Fully illustrated catalogue to accompany the 'wheel of the year' online exhibition 'Beltane' at Anima Mundi

Fully illustrated catalogue to accompany the 'wheel of the year' online exhibition 'Beltane' at Anima Mundi


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In many traditions, time is considered to be cyclical

rather than straight line. Perceived as a perpetual

cycle of growth and retreat tied to the Sun’s annual

death and rebirth. This cycle is also viewed as a

micro and macrocosm of broader life cycles in an

immeasurable series of rotations composing the

Universe. The days that fall on the landmarks of the

yearly cycle traditionally mark the beginnings and

middle-points of the four seasons.

‘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.


“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


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




‘Obby ‘Oss and Dancers

bronze (ed of 8), height 28 x width 66 x length 50 cm


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




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)


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




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


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




Portrait Two

mixed media on panel, 86 x 80 cm


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




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.


unfired clay, 20 x 15 x 20 cm


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




Andrew Litten (b. 1970)

Andrew Litten’s dynamic and gestural

figurative artworks express a strong interest

in the universal complexity of everyday

existence. Dealing with humanistic themes

such as love, sensuality, fear, anger, loss,

nostalgia, mundanity, personal growth

and perceived identity normality or

disturbance. Works are created with an

unguarded, empathetic attitude, like so

many expressionistic artists, a rawness of

approach combined with an often viscous

application of paint is also key to the extreme

experience felt from the work. Gesture and

nuance inspire extreme emotive reading,

perhaps subversive, tender, passionate,

ambivalent, malevolent or compassionate,

our response becomes one of allure

or repulsion.

Andrew Litten is a British artist, born in

Aylesbury, Buckinghamshire in 1970. He

currently works from his studio in Fowey,

Cornwall. He is a self-taught artist leaving

art college as a teenager having found

it to be too restrictive to his aspired

method of working. For a decade he created

mostly small-scale works using humble

domestic or found materials (including

envelopes and assembled furniture parts).

The work made at this time deliberately

challenged ideas of art elitism and art as

commodity. He then moved to Cornwall

in 2001 and chose to begin exhibiting.

Early success came when his work was

included in an exhibition titled ‘Nudes’ in

New York City, (along with Jacob Epstein

and Pierre-Auguste Renoir), where his

work was highlighted and reviewed by the

New York Times. Shortly after he had four

consecutive solo exhibitions at Goldifsh

Fine Arts in Penzance, Cornwall. Other

notable exhibitions included ‘Move’ at Vyner

Street, London, during Frieze Art Week

2007, where his work ‘Dog Breeder’, created

as a twisted and emphatic anti-art statement,

was exhibited. He was also included in ‘No

Soul For Sale’ at Tate Modern Turbine Hall,

London in 2010. In 2012 he held a major

solo exhibition at Millennium in St Ives,

Cornwall and that year was given a guest

solo exhibition at L13 Light Industrial

Workshop, London. He has also held largescale

solo exhibitions at Spike Island and

Motorcade FlashParade in Bristol. ‘Ordinary

Bodies, Ordinary Bones’ was conceived with

support from The Arts Council, UK and

was exhibited at Anima Mundi in 2018.

Works have been included in numerous

international curated mixed exhibitions

in Berlin, Dublin, Siena, Milwaukee and

New York City and in Venice during the

54th Biennale. Most recently paintings have

been exhibited in four major museums in

China. Andrew Litten paintings feature

in numerous international private and

public collections.


oil on panel, 85 x 55 cm


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.


oil, oil pastel, acrylic on board, 25 x 20 cm




Andy Harper (b. 1971)

Andy Harper’s intricate oil paintings deal

with the fruits of labour in the shadow of

uncertainty. On one side they are concerned

with the immediate process of painting, the

mechanical, almost automated act of laying

down mark after mark on a wet surface. On

the other hand, they are subject to longterm

strategy, each mark developed over

time and embedded into a composition that

provides an architectural structure for the

work. While this framework may be logically

ordered, the marks themselves are organic

entities, forming a broad visual library that

has taken on a life its own, growing through

repetition and recombination in each new

work. The paintings act like a Petri-dish for

the culturing of this visual language, and a

greenhouse for its cultivation. The forms may

seem organic, but upon closer inspection

they are not specific to anything the natural

world has to offer. Rather they appear

as a synthetic form of nature, generated

from compulsive repetition and subjective

reinterpretation, a world that has somehow

evolved beyond the point of progeny to

become its own independent alien entity.

