Imbolc Exhibition Catalogue

Imbolc

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.
‘Imbolc’ is the fourth 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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“Everything is gestation and bringing forth. To let each
impression and each germ of feeling come to completion
wholly in itself, in the dark, in the inexpressible, the
unconscious, beyond the reach of one’s own intelligence,
and await with deep humility and patience the birth
hour of a new clarity.”
Rainer Maria Rilke
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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 pit fired clay, 20 x 39 x 15 cm
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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.
No Birds
oil on panel, 100 x 80 cm
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Amy Gillian Wilson (b. 1997)
“I used to be a woman who knew how to
make things out as I saw them, but I have
since committed the pathetic error of
thinking. Wanting to understand was one
of the worst things to have happened to me.
I care too much about the utter darkness,
the void of unfulfillment, to receive and eat
back the lives that have been tossed forth
from the womb to fail, to kiss and bestow
them all a second chance. I’m sending my
true love back to the bitch that bore you.
She is the world-generating spirit who all
creatures rise through: space, time, and
causality – the shell of the cosmic egg.
She is the enticement that budged the
self-brooding absolute to the act of creation.
All information inside her is systematized
around an enigma invisible even in its most
private nucleus. I’m handing you a world
on fire. I’ve given up on figuring out how
to figure things out. Every lure seems to be
an expanding vortex. Fear comes from what
surpasses me, and I fear myself becomes
I’m always ready to suffer. To protect me
who persecutes me, I’ll float in emptiness
and become air, energetic air, or maybe I’ll
be more like an instant of air. Yes, I want
to be an instant. Rather than a soul in a
body, I’ll be a body in a soul.” - Amy Gillian
Wilson, 2021
Amy Gillian Wilson was born in Boston,
Massachusetts in 1997. Her interdisciplinary
approach consists of sculpture, painting,
installation, writing, video and performance.
She earned her undergraduate degree
from the School of the Art Institute of
Chicago and is currently completing the
Masters of Fine Arts program in Ceramics
at Cranbrook Academy of Art in Bloomfield
Hills, Michigan. She has exhibited her
artwork widely in the USA and beyond.
Imbolc
mixed media installation, life size
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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.
You Are One & The Same
mixed media on wood, 240 x 120 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.
Full
unfired clay 15 x 20 x 20 cm
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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.
Night and Day
oil on panel, 25 x 20 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.
Celtic Deity
polyphant stone, 32 cm height
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Roger Thorp (b. 1955)
Roger Thorp’s interest in the poetic
use of word and image, to evoke a deep
emotional response, are key to his creative
process. His artworks are unapologetically
infused with a nostalgic romanticism,
transmitting an enormous sensitivity
towards the earth, humanity and a universal
inter-connectedness between matter and all
living things. Primarily consisting of video
work and multi-media installation, his work
is informed by a deeply-felt belief that as
a society, and as individuals, we need to
come home, to remember a less rapacious
and frenetic way of living, more connected
on an emotional level to each other, and to
the rest of the natural world. If his work
offers up an urgent protest, it remains an
optimistic and tender one.
Thorp is a British artist who currently
lives and works in Cornwall. He previously
worked as a producer on music videos
before directing / producing programmes
for NGO’s such as WWF, ILO, Greenpeace
and the Red Cross, working in Australia,
Mongolia and the USA. He has also made
two feature films. Other work by Thorp as
a writer / director has been screened in
Rome, Barcelona, Berlin, Oslo, Copenhagen,
Istanbul, USA, Cornwall and London. In
2015 he founded ‘The Olive Network’ a
sophisticated web platform built to foster
tolerance and understanding throughout
diverse global communities by focusing
on the positive long-term contributions of
charity, the arts and humanities. Thorp’s
artwork has been exhibited extensively.
Bardo (Collaboration with Jesse Leroy Smith)
single channel video (duration 07:08)
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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.
Bernadette (1)
oil on canvas, 46 x 36 cm
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Bernadette (2)
oil on canvas, 50 x 40 cm
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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.
Faith Healer (Mum Waits for Me At the End of the Path)
oil and acrylic on primed panel, 76 x 76 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.
