Fully illustrated catalogue for the international mixed online exhibition 'Ostara' at www.animamundigallery.com

Fully illustrated catalogue for the international mixed online exhibition 'Ostara' at www.animamundigallery.com


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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.

‘Ostara’ is the fifth 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.


“And some day there will be nothing left of every-

thing that has twisted my life and grieved it and

filled me so often with such anguish. Some day,

with the last exhaustion, peace will come and the

motherly earth will gather me back home. It won’t

be the end of things, only a way of being born

again, a bathing and a slumbering where the old

and the withered sink down, where the young and

new begin to breathe. Then, with other thoughts,

I will walk along streets like these, and listen to

streams, and overhear what the sky says in the

evening, over and over and over.”

Hermann Hesse



Danny Fox (b. 1986)

Danny Fox’s rhythmic canvases vividly

display unlikely heroes of the 21st century.

His subjects never shy from tragedy,

promise, heat, violence and sex. Entangled

amongst all these elements is a lyrical, yet

fragmented vision. His works incorporate

local buildings, bars, inhabitants, and

folklore, conjuring wild and wonderful

scene’s of coastal Britain, in a lucid story

telling fashion. The conscious influence

and in depth knowledge of St Ives life is

ever present.

Danny Fox was born in St Ives, Cornwall

in South West England. He has lived and

worked in both UK, and LA where he lived

and worked alongside his contemporary

Henry Taylor. His work is held in the Start

Museum, Shanghai and Denver Museum,

Colorado. Selected recent exhibitions

include: The Sower & Other Paintings,

Saatchi Yates, London; Spring without

End, Hannah Barry Gallery, London; Holy

Island-Danny Fox & Kingsley Ifill, Hannah

Barry, London; Brown Willy, Saatchi Yates,

London; The Sweet and Burning Hills,

Alexander Berggruen, New York; Eye For a

Sty, Tooth For the Roof, Eighteen Gallery,

Copenhagen; Crowd, Hannah Barry Gallery,

London; Some Mornings Catch a Wraith,

Berggruen Gallery, San Francisco; Doped,

Roped, and Horoscoped, Eighteenth

Gallery, Copenhagen; Punch, Curated by

Nina Chanel Abney, Jeffrey Deitch, Los

Angeles; Blood Spots On Apple Flesh,

Zidoun-Bossuyt Gallery, Luxembourg; Boy

Meets Girl, Choi & Lager, Cologne; Mitre

Delta, Bill Brady Gallery, Miami; Folklore,

Sade Gallery, Los Angeles; Iconoclasts,

Saatchi Gallery, London; Horses, Eighteen

Gallery, Copenhagen; What Is This Place?,

Newlyn Art Gallery, Cornwall.

Irrelevant Man

acrylic on canvas, 213 x 183 cm


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.


acrylic on panel, 40 x 40 cm each




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.


oil on linen, 61 x 76 cm


Old Man & The Sea

oil on canvas, 152 x 102 cm




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.

F8 S Pacific, Following Sea

charcoal on paper, 110 x 142 cm


Alban Roinard (b. 1979)

Alban Roinard was born in Paris and

currently lives and works in St Ives, Cornwall.

‘My Yw Genys Yn Kres An Mor’ is a personal

film about a universal connection to the

sea, made in response to the artists own

connection to the environment of Cornwall

and as a homage to the resilient people

who reside there. The origins of the verse

used also connect to his French heritage,

which adds a further layer of personal

significance and links international celtic

culture. The film features the words of

Jean-Pierre Calloc’h, a Breton writer who

was killed in action during the First World

War. Calloc’h’s words are narrated in the

film by Mick Paynter, a Cornish Bard, who

has also translated the poem into English.

The film was nominated for a Celtic Media

Festival Award.

Alban Roinard’s practice draws specifically

from close contact with landscape and

community. He is a film maker and

photographer and founded Eia Films and

St Ives TV where he regularly documents

the achievements and challenges of the

town at a time of unprecedented change.

He has twice been nominated for the

Celtic Media Festival Awards and worked as

cinematographer on the war documentaries

’The Americans in the Bulge’ and ‘Road

to Victory’.

My Yw Genys Yn Kres An Mor

single channel video, duration 00:03:00




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.