Andy Harper lives in St Just, the most

westerly town in Cornwall and works from a

studio at the renowned Porthmeor Studios

in St Ives. He studied his BA in Fine

Art: Painting & Printmaking at Brighton

Polytechnic and then MA Fine Art: Painting

at the Royal College of Art, London. In

1996, with some peers from the RCA, Harper

co-founded NotCut which ran a studio and

photographic darkroom in London and

curated ‘Lightness & Weight’ in Birmingham.

During this time he also studied part time

at Middlesex University for an MA in Visual

Culture and had his first solo exhibition

in London in 1998. After attending the

Braziers International Artist Workshop in

2000, Harper became a member of the

organising committee until 2008. Harper

has taught in many institutions nationally

and internationally, and had teaching posts

at Central St. Martins, The City Lit and

is currently a Senior Lecturer on the

MFA Fine Art programme at Goldsmiths,

University of London. Harper has exhibited

widely in Europe, North America and

South Korea.


oil on canvas, 200 x 200 cm


Carlos Zapata (b. 1963)

Carlos Zapata predominately makes

idiosyncratic carved and painted wooden

sculpture alongside mixed media

installation. His work deals with many

challenging and potent humanist themes

including poverty, conflict, religion

and race, yet perhaps paradoxically, the

overriding characteristics of the work are of

emotive empathy and compassion. Zapata’s

work belongs to and takes inspiration from

folk and tribal artforms from all over the

world but specifically from South America,

from its indigenous populace and the

trade routes and traditions that have fed it

over the centuries. Many of his sculptures

have evolved from personal experience of

living in a foreign land and from his home

country where civil issues continue to

trouble its people.

Carlos Zapata is a Colombian artist who

currently lives and works near Falmouth in

Cornwall, UK. He has exhibited extensively

internationally with works held in numerous

private and museum collections around

the world.

Life & Death

polychrome wood, height 60 cm




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


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




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.


oil on panel, 90 x 80 cm


Kate Clark (b. 1972)

Kate Clark’s sculptures invite the viewer to

experience an instinctive and primal reaction,

that encourages further examination of our

own humanity. Stitched over a hand-sculpted

human face, the material quality of her ethically

sourced animal hide brings an authenticity to

the final sculpture, through what the artist

describes as a unique energy and presence.

We identify with animals through both our

connection with and separation from them.

Recognising these contradictions, Clark’s

fusion of human and animal suggests that our

human condition is fully realised only when

we acknowledge and reconcile our current

state and our natural instincts, acknowledging

the animalistic inheritance within the human

condition. She achieves this through emphasis

on the characteristics that differentiate us

from the rest of the animal kingdom, and,

importantly, the ones that unite us.

