Fully illustrated for the international online 'Wheel of the Year' exhibition 'Litha' at animamundigallery.com

Fully illustrated for the international online 'Wheel of the Year' exhibition 'Litha' at animamundigallery.com


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In many traditions, time is considered to be cyclical

rather than straight line. Perceived as a perpetual

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

death and rebirth. This cycle is also viewed as a

micro and macrocosm of broader life cycles in an

immeasurable series of rotations composing the

Universe. The days that fall on the landmarks of the

yearly cycle traditionally mark the beginnings and

middle-points of the four seasons.

‘Litha’ is the seventh 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.


“My soul is in the sky.”

William Shakespeare, A Midsummer Nights Dream



Mat Chivers (b. 1988)

“As a child I learnt somewhere that swifts

sleep in the air. They lock their wings

and spiral down, waking before they hit

the ground. I’ve held a kind of nearmystical

reverence for them ever since. I’ve

day-dreamt for hours imagining their epic

migration route from the summer skies of

North-Western Europe to the plains of sub-

Saharan Africa - my mind travelling with

them. Because of their incredible speed and

the fact that they rarely land, they’re quite

hard to observe, so I’ve probably spent more

time experiencing the associations than the

birds themselves. This swift was found the

other side of the Atlantic in the car park of

a Metro supermarket in Montreal. It would

have probably overwintered in Peru if it’s

journey turned out differently. Holding its

body in the palm of my hand I can sense

its absolute stillness. A delicate memory

of airborne freedom. A beautiful vessel.”

The work of British artist Mat Chivers looks

at some of the fundamental phenomena that

drive our thoughts and actions. He explores

ideas relating to perception, evolutionary

process, ecology and ethics by bringing

traditional analogue approaches to making

into counterpoint with state of the art

digital technologies. Chivers has works in

numerous private and public collections

including Oxford University Mathematical

Institute, UK and Fondazione Henraux,

Italy. Solo exhibitions include ‘Migrations’

at Arsenal Art Contemporain Montréal,

Canada and Musée d’art de Joliette, Canada;

‘Harmonic Distortion’ at PM/AM, London,

UK, ‘Altered State’s at Hallmark House,

Johannesburg, South Africa and ‘Syzygy’ at

Anima Mundi. Group exhibitions include The

New States of Being at Centre d’Exposition

de l’Université de Montréal, Canada; A Place

In Time at Nirox, Johannesburg, South

Africa; Glasstress: White Light/White Heat

at Pallazzo Cavalli Franchetti for the 55th

Venice Biennale, Italy and The Knowledge at

The Gervasuti Foundation for the 54th Venice

Biennale, Italy.

Where Do I End and You Begin (Swift)

pencil on paper, 56 x 76 cm


Alban Roinard (b. 1979)

Alban Roinard was born in Paris and

currently lives and works in St Ives,

Cornwall. his practice draws specifically

from close contact with landscape and

community. He is a film maker and

photographer and founded Eia Films and

St Ives TV where he regularly documents

the achievements and challenges of the

town at a time of unprecedented change.

He has twice been nominated for the

Celtic Media Festival Awards and worked as

cinematographer on the war documentaries

’The Americans in the Bulge’ and ‘Road

to Victory’.


(music by Jamie Mills), single channel video, duration 00:05:17




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.

Yellow Volts

acrylic on canvas, 61 x 107 x 107 cm


Tim Shaw (b. 1964)

Tim Shaw RA’s sculpture is often dualistic,

incorporating current affairs, societal

complexity and human conflict with

ancient, mythical, metaphysical and primal

concerns. Shaw’s powerful oeuvre connects

these elements to create wider, timeless

portraits of humanity. The tension between

ancient past and a prosaic presence,

between solidity and breakdown, becomes

an organic part of his worldview, whether

he’s looking at human transgression or the

enlightenment of primitive ritual.

