Beltane

Beltane

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.
‘Beltane’ is the sixth 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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“But he calls down a blessing on the blossom
of the May,
Because it comes in beauty, and in beauty
blows away”
William Butler Yeats
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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.
‘Obby ‘Oss
bronze (ed of 8), height 40 cm
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‘Obby ‘Oss and Dancers
bronze (ed of 8), height 28 x width 66 x length 50 cm
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Eleanor Faye Woods (b. 1998)
Eleanor Faye 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.”
Havin’ A Party / The Wild Rumpus
raw pigment & acrylic on canvas, 225 x 150 cm
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Henry Hussey (b. 1990)
Henry Hussey’s artworks are often
emotionally and physically raw, yet
contrastingly beautiful and intricate, created
with force through often paradoxically
laboured mediums, including textile,
glass, ceramic, paint and film. Whether
through an expanding vocabulary of quasimythological
symbols, or in embellished
lines of text extracted from performative
situations, Hussey explores personal and
national identity in response to aggravating
relationships and events. Recent
experimentations reveal a deep concern
with control and chaos and the sweet spot
in between these two distinctive states.
Henry Hussey is a British artist born in
London in 1990 where he still resides.
Hussey studied Textiles at Chelsea College
of Art before completing an MA in Textiles
at the Royal College of Art. His work is
widely respected and has been exhibited
in notable exhibitions including The
Textiel Biennale 2017 at Museum Rijswijk
in the Hague, a solo presentation at Art
Central in Hong Kong, the Bloomberg New
Contemporaries in 2014 at the Institute of
Contemporary Art in London, the Royal
Academy London and Volta New York and
the Young Talent Contemporary Prize at
the Ingram Collection in 2016. Hussey has
participated in residencies at La Vallonea,
Tuscany, Italy in 2018 and participated
in a residency at Palazzo Monti, Milan
in 2020. His work is held in collections
worldwide including Simmons & Simmons,
Hogan Lovells, The Groucho Club and
Soho House.
The Best And Worst Parts Of Ourselves
screen-printed flags, dyed linen, dyed yarn, embroidery, 165 x 95 cm each (diptych)
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Luke Frost (b. 1976)
Luke Frost is a British abstract painter
living and working in West Cornwall.
Despite his notable heritage, as Son of
the English painter Anthony Frost and
the Grandson of the celebrated Modernist
painter Sir Terry Frost, his paintings could
be seen to instead echo a formality found in
1960s American hard-edge, post-painterly,
abstraction. However Frost has developed
his own means of exploring complex
colour relationships, be they harmonious
or provocative, and their impact on their
surroundings alongside an internal and
more contemplative space.
Frost began exhibiting in 2003 following
studies at Falmouth and Bath Schools
of Art. His work was featured in ‘Art
Now Cornwall’ at Tate St Ives in 2007
and in 2008 he was awarded a Tate St
Ives artist in residency during which
time he worked at Porthmeor Studio No.
5, formerly occupied by Ben Nicholson
and Patrick Heron. His solo exhibition
‘Paintings in Five Dimensions’ was shown
at Tate St Ives in 2009. He has since
exhibited in Cornwall, London and USA,
with essays written on his work by Matthew
Collings, Tony Godfrey and Michael Klein.
Supervolts Yellow and Grey
acrylic on canvas, 100 x 91 cm
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Claire Curneen (b. 1968)
Claire Curneen’s iconic sculptures are
poignant contemplations on the liminal and
precarious nature of the human condition;
exploring themes around death, rebirth and
the sublime. Universal and profound states
of fear, loss, suffering and sacrifice fuse
with devotion, desire, wonder and mystery
to underlie each intricate, porcelain figure.
Their translucent and fragile qualities offer
potent, metaphoric abstract narratives.
Porcelain, terracotta and black stoneware
create a grounded vulnerability to these
works, with dribbles of glaze and flashes of
gold to embellish denoted sacred qualities.
Claire Curneen was born in Tralee, Co.