Mr Street
oil, oil stick, acrylic, charcoal on linen, 190 x 190 cm
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Dorcas Casey
Dorcas Casey finds the starting point
for her sculptures from remembered
dreams. These images from the
subconscious are often mysterious and
elusive, yet sculpture is a way to
articulate and preserve them whilst
remaining ambiguous. Her work utilises
‘hands-on’ processes like stitching,
mould-making, casting and sculpting
with clay. She is drawn to familiar,
domestic materials and objects, which
are often linked in some way to her own
memories. She responds to the idea of
out-moded, discarded and marginal
things returning as powerful presences
which are poised between the realms of
the familiar and the uncanny.
Casey is a Bristol based artist. She
studied Sculpture at Winchester School
of Art and completed a Masters in
Multidisciplinary Printmaking at UWE.
She is a member of the Royal Society
of Sculptors, having been awarded
a bursary. She xhibited her fabric
sculptures at Banksy’s Dismaland and
performed with her sculpture /costumes
at Glastonbury Festival and Hauser
and Wirth Somerset. She won the
Public Speaks Award in the Broomhill
National Sculpture Prize and her work
features in the book The Language
of Mixed Media Sculpture. She was
commissioned to work as lead artist
for Artichoke’s PROCESSIONS in 2018
and awarded a QEST Scholarship to
study bronze-casting in 2019. In 2021
Dorcas won the ACS Studio Prize and
was elected as an Academician at the
Royal West of England Academy.
Goat
fabric, stuffing, thread, tape, polymer clay, steel wire, old furniture, 180 x 90 x 90 cm
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Kate Walters
“Kate Walters’ startling images go straight
from the eye to whatever emotional nexus it is
that primes and enriches our inner lives. Their
visionary quality is evident in both form and
impulse; they are compelling for what seems a
wholly instinctive fusion of the visceral with
the lyrical. And they are confrontational,
presenting as encounters from dream just
as dream relates to those deep quotidian
mysteries to which we are most often blind.”-
David Harsent
Kate Walters is English painter living and
working in West Cornwall. She initially
studied at the School of Fine Arts in
Brighton. Once graduated, she began
working as a professor of art, before
pursuing a degree at University College
Falmouth. She primarily uses watercolors,
acrylics and oil paint to explore the fields
of interaction between animal, man, dreams
and nature. Her work is very inspired by
Shamanism, an inspiration that structurates
her practice. Kate has been awarded on
numerous occasions by the Art Council and
exhibited at the Venice Biennale in 2015.
In 2000, Kate Walters became a member of
the Newlyn Society of Artists. Works have
been exhibited internationally and are in
collections worldwide.
Your Long Golden Tongue Pulls me into Another Dimension
oil on linen, 80 x 90 cm
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When Two Angels Meet
oil on linen, 45 x 35 cm
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Simon Averill (b. 1961)
Albert Einstein’s ‘spooky action at a
distance’ theory referred to the subject of
‘quantum entanglement’. This principle
has inspired this ongoing series of paired
paintings by Simon Averill. Quantum
entanglement is a physical phenomenon
which occurs when pairs or groups of
particles are generated, interact, or share
spatial proximity in ways such that the
quantum state of each particle cannot be
described independently of the state of
the other(s), even when the particles are
separated by a large distance—instead, a
quantum state must be described for the
system as a whole. Physicist and feminist
theorist Karen Barad coined the term
‘intra-action’ to describe the concept of
‘entanglement’, (not only of fundamental
particles but of all material, matter, of nature
and of meaning). There is a distinction to be
made between intra-action and interaction;
when bodies interact they retain a degree
of independence, each entity existed before
the encounter. When intra-action occurs
individuals materialise and agency emerges
from within the relationship not outside of
it. These works further enhance Averill’s
reputation for attempting to record elusive,
transitory yet fundamental phenomena.
Produced through a multi layered, process
of glazing where methodical and repetitive
series’ of motifs, are used to describe
intangible potentials.
Simon Averill is a British artist born in
Brighton, England in 1961. He currently
lives and works near Marazion in West
Cornwall. Averill studied Fine Art
at Brighton Polytechnic and graduated
with Honours. In 1986 he established a
Printmaking Workshop near Penzance,
Cornwall, which he ran until 1990. He
has been a member of the Newlyn Society
of Artists since the late 1980s. Averill
has exhibited widely with exhibitions in
the UK, Europe and USA including the
Royal Academy of Arts Summer Show,
The Discerning Eye exhibition at the Mall
Galleries, Royal West of England Academy
in Bristol, Sherborne House, Plymouth
Museum, Plymouth Arts Centre, Truro
Museum, Falmouth Art Gallery, Newlyn Art
Gallery and the Festival Hall in Chicago,
USA. He has had 12 exhibitions and
won the Wells Art Contempory painting
prize in 2020.
