions between object and location.
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 or fragile relics of an
almost forgotten past.
Cummings is a British artist born in
Walsall, England and currently resides in
Stafford. She 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 international artist residencies
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
Newlyn Art Gallery.
Two Ears / Chrysanthemum
clay on paper, 42 x 30 cm each
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Jim Carter (b. 1975)
Often uneasy or tragic, irrational or other,
Jim Carter’s work is linked to a real world
of suffering and transcendence: making
sculpture from organic materials as a means
of advocacy, atonement or commemoration;
shifting to story and the written word as
a way to enter emotional and numinous
spaces of memory and dream. What appears
on the surface to be a wilful disturbance of
the remains of organic life in order to fulfil
a creative compulsion is intended to be
part of a transforming and re-sanctifying
process. Taken materials are reconfigured
into new forms to express complex feelings
of grief and loss, love and devotion, fertility
and renewal. Fundamental in this work is a
conviction in an irrepressible spirit for
regeneration in the world, an imperishable
flame that rises most clearly in landscape
and the magic and otherness of animals.
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 from
the Centre For Human Ecology, Edinburgh.
His work has appeared in Dark Mountain,
Unpsychology and Earthlines magazine.
Euny
bird, sheep & fox bone, wood, dirt, ashes, leaves, fox fur, jackdaw feathers, 85 x 52 x 28 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
mixed media on panel, 36.5 x 51.5 cm
83

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. Last 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 was on show at Broomhill
Estate in Devon. His work was subject of
a two person exhibition with Willeminha
Barnes Graham at Tate St Ives in the
Summer of 2022.
Under Raking Light
etched glass, lead, oak and steel, 87.5 x 125 x 2.5 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.
Ti Sento
oil, oil stick, acrylic, charcoal on linen, 190 x 230 cm
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Dr Martin Shaw (b. 1959)
Martin Shaw is a painter, writer and oral
storyteller living and working in Devon.
Author of many books, his latest, Stag Cult
was recently the number one bestseller
at the London Review of Books. Dr Shaw
founded the Oral Tradition and Mythic Life
programs at Stanford University and his
conversation and catalogue with Ai Weiwei
is available with the Marciano Arts
Foundation. He is Reader in Poetics
at Dartington Arts School. Robert Bly
describes him as “a true master, one of
the very greatest storytellers we have.” A
scholar from the British School in Rome,
drawing and painting are practices that
continually inform his wider work.
Morgana La Fey
charcoal on paper, 30 x 21 cm
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Green Knight
charcoal on paper, 30 x 21 cm
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Gawain
charcoal on paper, 30 x 21 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.
Her wing caught on a barbed wire fence, night becoming day and the bone pierced. Ruth slips off her
owl body, exploding into the sky over Lake Burley Griffin, to become a sun
lumachrome glass print, cliche-verre, chemigram and drawing. Trapped deceased eastern barn
owl, seeds, feather-top grass, turmeric, coffee, liquid paper, sulphuric acid and silver chlorides,
exposed 40 hours with electric current, in a geodesic dome. re-printed as a single image, detailed
with gold and silver leaf, 190 x 140 cm
93

Shadrach, Meshach and Abednego, hatched in fire and lifting, triumphant over the burning Murray
River, on an umbilicus of light.
lumachrome glass print, cliche-verre, chemigram, acid wash and drawing. three still born guinea fowl
chicks, hen lost to old age, acid, sand, vegemite & sesame seeds on fibre paper. exposed 23 hours in a
geodesic dome in sunlight. re-printed as a single image, detailed with gold and silver leaf, 200 x 137 cm
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Rebecca Harper (b. 1989)

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.
Twilight
mixed media on panel, 58 x 96 cm
97

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.
Party Girl
oil and resin on board in bespoke standing tilting frame, 134 x 61 cm plus stand
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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.
.
Makers Mark
mixed media on panel, 45 x 42 x 5 cm
101

Michael McGrath (b. 1977)
Michael McGrath’s paintings are inspired
by an interest in the history of place and
his natural environment but also embodies
a curiosity in the cults of mysticism,
mythology and religion. An interest in
the esoteric is balanced and presented
alongside the more prosaic aspects of daily
life with a playful sense of naivety. His
painted faces often depict deities or the
deceased, where ghosts and skulls naturally
symbolise death and afterlife, but are
rendered with a fair measure of acceptance
and hope. McGrath imagines that “if there
were gods, ghosts or magic, they would
exist within nature and in the landscape;
not just as beings in the sky, but also in the
ground, in the trees, in the flowers and in
the animals.”
Michael McGrath is an American artist and
painter who lives and works in Rhinebeck,
in New York’s Hudson Valley. He graduated
from Ithaca College in 2000 with a B.F.A. in
Fine Art and has most recently shown work
in Rhinebeck, New York, Germany, Belgium,
and in Beijing, China.
Learning Hypnosis
oil on linen, 46 x 60 cm
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Winter Float
acrylic, oil pastel, charcoal and paper on canvas, 76 x 60 cm
105

Esme Lansdowne (b. 1999)
I’m swimming
the flood-streets
shuffling salt-stained
cards of my tarot
as the white storm
bares its teeth
and the billowing houses
spring to sea-chest ruins
I’m swimming streets ahead
of drowning Lyonesse
who’s vestals
are reaping the whirlwind I predicted,
whose windows cast the first stone to this
very day
‘Fortuna’ by Penelope Shuttle
Esme Lansdowne is a self taught artist,
raised in St. Ives and currently living and
working in Falmouth, Cornwall. Her work
is a visual response to the elemental
forces of landscape and nature fused
with expressive movement of the
body. Of paramount importance is her
interrogation into material where often
pigment derived from the landscape she is
responding to is sourced, processed and
utilised alongside traditional materials,
ensuring that paintings become both a
physical and metaphysical rendering of
time, place and experience. The aim and
achievement is to capture something
that is simultaneously ephemeral yet
ever permanent.
Lansdowne is an emergent artist yet has
already exhibited widely, with paintings
finding their way in to numerous
collections. In early 2023 she is excited
to be heading to New Zealand where
she will spend time living, working and
responding to this new environment.
Fortuna
acrylic, earth pigment, oil bar, charcoal on canvas, 42 x 30 cm
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Andrew Litten (b. 1970)
Andrew Litten’s dynamic and gestural
figurative artworks 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.
Father and Child
bronze (edition of 5), 58 x 20 x 13 cm
109

Evelyn Williams (1929-2012)
Evelyn Williams was born in 1929 and died
in 2012. Her tender, intimate and emotional
paintings are concerned with the subtleties
and complexities of relationships and the
human predicament. Dealing with the
intimate connection and profound solitude
of existence, taking the viewer on a profound
journey from womb to tomb.
Williams trained at St Martin’s School of Art
from the age of 15 and then the Royal College of
Art working alongside the older, largely male
students, many of them soldiers returning
from service in the Second World War.
Despite failing health she continued
painting right up to her death at the age
of 83. Williams proved difficult for some
to categorise during her life time, but is
regarded, along with friends such as Paula
Rego, as having forged a path for female
artists. She later founded a trust in her
name which has done modest but important
work to support artists, particularly women,
and the practice of drawing. As Huon
Mallalieu stated “Her work deserves to be as
well-known as those of her fellow 1961 John
Moores prize-winners, Blake, Blow, Hockney,
Kitaj, Kossoff, McWilliam and Uglow.”
The Ritual
oil on canvas, 122 x 152 cm
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