Kerry, Ireland in 1968 and currently lives
and works in Wales, UK. Works have been
exhibited internationally and appear in
many notable public collections including
The Crafts Council, London; Shipley
ArGallery, Gateshead; National Museum
& Gallery of Wales, Cardiff; Victoria and
Albert Museum, London; The Fitzwilliam
Museum, Cambridge; Manchester City Art
Gallery, Manchester; National Museum of
Scotland, Edinburgh; Aberystwyth Arts
Centre, Aberystwyth, Wales; Cleveland Craft
Centre, Middlesbrough; Oldham Art Gallery
and Museum, Manchester; York City Art
Gallery, York; Middlesbrough Institute of
Modern Art, Middlesbrough; Crawford Art
Gallery, Cork, Eire; Limerick City Gallery
of Art, Limerick, Eire; Ulster Museum,
Belfast, Northern Ireland; Benaki Museum,
Athens, Greece; Clay Studio, Philadelphia,
USA; Mint Museum of Craft + Design,
Charlotte, North Carolina, USA; Icheon
World Ceramic Centre, Gyeonggi-do, Korea;
Taipei Ceramics Museum, Taiwan.
(Three Faced) Head of Gold
porcelain & gold lustre, 20 cm height
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David Kim Whittaker (b. 1964)
Most of David Kim Whittaker’s paintings are
based upon a metaphysical interpretation
of the human head. These portrait portals,
are often ambiguous, with the aim of
representing the totality of the human
condition - both the universal and the
empathetic alongside personal experience.
The works often juggle dual states of inner
and outer calm and conflict, offering a glimpse
of simultaneous strength and fragility,
conscious and subconscious, masculine and
feminine. The paintings express Whittaker’s
constant focus on an attempt to express
something far greater than oneself. Recent
works depict the artists deep sensitivity
and increasing unease when confronted
with the compounding global tensions of
this particlar moment. A dual reflection of
hope and warning stares back at us from
the frame.
Whittaker is a British artist born in
Cornwall where they still reside.
Exhibitions have been held internationally,
notably including a major solo exhibition
at the prestigious Fondazione Mudima in
Milan in 2017. Works are in numerous
museum collections, art foundations and
international private collections. Whittaker
was further acknowledged in 2011 as the
recipient of the Towry Award (First Prize) at
the National Open Art Competition.
Portrait One
mixed media on panel, 86 x 80 cm
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Portrait Two
mixed media on panel, 86 x 80 cm
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Miles Cleveland Goodwin (b. 1980)
Miles Cleveland Goodwin’s upbringing
in the American South is a recurring
theme in his brooding paintings and
sculptures. Goodwin draws parallels
between the people he portrays, the
rhythm of their rural ways of life, and
the rugged landscapes that they inhabit.
The artist frequently evokes themes of
mortality, decay and solitude with a sense
of phantasmagoric realism combined
with a haunting stillness. Goodwin’s
‘Southern Gothic’ works conjure the
ambivalent beauty of a place that is both
simultaneously desolate yet deeply soulful.
Goodwin lives and works in Georgia, USA.
He graduated from the Pacific Northwest
College of Art in Oregon in 2007 with a
BFA in painting and printmaking. His work
has been featured in group exhibitions
at the Hallie Ford Museum of Art, the
Grace Museum and the Amarillo Museum
of Art among others and can be found in
collections worldwide.
Afterlife in the Garden
oil and blood on panel, 46 x 61 cm
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Phoebe Cummings (b. 1981)
Phoebe Cummings’ works predominantly
using unfired clay to make poetic and
performative sculptures and installations
that emphasise materiality, fragility, time,
creation, loss and decay. Her impressive
interventions are often constructed directly
on site, allowing an instinctive development
of tensions between object and location.
Cummings questions what we will carry
forward into the future by producing
intricate, hand made and exquisitely
delicate sculptures based on ancient plants
and primitive ritual, imbued with a sense
of magic and mysticism. Drawing together
elements of English Paganism as well as
the aesthetic excess of Baroque and Rococo
design, the resultant objects could be
considered as dystopian ornaments of a
future anthropology or fragile relics of an
almost forgotten past.