Entanglements
acrylic on panel, 40 x 40 cm each
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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.”
Slug / Hug
oil and acrylic on canvas, 23 x 20 cm
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Groter Walpius (1977)
Groter Walpius is an emergent artist living
and working in La Spezia, Italy.
Utilitarian yet in search of something
transcendental, he works on tablets of
concrete, in layers with spraypaint, very
fine sandpaper and water; continuously
smoothing in search of the blooms that the
colour generously gifts. He likes to think
that his process replicates what light does
itself to form colour and tone. The rational
part of his brain tries to counter and
overcome the random processes, creating
a dance between harmony and chaos in
an attempt to replicate an act of nature
produced over time.
Warmth is Yet to Come
concrete, plaster spray paint, 30 x 21 cm
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A Taste of Us
concrete, plaster spray paint, 27 x 20 cm
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Etruscan Dream
concrete, plaster spraypaint, 27 x 20 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.
Copulate
mixed media on paper, 65 x 50 cm
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Sexual Intercourse
oil on canvas, 147 x 150 cm
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Simon Hitchens (b. 1967)
Simon Hitchens work explores the
interconnectedness between the human and
the non-human, as a means to learning about
Mankind’s relationship with impermanence.
The material backbone of his work is rock
in its raw and natural state. This is not
carved and polished but plucked from
the rock face or quarry floor. He remains
acutely aware of the historical significance
that stone has as the prime material to
make sculpture, and as a sculptor is
challenged to make art that contributes
to this debate. As a climber he maintains
an intimate relationship with rock, and is
acutely aware that geologically it is the
very material that supports us upon the
planet. In the age of the Anthropogenic
it seems pertinent to question how we
comprehend the geological and human
worlds as united, interconnected even.
Hitchens believes there is increasingly
a disconnect between these two worlds
which is harmful not only to the planet but
also our psyche. Consequently, rock is the
conceptual focus of his work and typically
the material backbone within it. His work
questions differences between animate
and inanimate, more specifically rock
and flesh, mountain and body; exploring
themes of transience and transcendence.
A Certain Reciprocity
rock, wax, 17 x 45 x 34 cm
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Barbara Neil (b. 1953)
“While I find it hard to talk about my work
definitively, in a big-picture way I consider
them a kind of ode to Humanism. Of late they
are choral by compulsion. I wish to celebrate
the fact that super vulnerable humankind
has managed to set up order after order in
the midst of natural chaos. A fragile order,
sometimes furious, or mad, that gloriously
defeats entropy for a while. By rubbing against
each other in a not comfortable or pleasing
way, we spark.”
Barbara Neil was born in Sydney, Australia
in 1953 and has spent most of her adult life
living and working in relative obscurity in
Barcelona, Spain. She describes herself as
an art school dropout, university dropout
and self taught.
Dance 1
oil on canvas, 130 x 162 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.
Faith and Doubt
oil on panel, 30 x 24 cm
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Tacet
oil on panel, 30 x 24 cm
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Marcelle Hanselaar (b. 1945)
Marcelle Hanselaar was born in Rotterdam,
the Netherlands. Growing up in the formal
atmosphere of a protestant, postwar
country, proved, thanks to her drop-out/
turn-on rebellion, a profound source of
inspiration for the recurring subject matter
in Hanselaar’s work; namely the fierce
and sometimes troubled cohabitation with
those raw desires, secret fantasies and
uncultivated instincts and our functioning
in a civil society. Although Hanselaar
studied briefly at the Royal Academy of
Arts in The Hague, her lust for adventure,
guided by a quest for self-discovery, led
her to years of travel, until, in the early
1980’s she settled down in her studio in
London where she still lives. Self-taught,
she started out as an abstract painter before
turning to figuration. At the same time she
became fascinated by etching, its harsh,
bitten line seemed to perfectly suit her
subject matter. As an artist Hanselaar looks
for ways to express those illusive questions
of who and what we are when the mask is
off, and how we appear when the mask is
on. The shock effect of her work lies in
the contrast of combining her outspoken
subject matter with the conventional
medium of oil painting or etching. Both her
paintings and her prints display her delight
and fascination with theatrical illusions
and although often peppered with a biting
sense of humour, the works reveals her own
vibrant understanding of human nature, in
all its animosity and fragility.
