Ostara

Ostara

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.
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“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
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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
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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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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.
Narcissus
oil on linen, 61 x 76 cm
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Old Man & The Sea
oil on canvas, 152 x 102 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.
F8 S Pacific, Following Sea
charcoal on paper, 110 x 142 cm
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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
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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
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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
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
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The Crying Game : Where To?
etching and aquatint (edition of 30), plate size 20 x 25 cm / paper size 38 x 42 cm
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The Crying Game : The Promised Land
etching and aquatint (edition of 30), plate size 20 x 25 cm / paper size 38 x 42 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.
Seven Tears Shed at Sprint Tide
acrylic on unprimed canvas, 170 x 140 cm
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I Have Swum Its Velvet Floor
acrylic on unprimed canvas, 120 x 100 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.
Aurora
oil on panel, 30 x 24 cm
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Luke Hannam (b. 1966)
Luke Hannam describes his work as the
result of an ‘ordered chaos’ where poetic
paintings are made ‘in the eye of the storm’,
where creativity spins wildly, through bursts
of impulse around a silent meditative deep
well of meaning. Ideas emerge out of an
energetic dedication to drawing and a
relentless desire to explore images and
motifs. His work is instantly recognisable
through his strong punch of colour and
definite use of line which weaves its way
sensuously across the surface, denoting both
the delicacy and strength of the form and
spirit of the subject. Hannam’s paintings
expressively offer a singular view on how
what he sees, how he thinks and pivotally
how he feels about the human condition and
what lies beyond our materiality. His work
could be seen to continue the Romantic
tradition, embracing reality and mysticism
with the wonder of experience.
Luke Hannam was born in 1966 and currently
lives in East Sussex, UK. He studied Fine
Art in the 1980s and whilst others of his
generation faithfully chanted the conceptual
mantra of the time, Hannam focussed on
perfecting his expressive drawing skills
seeking inspiration from the earlier masters.
Works have been exhibited and collected
internationally, including the collections
of Stefan Simchowitz and David Kowitz.
The Silk Roads of Ignorance & Bliss
oil on canvas, 250 x 160 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.
Cantalupo
oil, oil stick, charcoal, collage on panel, 48 x 63 cm
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Hortus Botanicus
oil, oil stick, acrylic, collage on panel, 32 x 49 cm
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Jim Carter (b. 1975)
Often uneasy or tragic, irrational or other,
Jim Carter’s work is linked to a real world
of suffering and transcendence: making
sculpture from organic materials as a means
of advocacy, atonement or commemoration;
shifting to story and the written word as
a way to enter emotional and numinous
spaces of memory and dream. What appears
on the surface to be a wilful disturbance of
the remains of organic life in order to fulfil
a creative compulsion is intended to be
part of a transforming and re-sanctifying
process. Taken materials are reconfigured
into new forms to express complex feelings
of grief and loss, love and devotion, fertility
and renewal. Fundamental in this work is a
conviction in an irrepressible spirit for
regeneration in the world, an imperishable
flame that rises most clearly in landscape
and the magic and otherness of animals.
Carter was born in Worcestershire in 1967.
He received an MA with distinction in Art
and Environment from Falmouth University
and an MSc Award in Ecopsychology from
the Centre For Human Ecology, Edinburgh.
His work has appeared in Dark Mountain,
Unpsychology and Earthlines magazine.
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
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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
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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
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Jamie Mills (b. 1983)
Jamie Mills’ practice is underpinned by an
investigation surrounding the dissemination
of gesture between materiality and
environments – referencing both internal
and external landscapes. These concerns are
reinforced by an interdisciplinary approach
to working and are made manifest through
the renderings of materials often sourced
or retrieved via immersion into nature or
borderlands The term ‘gestalt’ refers to a
concept within psychotherapeutic fields,
inferring that the nature of a whole is
greater than the sum of its parts. Mills’
employment of the mediums of photography,
sound and mark-making can be read in this
sense whereby a reality is constructed
not by the sole surface representation of
any individual element alone, but instead
there is a sense that the artists reality
is presented through the relationships
and the spaces between elements. In other
terms, it is work that requires both on
one hand a stepping away from, and on
the other an immersion into, in order
to extract an empathetic understanding
of the essence of the work that presides
from both a conscious and subconscious
framework of mind. Universally inherent
within his process of rendering, there
is a conscious dialogue between, on one
hand material intent (or ‘essence’) and on
the other, control (or the relinquishing
of control), so as to make work that
negotiates thresholds and occupies at
times a liminal status. In this sense Mills’
“intuitively composed” sound works, and
his images or assemblages become markers
to a series of internal journeys or rituals
informed by an often poetic dialogue
between material, form and environment.
Trust
folded, perforated paper, beeswax, thread, lokta paper, 63 x 60 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.
Entangled
mixed media sculpture, 220 x 208 x 81 cm
43