Cummings is a British artist born in
Walsall, England and currently resides in
Stafford. She studied ceramics at Brighton
University in 2002 before completing an
MA in ceramics and glass at the Royal
College of Art in 2005. She has undertaken
a number of international artist residencies
including a six month residency at the
Victoria & Albert Museum in 2010. In 2017
she won first place at the inaugural Woman’s
Hour Craft Prize with work exhibited at the
V&A Museum, before touring to venues
around the UK. Cummings was selected
as the winner of the British Ceramics
Biennial Award in 2011 and awarded a
ceramics fellowship at London’s Camden
Arts Centre (2012–13). ‘Supernatural’ was
her first solo exhibition at Anima-Mundi.
In addition, Cummings’ work has been
featured in numerous group exhibitions,
including ‘60|40 Starting Point Series’ at
Siobhan Davies Studios, London, ‘Formed
Thoughts’ at Jerwood Space, London;
and ‘Swept Away: Dust, Ashes, and Dirt
in Contemporary Art and Design’ at the
Museum of Arts and Design, New York. In
2013, she had a solo show at the University
of Hawaii Art Gallery in Honolulu and The
Newlyn Art Gallery.
Study
unfired clay, 20 x 15 x 20 cm
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Jennifer McRae (b .1959)
Jennifer McRae is best known for
her distinctive portraits. Inspired by
both abstract and figurative artists,
she works mainly from life in oil and
watercolour on paper and canvas. The
process of drawing remains of equal
importance to painting in her practice.
Her distinct style continues to be
widely recognised and greatly admired.
As a result, she has been commissioned
to paint a number of well-known figures
including Judi Dench, Michael Frayn
and Sir Chris Hoy.
Jennifer McRae is a Scottish artist
currently living and working in
London. Her work can be found in
several public collections including the
National Portrait Gallery, the Scottish
National Portrait Gallery and Reading
Museum among others and is included
in private collections worldwide. She
studied painting at Gray’s School
of Art in Aberdeen from 1987-1992
and received a First Class degree in
Fine Art. Over the years McRae has
received numerous awards as either
the Winner or Runner-Up including
the BP Portrait Award, the Hunting
Art Prizes, the Singer Friedlander
and Kaupthing Watercolour prizes,
the Morrison Scottish Portrait award
and the Honorary Society of Painter
Stainers Award. Since 1988 her work
has appeared in group and solo
exhibitions in Britain and America.
Hospitalfield House, Sonya Sleeping
oil on linen, 122 x 91 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.
Rest
oil on panel, 85 x 55 cm
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Lisa Stokes (b. 1967)
Lisa Stokes is a British artist based in
Plymouth, Devon. Her practice draws on
the fundamental themes of motherhood,
psychology and loss. She combines these
emotive elements with the patient use of
contrasting mediums including oil paint,
oil pastel, ink and charcoal, to make
paintings which weave all these elements
together to create significant depth.
Stokes work has been selected for various
notable exhibitions including the BP Portrait
Award at The National Portrait Gallery,
The Hunting Art Prize at The Royal College
of Art, The National Open Art Competition,
The Royal Academy Summer Show, The
London Art Fair, The British Art Fair,
Saatchi Gallery and Spinneri Art Fair,
Leipzig, Germany. The Ruth Borchard
Collection recently purchased two paintings
for ‘Ruth Borchard : The Next Generation
Collection’ which includes works by Maggie
Hambling, Celia Paul, Nicola Hicks, David
Bomberg and John Keane. Her work is
held in many private collections in the UK
and internationally.