Hanselaar has exhibited her paintings and
prints internationally, and can be found in
private and public collections worldwide
including British Museum Prints Collection,
London; The Metropolitan Museum of Art,
Print Collection, New York; V & A Prints
& Drawings Collection, London; V & A
National Art Library, London; Whithworth
Art Gallery and Museum; Ashmolean
Museum, Oxford; Fitzwilliam Museum,
Cambridge; Clifford Chance Art Collection,
London; The Viktor Wynd Museum of
Curiosities, London; Swarthmore College,
Pennsylvania, US; University of Arizona,
Tucson, US; Sakimi Art Museum, Okinawa,
Japan; Guandong Fine Art Museum,
Guandong, China; Iraq National Library,
Baghdad; Meermanno Museum-House of the
Book, The Hague; Soho House Amsterdam;
AMC, Amsterdam; Amsterdam Arts Council;
Kunstcollectie; Gemeente Haaksbergen, NL;
University of Aberystwyth Print Collection,
Wales; New Hall Art Collection, University
of Cambridge; Clare Hall, Cambridge; The
Ned, London; Rabo Bank, London; Merrill
Lynch, London; Risk Publications, London;
Mitsukoshi Ltd., London and Paintings in
Hospitals, London
Who’s a Pretty Boy Then
oil on canvas, 108 x 82 cm
55

Henry Hussey (b. 1990)
Henry Hussey’s artworks are often
emotionally and physically raw, yet
contrastingly beautiful and intricate, created
with force through often paradoxically
laboured mediums, including textile,
glass, ceramic, paint and film. Whether
through an expanding vocabulary of quasimythological
symbols, or in embellished
lines of text extracted from performative
situations, Hussey explores personal and
national identity in response to aggravating
relationships and events. Recent
experimentations reveal a deep concern
with control and chaos and the sweet spot
in between these two distinctive states.
Henry Hussey is a British artist born in
London in 1990 where he still resides.
Hussey studied Textiles at Chelsea College
of Art before completing an MA in Textiles
at the Royal College of Art. His work is
widely respected and has been exhibited
in notable exhibitions including The
Textiel Biennale 2017 at Museum Rijswijk
in the Hague, a solo presentation at Art
Central in Hong Kong, the Bloomberg New
Contemporaries in 2014 at the Institute of
Contemporary Art in London, the Royal
Academy London and Volta New York and
the Young Talent Contemporary Prize at
the Ingram Collection in 2016. Hussey has
participated in residencies at La Vallonea,
Tuscany, Italy in 2018 and participated
in a residency at Palazzo Monti, Milan
in 2020. His work is held in collections
worldwide including Simmons & Simmons,
Hogan Lovells, The Groucho Club and
Soho House.
Mother / Father (1)
digitally printed & dyed linen, yarn, rope, screen-print, embroidery, bronze, steel, 265 x 145 x 40 cm
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Mother / Father (2)
digitally printed & dyed linen, yarn, rope, screen-print, embroidery, bronze, steel, 270 x 145 x 40 cm
59

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.
Ecdysis (1)
mixed media, 60 x 60 x 10 cm
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Ecdysis (2)
mixed media, 60 x 60 x 10 cm
63

Cameron Clarke (1998)
Cameron Clarke is an emergent visual
artist living and working in West Cornwall.
His practice incorporates an ongoing
investigation in to 2D and 3D image
rendering alongside the use of analogue
photography. He is currently working on
a series of unguarded and emotive
conceptual self-portraiture exploring
incongruity and discrepancies within one’s
psyche and environment. Participation in
this exhibition is the first time that his
work has been exhibited.
Confine
archival print on archival paper (edition 3), 60 x 40 cm
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Artifice
archival print on archival paper (edition 3), 60 x 40 cm
67

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.
Taking Back Control
bronze (edition of 9), 28 cm height
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Jonathan Michael Ray (b. 1984)
Jonathan Michael Ray’s ‘mono no aware’
artworks examine the multilayered
histories, fictions and beliefs assigned
to artefacts, materials and the places he
encounters. A practice comprising of
stained glass, photography, sculpture,
print, drawing, video and installation,
much of his work is deeply connected to
his surroundings. He regularly uses found
objects and images imbued with their
own histories, as well as material direct
from the landscape, appropriating their
symbolism while creating a new context
and meaning. By layering and combining
material, he is interested in looking beyond
the surface of a purely physical existence
and breaking down the institutions by
which we are taught to see and experience
the world. His work alludes to the sublime
power that inanimate material and objects
can contain when we give them space, time
and authority to do so.