Kate Clark lives and works in Brooklyn, New

York. She attended Cornell University for her

BFA and Cranbrook Academy of Art for her

MFA and has been awarded fellowships from the

Jentel Artists Residency in Wyoming, The Fine

Arts Work Center Residency in Provincetown,

MA, and the Marie Walsh Sharpe Studio

Program in New York. Clark was nominated

for a USA Fellowship, a Louis Comfort Tiffany

Award and an American Academy of Arts

and Letters award. She was awarded a grant

from The Virginia Groot Foundation in 2013

and a New York Foundation For the Arts

(NYFA) Fellowship Award in 2014. Clark has

exhibited in solo museum exhibitions at the

Mobile Museum of Art, The Newcomb Art

Museum and the Hilliard Museum and in group

museum exhibitions at the Aldrich Museum of

Contemporary Art, The Islip Art Museum, and

The Bellevue Arts Museum, MOFA: Florida

State University, Cranbrook Art Museum, Frist

Center for the Visual Arts, The Winnepeg Art

Gallery, the Glenbow Museum, the Musée de

la Halle Saint Pierre, Paris, The Art Gallery at

Cleveland State University, the Hudson Valley

Center for Contemporary Art, the Nevada

Museum of Art, the David Winton Bell Gallery

at Brown University, the Bemis Center for

Contemporary Arts, the Biggs Museum of

American Art, the Royal Melbourne Institute

of Technology, and the J. Paul Getty Museum.

Her work is collected internationally and is in

public collections such as the JP Morgan Chase

Art Collection, the 21c Collection, the David

Roberts Art Foundation and the C-Collection

in Switzerland. Clark’s sculptures have been

featured in the Wall Street Journal, New

York Times, New York Magazine, Art21:Blog,

The Village Voice, PAPERmag, The Atlantic,

Hyperallergic, NYArts, Huffington Post, Hi

Fructose, the BBC World News Brazil, Hey!

Magazine, Time Out, ID Paris, Cool Hunting,

Wallpaper, Creators Project/VICE, Sculpture

Review and many other publications.

In addition she was filmed by National

Geographic in her studio over a 2 month

period for a short documentary about her work.


mixed media wall mounted sculpture, 150 x 100 x 40 cm




Luke Hannam (b. 1966)

Luke Hannam describes his work as the

result of an ‘ordered chaos’ where poetic

paintings are made ‘in the eye of the storm’,

where creativity spins wildly, through bursts

of impulse around a silent meditative deep

well of meaning. Ideas emerge out of an

energetic dedication to drawing and a

relentless desire to explore images and

motifs. His work is instantly recognisable

through his strong punch of colour and

definite use of line which weaves its way

sensuously across the surface, denoting both

the delicacy and strength of the form and

spirit of the subject. Hannam’s paintings

expressively offer a singular view on how

what he sees, how he thinks and pivotally

how he feels about the human condition and

what lies beyond our materiality. His work

could be seen to continue the Romantic

tradition, embracing reality and mysticism

with the wonder of experience.

Luke Hannam was born in 1966 and currently

lives in East Sussex, UK. He studied Fine

Art in the 1980s and whilst others of his

generation faithfully chanted the conceptual

mantra of the time, Hannam focussed on

perfecting his expressive drawing skills

seeking inspiration from the earlier masters.

Works have been exhibited and collected

internationally, including the collections

of Stefan Simchowitz and David Kowitz.

If Truth Be Told

oil on canvas, 250 x 160 cm


Arthur Lanyon (b. 1985)

Arthur Lanyon paintings combine intuitive

figurative motifs with an emotive, gestural,

abstracted language. His energetic works

are sited on a physical and metaphysical

cross roads, like a belay between numerous

visual and emotional pinnacles. They offer

a progressive link between the outside

world, the inner architecture of the

brain, altered states of consciousness,

memory and the unencumbered essence of

child’s drawing.

Arthur Lanyon is a British artist born

in Leicester, England in 1985. He lives

and works from a studio near Penzance,

Cornwall. Born in to an artistic family, his

father was the painter Matthew Lanyon and

his grandfather the celebrated, influential

and world renowned modernist painter

Peter Lanyon. He won the Hans Brinker

Painting Award in Amsterdam in 2007 and

gained a first class degree in Fine Art

from Cardiff University in 2008. Upon

graduating he was featured in Saatchi’s

‘New Sensations’ exhibition. In 2014,

his work was in the long-list for the

Aesthetica Art Prize and was included in

the award’s published anthology. His debut

Anima Mundi solo exhibition ‘Return

to Whale’ opened in 2016, which was

followed by ‘White Chalk Lines in 2018,

‘Arcade Laundry’ in 2020 and ‘Coda for an

Obol’ in 2022. Works have been exhibited

extensively, notably including Untitled Art

Fair in Miami; Zona Maco, Mexico City;

the Saatchi Gallery London; The House of

St Barnabas, London; CGK, Copenhagen;

Tat Art, Barcelona and Herrick Gallery,

Mayfair. Arthur Lanyon paintings are held

in private collections worldwide.