Wilt
oil, oil pastel, acrylic on board, 25 x 20 cm
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Andy Harper (b. 1971)
Andy Harper’s intricate oil paintings deal
with the fruits of labour in the shadow of
uncertainty. On one side they are concerned
with the immediate process of painting, the
mechanical, almost automated act of laying
down mark after mark on a wet surface. On
the other hand, they are subject to longterm
strategy, each mark developed over
time and embedded into a composition that
provides an architectural structure for the
work. While this framework may be logically
ordered, the marks themselves are organic
entities, forming a broad visual library that
has taken on a life its own, growing through
repetition and recombination in each new
work. The paintings act like a Petri-dish for
the culturing of this visual language, and a
greenhouse for its cultivation. The forms may
seem organic, but upon closer inspection
they are not specific to anything the natural
world has to offer. Rather they appear
as a synthetic form of nature, generated
from compulsive repetition and subjective
reinterpretation, a world that has somehow
evolved beyond the point of progeny to
become its own independent alien entity.
Andy Harper lives in St Just, the most
westerly town in Cornwall and works from a
studio at the renowned Porthmeor Studios
in St Ives. He studied his BA in Fine
Art: Painting & Printmaking at Brighton
Polytechnic and then MA Fine Art: Painting
at the Royal College of Art, London. In
1996, with some peers from the RCA, Harper
co-founded NotCut which ran a studio and
photographic darkroom in London and
curated ‘Lightness & Weight’ in Birmingham.
During this time he also studied part time
at Middlesex University for an MA in Visual
Culture and had his first solo exhibition
in London in 1998. After attending the
Braziers International Artist Workshop in
2000, Harper became a member of the
organising committee until 2008. Harper
has taught in many institutions nationally
and internationally, and had teaching posts
at Central St. Martins, The City Lit and
is currently a Senior Lecturer on the
MFA Fine Art programme at Goldsmiths,
University of London. Harper has exhibited
widely in Europe, North America and
South Korea.
AC
oil on canvas, 200 x 200 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.
Life & Death
polychrome wood, height 60 cm
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Sarah Gillespie (b. 1963)
“It is my hope, through a process of longlooking
and close attention, focusing on
quieter moments of beauty and oft hidden
lives, to reveal something of the natural
world’s remaining loveliness and, in so
doing, to see what answering grace that
might awaken in ourselves.”
Sarah Gillespie is an expert in the intricate
and painstaking method of mezzotint, also
known as ‘the English Method’, a form
of engraving using a copper plate. She
sees it as a labour of love, a method of
quiet application, creating an image which
emerges from darkness to light. Her work
is about staying still and paying attention
to the natural world that we inhabit. She is
not concerned with self expression, stating
that “we are at our most creatively powerful
when we can overcome or more precisely
forget ourselves, staying open and attentive
to the way things are.”
Sarah Gillespie was born in Winchester
and currently lives and works in Devon.
She studied ‘16th & 17th century methods
and materials’ at the Atelier Neo-Medici in
Paris and then read Fine Art at Pembroke
College, Oxford (BFA Ruskin School of
Drawing & Fine Art). Upon leaving She
was awarded the Elizabeth Greenshield
Foundation International Award for
figurative art. In 2016 she was elected a
member of the Royal West of England
Academy. Her work has been exhibited
widely and is held in numerous private
and public collections including: the
V&A Museum; Victoria Gallery in Bath;
the Government Offices for the South
West; the Royal West of England Academy;
Sharpham Trust; Chatsworth House; Castle
Howard; Damien Hirst; Museum of Fine
Arts in Yekaterinburg, Russia; The Xuihui
Museum of fine Art in Shanghai and Calvin
University in Michigan.
Nottingham Catchfly & Whitespot Moth
mezzotint engraving. two plate diptych (ed 30), plate size 30 x 23 cm each
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James Seow (b. 1971)
James Seow was born in Malaysia and
has resided in the UK since moving there
in the late 90s. He received an MA in
Printmaking from the Royal College of
Art in 2014, where he developed work
across a range of media and techniques,
including print, photography, sculpture
and installation. He explores connections
between traditional Eastern art and the
contemporary, using digital techniques
and modern visual language to interrogate
these connections. The relationship
between nature and urban life is a key focus
in Seow’s practice. His work is informed
by his early life experience, witnessing the
huge transformation of Malaysia through its
massive deforestation and urban planning
policies of the 90s. Seow plays with how
ideals of universal equality and harmony
can be communicated, often drawing on the
imagery of parks and gardens, illustrating
the dichotomy between constructed
environments and the ephemerality of the
natural world. Working with the interplay
between the natural and the artificial, the
rational and the instinctive, he encourages a
critical rethinking of contemporary reality.