Jonathan Michael Ray was born in High
Wycombe, UK and has been based in
West Cornwall since 2018. He studied at
Nottingham Trent in 2007 and at Slade
School of Fine Art in 2016. 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.
Ere Long Done Do Does Did
engraved and gilded slate, 87 x 61.5 x 3 cm
71

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 Fallen Song (a mountain keeps an echo deep inside itself. That’s how I hold your voice)
oil, chalk, graphite, beeswax, resin on wood, 20 x 14.5 x 2 cm
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Kate Clark (b. 1972)
Kate Clark’s sculptures invite the viewer to
experience an instinctive and primal reaction,
that encourages further examination of our
own humanity. Stitched over a hand-sculpted
human face, the material quality of her ethically
sourced animal hide brings an authenticity to
the final sculpture, through what the artist
describes as a unique energy and presence.
We identify with animals through both our
connection with and separation from them.
Recognising these contradictions, Clark’s
fusion of human and animal suggests that our
human condition is fully realised only when
we acknowledge and reconcile our current
state and our natural instincts, acknowledging
the animalistic inheritance within the human
condition. She achieves this through emphasis
on the characteristics that differentiate us
from the rest of the animal kingdom, and,
importantly, the ones that unite us.
Kate Clark lives and works in Brooklyn, New
York. She attended Cornell University for her
BFA and Cranbrook Academy of Art for her
MFA and has been awarded fellowships from the
Jentel Artists Residency in Wyoming, The Fine
Arts Work Center Residency in Provincetown,
MA, and the Marie Walsh Sharpe Studio
Program in New York. Clark was nominated
for a USA Fellowship, a Louis Comfort Tiffany
Award and an American Academy of Arts
and Letters award. She was awarded a grant
from The Virginia Groot Foundation in 2013
and a New York Foundation For the Arts
(NYFA) Fellowship Award in 2014. Clark has
exhibited in solo museum exhibitions at the
Mobile Museum of Art, The Newcomb Art
Museum and the Hilliard Museum and in group
museum exhibitions at the Aldrich Museum of
Contemporary Art, The Islip Art Museum, and
The Bellevue Arts Museum, MOFA: Florida
State University, Cranbrook Art Museum, Frist
Center for the Visual Arts, The Winnepeg Art
Gallery, the Glenbow Museum, the Musée de
la Halle Saint Pierre, Paris, The Art Gallery at
Cleveland State University, the Hudson Valley
Center for Contemporary Art, the Nevada
Museum of Art, the David Winton Bell Gallery
at Brown University, the Bemis Center for
Contemporary Arts, the Biggs Museum of
American Art, the Royal Melbourne Institute
of Technology, and the J. Paul Getty Museum.
Her work is collected internationally and is in
public collections such as the JP Morgan Chase
Art Collection, the 21c Collection, the David
Roberts Art Foundation and the C-Collection
in Switzerland. Clark’s sculptures have been
featured in the Wall Street Journal, New
York Times, New York Magazine, Art21:Blog,
The Village Voice, PAPERmag, The Atlantic,
Hyperallergic, NYArts, Huffington Post, Hi
Fructose, the BBC World News Brazil, Hey!
Magazine, Time Out, ID Paris, Cool Hunting,
Wallpaper, Creators Project/VICE, Sculpture
Review and many other publications.
In addition she was filmed by National
Geographic in her studio over a 2 month
period for a short documentary about her work.
Gallant
mixed media sculpture, 170 x 58 x 137 cm
75

Alice Ellis Bray (b. 1994)
Alice Ellis-Bray is an artist from Lamorna
in Cornwall. She works with self made
costume, painting, performance and
script to explore the infinite possibilities
of identity and experience. Through
learning the properties of nature and the
nature of people, Bray seeks to portray
an interconnectedness she feels with all
things. Painting has assisted her as a tool
to transmute stubborn emotions laying
dormant within, painting the strength
she seeks in the eyes of her paintings,
helping her to find a way through life with
painting as her remedy. With her oeuvre
she has created something of a temple
to mythical women, using arch-shaped
boards tinged with gold in an allusion to
religious iconography, which frame ‘selfie’,
‘alter -ego’, subjects that are either direct
references to well-known figures, looser
notions of the primitive.