Turner Tina

oil stick, acrylic, watercolour, charcoal, collage on panel, 50 x 60 cm





oil, oil stick, acrylic, charcoal, collage on linen, 100 x 90 cm


Rebecca Harper (b. 1989)

Much of Rebecca Harper’s work has revealed

itself through a diasporic consciousness

which can often involve a multiplicity of

belonging and a sense of difference, often

one of ‘otherness’ and displacement. The

identity of the displaced positioning is a

paradox between location and dislocation,

out of place everywhere and not completely

anywhere. Generally, the work frames

expressions of ‘being’ and manifests itself

within an unfolding, wondering, allegoric

commentary on the locations that she

inhabits and those which inhabit her.

Recent work explores a cast of reoccurring

characters that rotate around the outskirts

of the house that she grew up in, where

she also found herself locked down during

Covid. This work is a part of a body of work

that acknowledges the human and worldly

capacity to live at the edge of the precipice.

The characters are never seen as portraits

as such, more like actors that play a role,

filling in for particular people, as they fill

a stage. As Rebecca says of the figure who

resembles herself; “It feels like perhaps this

woman, has almost become a guiding spirit

of myself, one of vulnerability and strength

in the dealings of uncertainty, instability

loss, and grief. She shows up reliably again

and again during terrible turbulence.”

Harper was born in London in 1989,

where she continues to live and work. She

studied at UWE Bristol then The Royal

Drawing School and Turps Art School

(Postgraduate’s). Rebecca was Artist in

Residence at The Santozium Museum,

Santorini, in summer 2019, and Artist in

Residence for the Ryder Project Space at

A.P.T Studios, Deptford in 2018-19 before

becoming a studio and committee Member

in 2019. She was winner of the ACS Studio

Prize in 2018. Chameleon, her debut solo

show at Anima Mundi met with great

acclaim including a review in the FT by

Jackie Wullshlager. Most recently Rebecca

was selected for The John Moore’s Painting

Prize 2021, and previously selected for

Bloomberg New Contemporaries in 2018 at

South London Gallery, Other curated shows

include Huxley Parlour, Public Gallery, The

Royal Academy Summer Show, Christies

London and NYC, Flowers Gallery’, Paul

Stolper Gallery, Turps Art Gallery and

Arusha Gallery. Her work is on long term

display in the Albright Collection at

Maddox Street Club in London curated

by Beth Greenacre and at the Santozeum

Museum in Santorini. Harper is represented

in many public and private collections

internationally including the Ullens and

the Royal Collections.

Trying to Travel The Spaces Between Us

acrylic on unprimed canvas, 190 x 180 cm




Gabrielle K Brown (b. 1994)

Embodying a natural and intuitive,

seemingly naive, yet extremely complex

aesthetic, Gabrielle K Brown is a multifaceted,

multi-media artist who eagerly and

energetically seeks new ways to tell stories

through her artworks. Her pieces retain an

object, often shrine-like quality, utilising

materials including wood, various paints,

resin, fabrics and even hair - nothing

is beyond limits. The works dissect the

relationship we have with ourselves, our

companions, our society and our past with

an awe and celebration of nature and

the divine, shedding light on how we

grow and how we suffer as human beings.

Confrontational imagery is often contrasted

with uplifting symbolism, actions and

words - emphasising the extremes of the

human condition and experience, and

yearning within the energetic and fraught

times that we live in.

Born in 1994 on the east coast of Canada in

New Brunswick, Brown grew up along the

riverside and mountains which is where she

connected to art and began painting and

sculpting. She has spent much of her life

traveling the world and moving throughout

Canada which has always reflected in her

work, but has recently moved back home to

St John, the oldest city in Canada.Work has

been exhibited at Art Basel Miami, as well

as Montreal and New York and LA in the

United States.