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.
05.57-18.40/28.03.19/ST252148
ink on 300gsm fabriano paper, 50 x 70 cm
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Faye Eleanor Woods (b. 1998)
Faye Eleanor Woods is a Scottish artist
currently living and working in West
Yorkshire. Her symbolic artwork acts as a
love letter to her own experience, full of
life’s joy, absurdity, humour, loss and fear.
Recent works explore her own personal
journey through grief, one she describes
as dark, weepy and often hilarious. She
hails her work as a tangilble form of inner
catharsis. Using raw pigments and acrylic
ink she forces rich colour into the grain
of the canvas, blurring edges with copious
amounts of water or using thin layers of oil
to blend the figures with their backgrounds
creating an ethereal presence. As Woods
says “I try to bring attention to the surreal
aspects of life and the way the oddness of
experience manifests within individuals and
how that manifestation then affects me. In
my vulnerability I crave strange moments of
intimacy. I imagine drinking straight from
the tap of all emotion, drinking so much
of it, I take on too much and I’m sick and
everything I spew out ends up in my work.”
Moon, Wet
oil on canvas, 23 x 20 cm
47

Blow Out Nose Smoke, It’s Dogs!
oil on canvas, 30 x 50 cm
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50

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
51

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)
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54

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.
Shimmer
bronze (edition variee 1 of 5), 244 cm height
55

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.
Outbreath
nylon, 30 x 23 x 21 cm
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Alter Outbreath
nylon, 30 x 23 x 21 cm
59

Joy Wolfenden Brown (b. 1961)
Joy Wolfenden Brown’s intimate oil
paintings feel hauntingly familiar
possessing a raw, emotional, honesty. She
captures fleeting fragments of memory,
moments in time where the inherent
vulnerability of the figures depicted, often
in isolation, is palpable. These are lovingly
yet spontaneously executed reflections
on the human condition, which have an
unnervingly, yet simultaneously comforting,
unguarded quality.
Joy Wolfenden Brown is a British artist born
in Stamford, Lincolnshire. She currently
lives in Bude, North Cornwall. She graduated
from Leeds University then completed a
post-graduate diploma in Art Therapy at
Hertfordshire College of Art & Design
which she worked as an for ten years before
moving to Cornwall in 1999. Since then
she has had numerous solo exhibitions and
was the First Prize Winner in The National
Open Art Competition, 2012. She was also
awarded the Somerville Gallery painting
prize in 2003 and first prize winner at the
Sherborne Open in 2007 and the Revolver
Pricze at The RWA in 2019. Works were
acquired by the Anthony Pettullo Outsider
Art Collection in Milwaukee with further
works held in collections worldwide.
The Humming
oil on panel, 104 x 82 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.
Maria Magdalena
polychrome wood, glass eyes, gold leaf, 55 x 20 x 20 cm
63

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.
Estuarine
oil on canvas, 52 x 43 cm
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66

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
67

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
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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.
Gathering
oil on panel, 60 x 60 cm
71

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
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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)
75

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.
Célestin
etching (edition of 17), plate 16 x 13 cm / paper 32 x 28 cm
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Poulen
etching (edition of 17), plate 16 x 13 cm / paper 32 x 28 cm
78

Ômsô
etching (edition of 17), plate 16 x 13 cm / paper 32 x 28 cm
79

80

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.
Toad
leather gloves, beads, 20 x 15 x 30 cm
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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
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84

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
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Published by Anima Mundi to coincide with ’Ostara’
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