James Seow’s work has been exhibited
internationally and is in various private
collections including Central Saint Martins
School of Art and Design, Royal College of
Art, Brookfield Asset Management Inc. and
St James, Berkeley Group, UK.
Garden Path
print on acrylic with led-backlit lighbox, 420 x 190 cm
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GL Brierley (b. 1964)
In GL Brierley’s pictorial stages, we often
witness simultaneously seductive and
grotesque themes tilting over and collapsing
into a sort of pantomime-like comedy.
In addition to their representational
quality, paint remains paint as material
oscillating between a form of abstraction
and figuration. Brierley symbolically plays
with the term ‘base-matter’ as a word rooted
in the term ‘mater’, which also means
‘mother’ in Latin and Greek, gracefully
fusing two concepts: object and desire. Her
exquisite oil paintings feature individual
subjects, often appearing engaged in
dialogue, positioned alongside fragments
that perhaps resemble still life. The paint
appears corporeal, organic and almost
living, congealing as a result of technical
alchemy, casting ambiguous folds in a
unique materiality which simultaneously
demonstrates a virtuosic use of light and
shade. All pictorial elements are given the
same ornamental treatment, which means
that the viewer’s gaze freely roams across
the entire image: filigree inlays in sharp
angular shapes are applied, simulating a
floor covering that may appear abruptly
foreshortened. Broad brushstrokes rich
in contrast generate a figurative element,
perhaps punctuated with parasitic colour
sequences that freely resembles an
imaginary covering or garment. In sharp
contrast, thick applications of colour dot
the surface here and there in an almost
violent act of embellishment. Brierley’s
paintings serve as a stage for diverse
forms of reconciliation and transformation
between the male and female, mind and
material, body and object.
GL Brierley is a British artist based in
London. GL Brierley. She completed her
Masters in visual arts at the College of Art
in London and graduated with an M.F.A.
from Goldsmith College, London. Her
works have been presented in numerous
exhibition internationally. And are placed in
renowned cas numerous private collections.
Untitled
oil on panel, 90 x 80 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.
Charmed
mixed media wall mounted sculpture, 150 x 100 x 40 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.
If Truth Be Told
oil on canvas, 250 x 160 cm
44

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.
Turner Tina
oil stick, acrylic, watercolour, charcoal, collage on panel, 50 x 60 cm
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Aswan
oil, oil stick, acrylic, charcoal, collage on linen, 100 x 90 cm
48

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.
Trying to Travel The Spaces Between Us
acrylic on unprimed canvas, 190 x 180 cm
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Gabrielle K Brown (b. 1994)
Embodying a natural and intuitive,
seemingly naive, yet extremely complex
aesthetic, Gabrielle K Brown is a multifaceted,
multi-media artist who eagerly and
energetically seeks new ways to tell stories
through her artworks. Her pieces retain an
object, often shrine-like quality, utilising
materials including wood, various paints,
resin, fabrics and even hair - nothing
is beyond limits. The works dissect the
relationship we have with ourselves, our
companions, our society and our past with
an awe and celebration of nature and
the divine, shedding light on how we
grow and how we suffer as human beings.
Confrontational imagery is often contrasted
with uplifting symbolism, actions and
words - emphasising the extremes of the
human condition and experience, and
yearning within the energetic and fraught
times that we live in.
Born in 1994 on the east coast of Canada in
New Brunswick, Brown grew up along the
riverside and mountains which is where she
connected to art and began painting and
sculpting. She has spent much of her life
traveling the world and moving throughout
Canada which has always reflected in her
work, but has recently moved back home to
St John, the oldest city in Canada.Work has
been exhibited at Art Basel Miami, as well
as Montreal and New York and LA in the
United States.