Sweet Milk

left : front / right : back, decorated wood carving with horse hair, 61 x 22 cm


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




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



oil on panel, 30 x 24 cm




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.


oil on canvas, 56 x 66 cm


Sam Lock (b. 1973)

Sam Lock’s considered and expressive,

often large scale, abstract paintings embrace

the principle that change is a process not

an event. A meditation on the continual

flow and movement both around us and

within us inspires each gesture. They are

not made with a system or fixed process

but through an energy that embraces both

change and chance, in a manner that is

both organic and unscripted, following its

own path until there is a balance between

presence and absence. There are silences

and hiding places that are both poetic and

activating, and a physicality and immediacy,

where his aim to ‘submit’ himself to the

canvas, eliminates extraneous thought in

order to guarantee a purity of response.

A response arising through concentration

and intuition where thought and action, go

hand-in-hand. This is what Lock refers to

as the ‘poetry of moments’, of the spiritual

nature of now becoming then, and how

what started as waves of actions, becomes

a forest of memory. Lock is interested

in marks, resulting in paintings, that

communicate both instantly and slowly - to

slow down perception, and to create forms

that don’t reveal themselves fully, all at

once, through a filling up and emptying

of space and surface; traces and echoes

exist in a palimpsest, a build-up of painted

marks, layers and statements that conceal

and reveal, where time becomes held in

a concrete way and the painting achieves

a physical weight and substance. These

layers allow you to swim in and out of the

painting, they lead back in time, retaining

a mystery and dynamism of the moment

rather than a recollection of a misty

lost past.

Sam Lock was born in London and now

lives and works near Brighton with his

studio in a converted industrial unit further

up the coast. Lock studied at Edinburgh

College of Art and Edinburgh University,

graduating in 1997 with MA’s in both Fine

Art and Art History. During his training,

he won a scholarship to travel to Rome,

and explore the relationship between

history, archaeology and the processes

of painting, a preoccupation which still

forms the conceptual basis that underpins

his practice.

Yellow Falls

mixed media on canvas, 100 x 100 cm




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)


Simon Averill (b. 1961)

Albert Einstein’s ‘spooky action at a

distance’ theory referred to the subject of

‘quantum entanglement’. This principle

has inspired this ongoing series of paired

paintings by Simon Averill. Quantum

entanglement is a physical phenomenon

which occurs when pairs or groups of

particles are generated, interact, or share

spatial proximity in ways such that the

quantum state of each particle cannot be

described independently of the state of

the other(s), even when the particles are

separated by a large distance—instead, a

quantum state must be described for the

system as a whole. Physicist and feminist

theorist Karen Barad coined the term

‘intra-action’ to describe the concept of

‘entanglement’, (not only of fundamental

particles but of all material, matter, of nature

and of meaning). There is a distinction to be

made between intra-action and interaction;

when bodies interact they retain a degree

of independence, each entity existed before

the encounter. When intra-action occurs

individuals materialise and agency emerges

from within the relationship not outside of

it. These works further enhance Averill’s

reputation for attempting to record elusive,

transitory yet fundamental phenomena.

Produced through a multi layered, process

of glazing where methodical and repetitive

series’ of motifs, are used to describe

intangible potentials.

Simon Averill is a British artist born in

Brighton, England in 1961. He currently

lives and works near Marazion in West

Cornwall. Averill studied Fine Art

at Brighton Polytechnic and graduated

with Honours. In 1986 he established a

Printmaking Workshop near Penzance,

Cornwall, which he ran until 1990. He

has been a member of the Newlyn Society

of Artists since the late 1980s. Averill

has exhibited widely with exhibitions in

the UK, Europe and USA including the

Royal Academy of Arts Summer Show,

The Discerning Eye exhibition at the Mall

Galleries, Royal West of England Academy

in Bristol, Sherborne House, Plymouth

Museum, Plymouth Arts Centre, Truro

Museum, Falmouth Art Gallery, Newlyn Art

Gallery and the Festival Hall in Chicago,

USA. He has had 12 exhibitions and

won the Wells Art Contempory painting

prize in 2020.


acrylic on panel, 40 x 40 cm each




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.


left : front / right : back, oil on bespoke panel, 31 x 30 cm


Sax Impey (b. 1969)

Sax Impey’s artworks are often large scale,

immersive and elemental, incorporating

intense detail and dexterity and an

expressive, behavioural use of medium.