Monument (Auto De Fe)

oil on board, 130 x 150 cm


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

The Crying Game : Between A Rock & A Hard Place

etching and aquatint (edition of 30), plate size 20 x 25 cm / paper size 38 x 42 cm



The Crying Game : Where To?

etching and aquatint (edition of 30), plate size 20 x 25 cm / paper size 38 x 42 cm


The Crying Game : The Promised Land

etching and aquatint (edition of 30), plate size 20 x 25 cm / paper size 38 x 42 cm



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.

Seven Tears Shed at Sprint Tide

acrylic on unprimed canvas, 170 x 140 cm


I Have Swum Its Velvet Floor

acrylic on unprimed canvas, 120 x 100 cm




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.


oil on panel, 30 x 24 cm


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 Silk Roads of Ignorance & Bliss

oil on canvas, 250 x 160 cm




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.


oil, oil stick, charcoal, collage on panel, 48 x 63 cm


Hortus Botanicus

oil, oil stick, acrylic, collage on panel, 32 x 49 cm




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.

Spring Calf Scried From Heathen Fire

hare skull, muntjac deer pelvis; hedgehog, deer, cow & buzzard bone; finch, jackdaw & buzzard

feathers; oak branches, birch, root, leaves, snail shells, soil, brook water, straw, clay, willow

herb, bracken, ash, iron from a hay rake, stones, beech nut husks, wool; cow marks, 30 x 76 cm


Jackson Whitefield (1991)

Furze (5) is one of a series of earthworks

derived as a result of making movement

with canvas through burnt gorse. The

immersive process sees gorse branches

scratch the surface with a combination of

accident and intent, forming a matrix of

marks and stains. Pulled by the eternal

draw of smoke and fire, the work is a synch

to primal humanity.

Jackson Whitefield is a British artist born in

St. Ives, Cornwall in 1991. Whitefield works

with a diverse range of media including

photography, film, drawing, book making

and site-specific earthworks. Themes which

run through his work include geology,

anthropology, process and language. While

his choice of media and interests are

diverse, his inspiration is rooted firmly

in his immediate surroundings. Always

allowing his environment to lead his

immediate enquiry his approach to making

the work is more about reacting and

engaging with the subject rather than

seeking out ideas that were already formed

in the mind.

Furze (5)

charred gorse on canvas, 180 x 120 cm




Peter Randall-Page (b .1954)

During the past 25 years Peter Randall-

Page has gained an international reputation

through his monumental sculpture, drawings

and prints which deal with the fundamental

nature of existence. His practice remains

informed and inspired by the study of natural

phenomena and its subjective impact on

our emotions. In recent years his work has

become increasingly concerned with the

underlying principles determining growth and

the forms it produces. In his words “geometry

is the theme on which nature plays her

infinite variations, fundamental mathematical

principle become a kind of pattern book from

which nature constructs the most complex

and sophisticated structures.

Peter Randall-Page is a British artist born

in Essex, England in 1954. He currently lives

and works in Devon. Randall-Page studied

sculpture at Bath Academy of Art from 1973-

1977. In 1999, he was awarded an Honorary

Doctorate of Arts from the University of

Plymouth, an Honorary Doctorate of Letters

from York St John University in 2009 and an

Honorary Doctorate of Letters from Exeter

University in 2010; from 2002 to 2005 he was

an Associate Research Fellow at Dartington

College of Arts. In 2015 he was made a Royal

Academician. Recent commissions include

‘Give and Take’ in Newcastle which won the

2006 Marsh Award for Public Sculpture,

‘Mind’s Eye’ a large ceramic wall mounted

piece for the Department of Psychology at

Cardiff University (2006) and a commemorative

sculpture for a Mohegan Chief at Southwark

Cathedral (2006). Recent projects include

‘Green Fuse’ for the Jerwood Sculpture Park,

Ragley Hall and a major one person exhibition

in and around the Underground Gallery at the

Yorkshire Sculpture Park, June 2009 - April

2010. In 2015 he unveiled ‘The One and The

Many’ at Fitzroy place London, An 25 tonne

boulder inscribes with origin stories from

around the world in native dialect. Over the

years he has undertaken numerous large scale

commissions and exhibited widely across

the globe. His work is held in numerous

public and private collections throughout

the world including Japan, South Korea,

Australia, USA, Turkey, Eire, Germany and

the Netherlands. A selection of his public

sculptures can be found in many urban and

rural locations throughout the UK including

London, Edinburgh, Manchester, Bristol,

Oxford and Cambridge and his work is in

the permanent collections of the Tate Gallery

and the British Museum amongst others. As a

member of the design team for the Education

Resource Centre (The Core) at the Eden

Project in Cornwall, Peter influenced the

overall design of the building incorporating

an enormous granite sculpture, ‘Seed’, at

its heart.