Shaw is a British artist, born in Belfast, he

currently lives in Cornwall. He was elected

an Academician at The Royal Academy

in 2013 and made a Fellow of The Royal

British Society of Sculptors and a Fellow

of Falmouth University the same year.

Shaw has had a number of significant solo

shows throughout the UK, Ireland and

internationally. Most recently the major

public solo exhibitions ‘What Remains’

and ‘Something is Not Quite Right’ a

collaboration between The Exchange and

Anima-Mundi, ‘Mother the Air is Blue,

The Air is Dangerous’ was held in the F.E

McWilliam Gallery in Northern Ireland,

‘Black Smoke Rising’ toured from Mac

Birmingham to Aberystwyth Arts Centre

and Back From the Front presents: Shock

and Awe – Contemporary Artists at War

and Peace at the Royal West of England

Academy. He has undertaken a number of

public commissions including ‘The Rites

of Dionysus’ for The Eden Project, ‘The

Minotaur’ for The Royal Opera House and

‘The Drummer’ for Lemon Quay, Truro.

A more political side to his work became

evident in a number of sculptures responding

to the issues of terrorism and The Iraq War.

‘Tank on Fire’ was awarded the selectors

prize at the inaugural Threadneedle Prize

in 2008 and the installation ‘Casting a

Dark Democracy’ was reviewed in 2008

by Jackie Wullschlager of The Financial

Times as ‘The most politically charged

yet poetically resonant new work on show

in London’. Shaw has been supported by

the Kappatos Athens Art Residency, The

Kenneth Armitage Foundation, The British

School of Athens,The Delfina Studio Trust

through residencies in Greece, Spain and a

fellowship in London. Most recently as an

Artist Fellow at the Kate Hamburger Centre

for Advance Study in the Humanities of

‘Law and Culture’ In Bonn, Germany where

he began work on ’The Birth of Breakdown

Clown’ an existential sculptural work

utilising sculpture, robotics and AI.

The Bringers of Light (III)

bronze (edition of 8), 13 x 35 x 10 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.

Green Stripe / Overhead

mixed media on panel, 25 x 20 cm each


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.


oil on paper, 18 x 45 cm




Simon Averill (b. 1961)

Albert Einstein’s ‘spooky action at a

distance’ theory referred to the subject of

‘quantum entanglement’. This principle

has inspired this ongoing series of paired

paintings by Simon Averill. Quantum

entanglement is a physical phenomenon

which occurs when pairs or groups of

particles are generated, interact, or share

spatial proximity in ways such that the

quantum state of each particle cannot be

described independently of the state of

the other(s), even when the particles are

separated by a large distance—instead, a

quantum state must be described for the

system as a whole. Physicist and feminist

theorist Karen Barad coined the term

‘intra-action’ to describe the concept of

‘entanglement’, (not only of fundamental

particles but of all material, matter, of nature

and of meaning). There is a distinction to be

made between intra-action and interaction;

when bodies interact they retain a degree

of independence, each entity existed before

the encounter. When intra-action occurs

individuals materialise and agency emerges

from within the relationship not outside of

it. These works further enhance Averill’s

reputation for attempting to record elusive,

transitory yet fundamental phenomena.

Produced through a multi layered, process

of glazing where methodical and repetitive

series’ of motifs, are used to describe

intangible potentials.

Simon Averill is a British artist born in

Brighton, England in 1961. He currently

lives and works near Marazion in West

Cornwall. Averill studied Fine Art

at Brighton Polytechnic and graduated

with Honours. In 1986 he established a

Printmaking Workshop near Penzance,

Cornwall, which he ran until 1990. He

has been a member of the Newlyn Society

of Artists since the late 1980s. Averill

has exhibited widely with exhibitions in

the UK, Europe and USA including the

Royal Academy of Arts Summer Show,

The Discerning Eye exhibition at the Mall

Galleries, Royal West of England Academy

in Bristol, Sherborne House, Plymouth

Museum, Plymouth Arts Centre, Truro

Museum, Falmouth Art Gallery, Newlyn Art

Gallery and the Festival Hall in Chicago,

USA. He has had 12 exhibitions and

won the Wells Art Contempory painting

prize in 2020.


acrylic on panel, 40 x 40 cm each


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.