Since 2005, Impey has produced works

derived predominantly from experiences

at sea. A qualified RYA Yachtmaster he has

sailed many thousands of miles around the

world. His journeys have had a profound

impact and subsequent development as an

artist. Reconnecting with nature through

this powerful element has the almost

inescapable effect of calling to question

many of life’s existential questions. This

epiphanic moment of realisation, of

revelation, is at the core of Impey’s oeuvre.

Reflecting on and capturing personal

moments and making them universal,

Impey’s work reaffirms the importance

of introspection and confrontation, found

specifically when surrounded by the natural

world; “A mind can breathe, and observe,

and reflect, away from the shrill desperation

of a culture that, having forgotten that it is

better to say nothing than something about

nothing, invents ever new ways to fill

every single space with less and less”.

Impey was born in Penzance, Cornwall. He

currently works from one of the prestigious

Porthmeor Studios in St. Ives. From 2005,

he has collaborated with the cross-cultural,

environmental art group Red Earth. In 2007

Impey’s work was selected for the ‘Art Now

Cornwall’ exhibition at Tate St Ives where

he was placed on the cover of the associated

publication. The same year he was heralded

in The Times as one of the ‘New Faces

of Cornish Art’. In 2010 he was featured

in Owen Sheers’s BBC4 Documentary

‘Art of the Sea (In Pictures)’ alongside

Anish Kapoor, J. M. W. Turner, Martin Parr

and Maggi Hambling among others. His

work was selected as a finalist the 2013

Threadneedle Prize and the year before

was elected an Academician at the Royal

West of England Academy. His paintings

are in multiple collections including The

Arts Council, Warwick University and the

Connaught Hotel.

The Ancient Tree

mixed media on panel, 100 x 150 cm




Joy Wolfenden Brown (b. 1961)

Joy Wolfenden Brown’s intimate oil

paintings feel hauntingly familiar

possessing a raw, emotional, honesty. She

captures fleeting fragments of memory,

moments in time where the inherent

vulnerability of the figures depicted, often

in isolation, is palpable. These are lovingly

yet spontaneously executed reflections

on the human condition, which have an

unnervingly, yet simultaneously comforting,

unguarded quality.

Joy Wolfenden Brown is a British artist born

in Stamford, Lincolnshire. She currently

lives in Bude, North Cornwall. She graduated

from Leeds University then completed a

post-graduate diploma in Art Therapy at

Hertfordshire College of Art & Design

which she worked as an for ten years before

moving to Cornwall in 1999. Since then

she has had numerous solo exhibitions and

was the First Prize Winner in The National

Open Art Competition, 2012. She was also

awarded the Somerville Gallery painting

prize in 2003 and first prize winner at the

Sherborne Open in 2007 and the Revolver

Pricze at The RWA in 2019. Works were

acquired by the Anthony Pettullo Outsider

Art Collection in Milwaukee with further

works held in collections worldwide.

Ochre Light

oil on paper, 128 x 38 cm


Andrew Hardwick (b. 1961)