A Little Bit of Infinity

carved cornish serpentine, 25 x 14.5 x 17.5 cm


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.


folded, perforated paper, beeswax, thread, lokta paper, 63 x 60 cm




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.


mixed media sculpture, 220 x 208 x 81 cm


Simon Hitchens (b. 1967)

Simon Hitchens drawn and sculptural work

explores the interconnectedness between

the human and the non-human, as a means to

learning about Mankind’s relationship with

impermanence. As a climber he maintains

an intimate relationship with rock. In

the age of the Anthropogenic it seems

pertinent to question how we comprehend

the geological and human worlds as united,

interconnected even. The British Isles have

a rich and varied geology, with rocks ageing

from the present to some of the oldest on

our planet. To be able to comprehend the

deep-time of rocks is to ‘shine a light’

upon our own relatively short lifespan and

to begin to understand the transient but

interconnected nature of what we share

with the planet. This work is one of a

series of system-based drawings made in,

of and about the landscape; the result

of a particular set of conditions, in a

particular place, over a particular span of

time. By relentlessly tracing the moving

shadows of a stone throughout an entire

day, they record celestial time, geological

time and human time as well as the

weather patterns unique to that day.

They are a meditation on time and space

- even the solidity of mountains, given

time, will eventually erode into nothing,

echoing the broad, shared transience

of existence.

Simon Hitchens graduated in Fine

Art from the University of the West

of England in 1990 and his work has

been exhibited around the world since

then. He frequently exhibits in solo and

group exhibitions, undertaking private

commissions and numerous large-scale

public commissions. He was elected Fellow

of the Royal Society of Sculptors in 1998,

is an RWA Academician and is the fourth

generation of artist in his family.


ink on 300gsm fabriano paper, 50 x 70 cm




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.”

Moon, Wet

oil on canvas, 23 x 20 cm


Blow Out Nose Smoke, It’s Dogs!

oil on canvas, 30 x 50 cm




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.

Untitled (Converge)

mixed media on canvas, 150 x 120 cm


David Kim Whittaker (b. 1964)

Most of David Kim Whittaker’s paintings are

based upon a metaphysical interpretation

of the human head. These portrait portals,

are often ambiguous, with the aim of

representing the totality of the human

condition - both the universal and the

empathetic alongside personal experience.

The works often juggle dual states of

inner and outer calm and conflict, offering

a glimpse of simultaneous strength and

fragility, conscious and subconscious,

masculine and feminine. The paintings

express Whittaker’s constant focus on an

attempt to express something far greater

than oneself. Recent works depict the artists

deep sensitivity and increasing unease

when confronted with the compounding

global tensions of this particlar moment. A

dual reflection of hope and warning stares

back at us from the frame.

Whittaker is a British artist born in

Cornwall where he still resides. Exhibitions

have been held internationally, notably

including a major solo exhibition at

the prestigious Fondazione Mudima in

Milan in 2017. Works are in numerous

museum collections, art foundations and

international private collections. Whittaker

was further acknowledged in 2011 as the

recipient of the Towry Award (First Prize)

at the National Open Art Competition.

The Wreck in the Head

mixed media on primed panel, 65 x 59 cm each (triptych)




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.


bronze (edition variee 1 of 5), 244 cm height


Mat Chivers (b. 1973)

Outbreath is a life-size representation of

the normally invisible turbulence trail

formed in the air around us each time

we exhale. It was built in collaboration

with researchers in the field of motion

capture at The University of Bristol, UK.

A piece of solid carbon dioxide was placed

in the hollow below the artists tongue

and normal breathing maintained. The C02

melted, becoming a gaseous cloud that

was documented using three synchronised

high speed digital cameras. One image

was selected from over 100,000 frames of

footage. The artist then drew on each still

image to define the surface of the nebulous

form. Using digital software, the drawings

were transcribed to create a virtual

geometry that was three dimensionally

printed. The sculpture is wall-mounted at a

level that corresponds to the height of the

artists mouth from the floor when standing.

As a result of the processes employed in

its production, Outbreath can be seen as

a hybrid object that conflates drawing

- a traditional method of understanding

the world - with contemporary digital

envisioning technology.