Alice Ellis-Bray has exhibited her work
widely, most recently at Tate St Ives.
She has also taught at a number of art
galleries and schools including Newlyn
Art Gallery, Tate St Ives and CAST in
Helston, Cornwall. She was selected as an
‘Artist to Watch’ by Elephant Magazine in
August 2022.
.
Under a Garland of Bramble
oil and 23.5ct gold on board , 62 x 38 cm
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David Quinn (b. 1971)
Working on several pieces at once, David
Quinn’s studio is an intimate, white,
rectangular space where small scale, interrelated
yet instinctively painted works, hang
in line or grid. Each piece a self contained
unit, both unique and yet part of a greater
whole, as if individual words as part of
a sentence, notes in a tune or hours in a
day. What at first glance appears simple,
minimal and understated, reveals itself
upon closer inspection to be multilayered
and imbued with quiet complexity, where
a unique history is accumulated, built
like strata in sedimentary rock. A finished
painting is the summary of the process of
its creation: a concentrated form or essence,
containing both purity and imperfection,
each tablet a poetic palimpsest, considered
by Quinn as a marker of time, spent
in contemplation - akin perhaps to a
physical embodiment of meditation or
a prayer.
David Quinn was born in Dublin, Ireland
in 1971 and currently lives and works in
Shillelagh, County Wicklow. His paintings
have been exhibited internationally and
can be found in collections worldwide.
Cloghan
mixed media on panel, 36.5 x 51.5 cm
79

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.”
Togetherness
oil on canvas, 122 x 152 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.
Volts
acrylic on cavnvas, 137 x 137 cm
83

Mat Chivers (b. 1973)
This work was made for the blockbuster
museum exhibition ‘Daydreaming with
Stanley Kubrick’ held at Somerset House.
The form of Mat Chivers’ marble sculpture
derives from a digital manipulation of a
ten second sequence from Kubrick’s 2001:
A Space Odyssey: the moment when the
camera focuses on the astronaut’s eye as
he enters the ‘Stargate’. This data was then
translated into stone. The two-tone pattern
perhaps alludes to universal opposites,
perhaps in syzygy or in conflict, which has
become a synonymous characteristic of
Chivers oeuvre.
The work of British artist Mat Chivers looks
at some of the fundamental phenomena that
drive our thoughts and actions. He explores
ideas relating to perception, evolutionary
process, ecology and ethics by bringing
traditional analogue approaches to making
into counterpoint with state of the art
digital technologies. Chivers has works in
numerous private and public collections
including Oxford University Mathematical
Institute, UK and Fondazione Henraux,
Italy. Solo exhibitions include ‘Migrations’
at Arsenal Art Contemporain Montréal,
Canada and Musée d’art de Joliette,
Canada; ‘Harmonic Distortion’ at PM/AM,
London, UK, ‘Altered State’s at Hallmark
House, Johannesburg, South Africa and
‘Syzygy’ at Anima Mundi. Group exhibitions
include The New States of Being at
Centre d’Exposition de l’Université de
Montréal, Canada; A Place In Time at Nirox,
Johannesburg, South Africa; Glasstress:
White Light/White Heat at Pallazzo
Cavalli Franchetti for the 55th Venice
Biennale, Italy and The Knowledge at The
Gervasuti Foundation for the 54th Venice
Biennale, Italy.
Eye
nero marquina and thassos marble, 45 x 90 x 37 cm
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Sam Lock (b. 1973)
Sam Lock’s considered and expressive,
often large scale, abstract paintings embrace
the principle that change is a process not
an event. A meditation on the continual
flow and movement both around us and
within us inspires each gesture. They are
not made with a system or fixed process
but through an energy that embraces both
change and chance, in a manner that is
both organic and unscripted, following its
own path until there is a balance between
presence and absence. There are silences
and hiding places that are both poetic and
activating, and a physicality and immediacy,
where his aim to ‘submit’ himself to the
canvas, eliminates extraneous thought in
order to guarantee a purity of response.