Andrew Hardwick’s often large scale,

sedimentary paintings display his captivation

with ever decreasing wilderness zones; both

natural and man-made. Playing with and

subverting traditional notions of romantic

landscape painting and the sublime. The

paintings often depict edge-land zones

around big industrial conurbations or ports,

such as large-scale car storage compounds,

redundant factories and polluted waste

lands. Other works draw inspiration from

the more typically idyllic locations such as

Dartmoor and Bodmin Moor. However, these

landscapes are also filled with reminders

of human interference. Roads criss-cross

the moor in deeply scratched lines, a

narrow road is etched into an otherwise

massive moorland triptych, likewise a real

car radiator sits in the surface of another

painting as if decaying and buried by

the earth. His medium of working is also

atypical, paintings are heavily layered with

different types of paint (often sourced

from recycling centres), plaster, plastics,

soils, pigments, roofing felt, hay and

other unconventional materials. To this

rich surface relevant artefacts are often

added, creating reminders, triggering

memories or reflecting fears intrinsic to

a particular landscape. The concept of

layering in the landscape arrived partly

a result of the artist’s childhood, during

which his family’s farm was first sliced

in half by the M5 motorway and then

again by the Royal Portbury Dock. The

land once filled with sheep has become a

pure edge-land wilderness with detritus

of continuous development now occupying

and obliterating the land. Hardwick’s

entire oeuvre makes reference to concepts

of change, memory, history, emotion and

transience. Ever redolent is the notion that

we are but another layer in time.

Andrew Hardwick is a British artist born

in Bristol, England in 1961 where he still

resides. He achieved an MA in Fine Art at

the University of Wales. He is an elected

Academician at the Royal West of England

Academy. He has featured in four solo

exhibitions at Anima Mundi. Works have

been exhibited extensively including

numerous public shows and have been

collected worldwide.

Yellow Sky, Cloud

mixed media on panel, 51 x 89 cm




Passing Clouds

mixed media on panel, 52 x 79 cm


Peter Randall-Page (b .1954)

During the past 25 years Peter Randall-

Page has gained an international reputation

through his monumental sculpture, drawings

and prints which deal with the fundamental

nature of existence. His practice remains

informed and inspired by the study of natural

phenomena and its subjective impact on

our emotions. In recent years his work has

become increasingly concerned with the

underlying principles determining growth and

the forms it produces. In his words “geometry

is the theme on which nature plays her

infinite variations, fundamental mathematical

principle become a kind of pattern book from

which nature constructs the most complex

and sophisticated structures.

Peter Randall-Page is a British artist born

in Essex, England in 1954. He currently lives

and works in Devon. Randall-Page studied

sculpture at Bath Academy of Art from 1973-

1977. In 1999, he was awarded an Honorary

Doctorate of Arts from the University of

Plymouth, an Honorary Doctorate of Letters

from York St John University in 2009 and an

Honorary Doctorate of Letters from Exeter

University in 2010; from 2002 to 2005 he was

an Associate Research Fellow at Dartington

College of Arts. In 2015 he was made a Royal

Academician. Recent commissions include

‘Give and Take’ in Newcastle which won the

2006 Marsh Award for Public Sculpture,

‘Mind’s Eye’ a large ceramic wall mounted

piece for the Department of Psychology at

Cardiff University (2006) and a commemorative

sculpture for a Mohegan Chief at Southwark

Cathedral (2006). Recent projects include

‘Green Fuse’ for the Jerwood Sculpture Park,

Ragley Hall and a major one person exhibition

in and around the Underground Gallery at the

Yorkshire Sculpture Park, June 2009 - April

2010. In 2015 he unveiled ‘The One and The

Many’ at Fitzroy place London, An 25 tonne

boulder inscribes with origin stories from

around the world in native dialect. Over the

years he has undertaken numerous large scale

commissions and exhibited widely across

the globe. His work is held in numerous

public and private collections throughout

the world including Japan, South Korea,

Australia, USA, Turkey, Eire, Germany and

the Netherlands. A selection of his public

sculptures can be found in many urban and

rural locations throughout the UK including

London, Edinburgh, Manchester, Bristol,

Oxford and Cambridge and his work is in

the permanent collections of the Tate Gallery

and the British Museum amongst others. As a

member of the design team for the Education

Resource Centre (The Core) at the Eden

Project in Cornwall, Peter influenced the

overall design of the building incorporating

an enormous granite sculpture, ‘Seed’, at

its heart.

A Little Bit of Infinity

beach pebble, 10 x 13 x 14 cm



Published by Anima Mundi to coincide with ’Beltane’

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

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


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