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.


nylon, 30 x 23 x 21 cm




Alter Outbreath

nylon, 30 x 23 x 21 cm


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.

The Humming

oil on panel, 104 x 82 cm




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.

Maria Magdalena

polychrome wood, glass eyes, gold leaf, 55 x 20 x 20 cm


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.


oil on canvas, 52 x 43 cm




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.

Brilliant Blue and Light Ultramarine Volts

acrylic on cavnvas, 183 x 183 cm


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.

All Dogs Go To Heaven

mixed media, 135 x 96 cm




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.


oil on panel, 60 x 60 cm


Luke Routledge (b. 1988)

Luke Routledge creates a phantasmagoric

caste of grotesques constructed a

re-assembled from an ever growing body

of figures. Routledge’s sculptural output is

focused on the description of an alternate

society of nonsensical, protohumans,

anthropomorphic beings and the speculative

fictional multiverse that they call home.

This multiverse is used as a framework

within which to explore and unite diverse

research topics, creating a living, collage

territory. The hypothetical beings that these

sculptures represent are positioned as a

band of travellers exploring and striving to

understand the cosmos they inhabit. They

are building their cultures and communities

as Routledge, through research, stitches

new information into the fabric of their

reality. As his research expands to include

new topics, the beings transition from

place to place - with each presentation they

are simultaneously charting the boundaries

of their existence. Central to both the

material nature of his sculptures and the

narrative setting is the idea of assemblage.

His sculptures are constructed in a modular

method that allows them to be dismantled

and reassembled in new configurations,

resulting in new narrative threads emerging

across the installations and feeding the

stories that he creates. The sculptures,

their tools, possessions and elements of

their landscape are predominantly made

from an air dry clay material that he

has been developing for a number of

years. This material can be manipulated

to achieve a diverse range of finishes and

is used alongside other clays, silicones

and CAD components. He combines these

elements with altered electronics, treating

them as found objects; utilising them to

create a semblance of the technology and

architecture of this other space, brought to

life by animatronic elements.

Medieval Rabbit

mixed media, 129 x 110 x 52 cm




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.

Fertility Figures

bronze (edition of 8), height 48 cm (left) / 43 cm (right)


Didier Hamey (b. 1962)

Didier Hamey was born and raised in

Dunkirk and now lives and works in Saou

in the Drôme, France. He cites a particular

influence as the moment of madness that

seizes his city during ‘Carnival’. Haley

claims that the sacred beings present in the

work, haunt our daily lives, in everything

that seems present. Inspired by the world

of Japanese Yokai, they embody spirits,

ghosts, familiar demons or fabulous animals

in a state of metamorphosis. Sometimes

disturbing, sometimes humorous,

equipped with wings or fins, his beings

circulate and spring from totemic forms.

In velvety black, they embody a place of

contemplation, hiding place or shelter like a

primitive cave.

Hamey has exhibited his work

internationally. His work appears in many

private and public collections including

the National Contemporary Art Fund, the

National Library, the Gravelines Engraving

Museum. He was recipient of a retrospective

exhibition of his engraved work at the

Musée de l’Estampe de Gravelines and

a residency at the Casa de Velasquez

in Madrid.


etching (edition of 17), plate 16 x 13 cm / paper 32 x 28 cm




etching (edition of 17), plate 16 x 13 cm / paper 32 x 28 cm



etching (edition of 17), plate 16 x 13 cm / paper 32 x 28 cm



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.


leather gloves, beads, 20 x 15 x 30 cm


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.

Old Farm Land, Spring, Warhouse & Animal

mixed media on panel, 90 x 181 cm




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.

At season’s end, fireflies fill the ribbon barks, down by Shoalhaven river. Sunny, lost to traffic,

waits all night for dawn, for waking fireflies, and weaves a new body from their glow.

Lumachrome glass print, cliche-verre, chemigram, drawing. road-killed juvenile hare,

twigs, marbles, wax, ochre and seeds on fibre paper, exposed 46 hours in a geodesic

dome, re-printed as a single image, detailed with gold and silver leaf, 100 x 183 cm


Published by Anima Mundi to coincide with ’Ostara’

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or

by any means electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publishers

Anima Mundi . Street-an-Pol . St. Ives . Cornwall . +44 (0)1736 793121 . mail@animamundigallery.com . www.animamundigallery.com


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