A response arising through concentration
and intuition where thought and action, go
hand-in-hand. This is what Lock refers to
as the ‘poetry of moments’, of the spiritual
nature of now becoming then, and how
what started as waves of actions, becomes
a forest of memory. Lock is interested
in marks, resulting in paintings, that
communicate both instantly and slowly - to
slow down perception, and to create forms
that don’t reveal themselves fully, all at
once, through a filling up and emptying
of space and surface; traces and echoes
exist in a palimpsest, a build-up of painted
marks, layers and statements that conceal
and reveal, where time becomes held in
a concrete way and the painting achieves
a physical weight and substance. These
layers allow you to swim in and out of the
painting, they lead back in time, retaining
a mystery and dynamism of the moment
rather than a recollection of a misty
lost past.
Sam Lock was born in London and now
lives and works near Brighton with his
studio in a converted industrial unit further
up the coast. Lock studied at Edinburgh
College of Art and Edinburgh University,
graduating in 1997 with MA’s in both Fine
Art and Art History. During his training,
he won a scholarship to travel to Rome,
and explore the relationship between
history, archaeology and the processes
of painting, a preoccupation which still
forms the conceptual basis that underpins
his practice.
Outside the Box
mixed media on canvas, 200 x 200 cm
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As an Arrow
mixed media on canvas, 200 x 200 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 Light and The Veil
mixed media on panel, 187 x 122 cm
91

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.
She remembered running, baby in pouch, the burrow nearly visible, birds lifting from the watertank
at the first rifle’s crack– so cold in the long grass, day drops night, and the joey stills. In the winter
sky over Braidwood, Enid finds her baby again, as a spark in starfields.
lumachrome glass print, chemigram and drawing, shot wombat mother and her frozen joey,
exposed 49 hours, with salt, sand, ochres, gold chloride, white-out and clay, on fibre paper in a
geodesic dome, re-printed as a single image, detailed with gold and silver leaf, 195 x 150 cm
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Rebecca Harper (b. 1989)
Much of Rebecca Harper’s work has revealed
itself through a diasporic consciousness
which can often involve a multiplicity of
belonging and a sense of difference, often
one of ‘otherness’ and displacement. The
identity of the displaced positioning is a
paradox between location and dislocation,
out of place everywhere and not completely
anywhere. Generally, the work frames
expressions of ‘being’ and manifests itself
within an unfolding, wondering, allegoric
commentary on the locations that she
inhabits and those which inhabit her.
Recent work explores a cast of reoccurring
characters that rotate around the outskirts
of the house that she grew up in, where
she also found herself locked down during
Covid. This work is a part of a body of work
that acknowledges the human and worldly
capacity to live at the edge of the precipice.
The characters are never seen as portraits
as such, more like actors that play a role,
filling in for particular people, as they fill
a stage. As Rebecca says of the figure who
resembles herself; “It feels like perhaps this
woman, has almost become a guiding spirit
of myself, one of vulnerability and strength
in the dealings of uncertainty, instability
loss, and grief. She shows up reliably again
and again during terrible turbulence.”
Harper was born in London in 1989,
where she continues to live and work. She
studied at UWE Bristol then The Royal
Drawing School and Turps Art School
(Postgraduate’s). Rebecca was Artist in
Residence at The Santozium Museum,
Santorini, in summer 2019, and Artist in
Residence for the Ryder Project Space at
A.P.T Studios, Deptford in 2018-19 before
becoming a studio and committee Member
in 2019. She was winner of the ACS Studio
Prize in 2018. Chameleon, her debut solo
show at Anima Mundi met with great
acclaim including a review in the FT by
Jackie Wullshlager. Most recently Rebecca
was selected for The John Moore’s Painting
Prize 2021, and previously selected for
Bloomberg New Contemporaries in 2018 at
South London Gallery, Other curated shows
include Huxley Parlour, Public Gallery, The
Royal Academy Summer Show, Christies
London and NYC, Flowers Gallery’, Paul
Stolper Gallery, Turps Art Gallery and
Arusha Gallery. Her work is on long term
display in the Albright Collection at
Maddox Street Club in London curated
by Beth Greenacre and at the Santozeum
Museum in Santorini. Harper is represented
in many public and private collections
internationally including the Ullens and
the Royal Collections.
Even Amidst Fierce Flames, The Golden Lotus Can Be Planted
mixed media, 30 x 30 x 45 cm
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Published by Anima Mundi to coincide with ‘Imbolc’
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