Sweet Milk
left : front / right : back, decorated wood carving with horse hair, 61 x 22 cm
52

Alice Ellis Bray (b. 1994)
Alice Ellis-Bray is an artist from Lamorna
in Cornwall. She works with self made
costume, painting, performance and
script to explore the infinite possibilities
of identity and experience. Through
learning the properties of nature and the
nature of people, Bray seeks to portray
an interconnectedness she feels with all
things. Painting has assisted her as a tool
to transmute stubborn emotions laying
dormant within, painting the strength
she seeks in the eyes of her paintings,
helping her to find a way through life with
painting as her remedy. With her oeuvre
she has created something of a temple
to mythical women, using arch-shaped
boards tinged with gold in an allusion to
religious iconography, which frame ‘selfie’,
‘alter -ego’, subjects that are either direct
references to well-known figures, looser
notions of the primitive.
Alice Ellis-Bray has exhibited her work
widely, most recently at Tate St Ives.
She has also taught at a number of art
galleries and schools including Newlyn
Art Gallery, Tate St Ives and CAST in
Helston, Cornwall. She was selected as an
‘Artist to Watch’ by Elephant Magazine in
August 2022.
.
Burn Me
oil and copper on board, 64 x 38 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.
Not There But Really There
oil on panel, 30 x 24 cm
56

Solvere
oil on panel, 30 x 24 cm
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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.
Mishkan
oil on canvas, 56 x 66 cm
60

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.
Yellow Falls
mixed media on canvas, 100 x 100 cm
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Kristoffer Axen (b. 1984)
Kristoffer Axén’s atmospheric paintings
are often auto-biographical as a means of
tapping into the wider human condition.
Works revolve around themes including
the utopia of childhood, the temporary,
dreamlike, quality of reality and the
unconscious search for something oblique
or unspecified. A sense of nostalgia is
often tinged with an overarching feeling of
the melancholy of transience. Inspired by
cinematic imagery, anonymous photographs
from the internet and childhood snapshots,
Axén’s paintings and drawings are often
bordering the dreamstate and the inner
world. While contemporary and historic
references include Michael Borremans,
Mamma Andersson, Vilhelm Hammershoi
and Richard Diebenkorn, his use of textured
mechanical pencil for the drawings and
the juxtaposed realism with the simplified
blocks in his paintings are uniquely his own.
Kristoffer Axén was born in Stockholm,
Sweden where his still resides. He is
a selfself-taught painter, who studied
fine-art photography at the International
Center of Photography in New York
between 2008-2009, a city in which he
lived and worked until 2013. Axén’s works
have been exhibited internationally in
solo exhibitions in New York, Copenhagen,
Stockholm and in numerous group shows
around the world, notably at Liljevalchs
Spring Show in Stockholm, Sweden,
Aperture Gallery in New York, USA
and at Musée de l’Elysée in Lausanne,
Switzerland. Axén’s works are included
in many private and public collections
including as the ICP collection, Michaelis
School of Fine Arts and MONA and he has
been published in articles from magazines
including Zoom Magazine, The New York
Times and Vogue Italia.
Ritual (1 & 2)
oil on canvas, 40 x 30 cm each (diptych)
64

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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James E Crowther (b. 1974)
James E Crowther has earned his reputation
for painting his idiosyncratic signature ‘cut
out’ portraits, rendered in oil on panel. It is
through his attention to detail and his skill
at ‘capturing’ his subject that the sensitivity
of their inner psyche is revealed.
Crowther is a British figurative painter
living and working in rural Oxfordshire
with his two daughters, three dogs and
partner. He was born in Southampton in
1974 and grew up on the River Hamble
Hampshire where his father ran a boatyard.
He secured a place at Brighton art college
in 1993 where the world opened up for him.
He graduated under principle tutors of
Andrzej Jackowski and Brendan Neiland and
continued to live in Brighton for the next
ten years embracing the rich club scene.
In 2004 he had his first painting accepted
for BP Portrait Prize. The highly acclaimed
writer Blake Morrisson said on seeing
James’ painting at the National Portrait
Gallery, “A good portrait painting does not
merely capture a likeness, but connects with
the inner energy of the sitter, showing the
‘flickers of feeling, shadows of thought, or
what Leonardo da Vinci called The motions
of the Mind”. Crowther has been shortlisted
for the Sequested Art Prize 2021/22 at
Unit Gallery and has had several solo
shows in London and exhibited at the
Royal Academy Summer Exhibition, the BP
Portrait Prize, Figurative Art Now at the
Mall Galleries, Lynn Painter Stainers Prize,
The Discerning eye, The Threadneedle
Art Prize and art fairs in London, New
York, Miami, Paris, Switzerland and
Greece. Works are in numerous private
collections internationally.
Headdress
left : front / right : back, oil on bespoke panel, 31 x 30 cm
68

Sax Impey (b. 1969)
Sax Impey’s artworks are often large scale,
immersive and elemental, incorporating
intense detail and dexterity and an
expressive, behavioural use of medium.
Since 2005, Impey has produced works
derived predominantly from experiences
at sea. A qualified RYA Yachtmaster he has
sailed many thousands of miles around the
world. His journeys have had a profound
impact and subsequent development as an
artist. Reconnecting with nature through
this powerful element has the almost
inescapable effect of calling to question
many of life’s existential questions. This
epiphanic moment of realisation, of
revelation, is at the core of Impey’s oeuvre.
Reflecting on and capturing personal
moments and making them universal,
Impey’s work reaffirms the importance
of introspection and confrontation, found
specifically when surrounded by the natural
world; “A mind can breathe, and observe,
and reflect, away from the shrill desperation
of a culture that, having forgotten that it is
better to say nothing than something about
nothing, invents ever new ways to fill
every single space with less and less”.
Impey was born in Penzance, Cornwall. He
currently works from one of the prestigious
Porthmeor Studios in St. Ives. From 2005,
he has collaborated with the cross-cultural,
environmental art group Red Earth. In 2007
Impey’s work was selected for the ‘Art Now
Cornwall’ exhibition at Tate St Ives where
he was placed on the cover of the associated
publication. The same year he was heralded
in The Times as one of the ‘New Faces
of Cornish Art’. In 2010 he was featured
in Owen Sheers’s BBC4 Documentary
‘Art of the Sea (In Pictures)’ alongside
Anish Kapoor, J. M. W. Turner, Martin Parr
and Maggi Hambling among others. His
work was selected as a finalist the 2013
Threadneedle Prize and the year before
was elected an Academician at the Royal
West of England Academy. His paintings
are in multiple collections including The
Arts Council, Warwick University and the
Connaught Hotel.
The Ancient Tree
mixed media on panel, 100 x 150 cm
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Joy Wolfenden Brown (b. 1961)
Joy Wolfenden Brown’s intimate oil
paintings feel hauntingly familiar
possessing a raw, emotional, honesty. She
captures fleeting fragments of memory,
moments in time where the inherent
vulnerability of the figures depicted, often
in isolation, is palpable. These are lovingly
yet spontaneously executed reflections
on the human condition, which have an
unnervingly, yet simultaneously comforting,
unguarded quality.
Joy Wolfenden Brown is a British artist born
in Stamford, Lincolnshire. She currently
lives in Bude, North Cornwall. She graduated
from Leeds University then completed a
post-graduate diploma in Art Therapy at
Hertfordshire College of Art & Design
which she worked as an for ten years before
moving to Cornwall in 1999. Since then
she has had numerous solo exhibitions and
was the First Prize Winner in The National
Open Art Competition, 2012. She was also
awarded the Somerville Gallery painting
prize in 2003 and first prize winner at the
Sherborne Open in 2007 and the Revolver
Pricze at The RWA in 2019. Works were
acquired by the Anthony Pettullo Outsider
Art Collection in Milwaukee with further
works held in collections worldwide.
Ochre Light
oil on paper, 128 x 38 cm
72

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.
Yellow Sky, Cloud
mixed media on panel, 51 x 89 cm
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Passing Clouds
mixed media on panel, 52 x 79 cm
76

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
beach pebble, 10 x 13 x 14 cm
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Published by Anima Mundi to coincide with ’Beltane’
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