Camouflage at the Edge

acrylic on unprimed canvas, 80 x 80 cm




Stuart Pearson Wright (b. 1975)

Stuart Pearson Wright drew from an early

age and after considering becoming an

actor, finally opted for art school. He

studied at the Slade School of Fine Art

in London. During his time at the Slade,

Pearson Wright won a travel award from

the National Portrait Gallery as part of

its 1998 BP Portrait Awards. He drove

around Britain in a van, producing sketches

and paintings as he went. The resulting

exhibition at the National Portrait Gallery

was called From Eastbourne to Edinburgh:

A Painter’s Odyssey. Godfrey Barker in the

Evening Standard labelled the artist “A

Hogarth for our Times” and Brian Sewell

described the paintings as “images of such

eccentricity and even madness that they fit

perfectly the English tradition of the odd

man out: the Blake, Spencer, Cecil Collins

line, and the largest of them should at

once have been bought by the Tate.” In

2000 Pearson Wright won the BP Portrait

Prize at the National Portrait Gallery,

London. The National Portrait Gallery

subsequently acquired paintings of John

Hurt, Adam Cooper and J.K. Rowling, plus

a series of drawings which were displayed

in 2006’s Most People are Other People.

Stuart Pearson Wright lives and works in

Suffolk, UK and is represented by Flowers.


glazed vulcan stoneware on slate, 28 x 40 x 23 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.

The Magisterium

oil and resin on panel, 101 x 183 cm




Alastair & Fleur Mackie (b. 1977)

Alastair and Fleur Mackie’s sculptural

practice is one of contrasts. It is as labourintensive

as it is formally effortless,

as grounded in ideas of nature as it is

in the intrinsically human struggle to

define a role within the environment;

it is as intellectually ambitious as it is

aesthetically understated. Alastair grew up

in an agricultural community in Cornwall,

UK while Fleur’s childhood was split

between Cameroon, France, and the UK.

They met at art school in London in the

late 90’s. Initially their creative practices

were separate, but over time their work has

evolved into a natural collaboration. In 2011

they moved to live and work in Cornwall, the

landscape of which has played a key role in

the shaping of their vocabulary. Naturally

occurring elements (native metals, wood,

sea shells) are meticulously rearranged and

transformed in a knowingly quixotic attempt

to make sense of the primordial. Each work

is something of an enigma, enriched by the

loaded associations of its material and the

story behind its making. Ally and Fleur

operate by reduction; materials are pared

down to their core. In their work, process

dictates form, no matter how poetic or

Romantic the piece’s origin.

Alastair and Fleur Mackie have shown

extensively in the UK and internationally,

including exhibitions at the Saatchi Gallery

in London, the Venice Biennale and the

Reykjavik Art Museum. They have worked

on a number of public commissions and

their work is held in collections including

The Olbricht Collection in Berlin, the

Salsali Private Museum in Dubai and the

Wellcome Collection in London.

Complex System 27 & 28

cuttlebone (edition of 4 variee), 44 x 49 cm each


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 Boatman

mixed media on paper on panel, 122 x 190 cm




The Boatman Calls

mixed media on paper on panel, 122 x 190 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.

Jackfruit Falling

oil stick, acrylic, watercolour, collage on panel, 30 x 41 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.

Orange Sunset

mixed media on panels, 128 x 284 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.”

What Have You Got There

raw pigment, acrylic ink and oil on canvas, 127 x 101 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.

Latin America

polychrome wood, height 45 cm


David Kim Whittaker (b. 1964)

Most of David Kim Whittaker’s paintings are

based upon a metaphysical interpretation

of the human head. These portrait portals,

are often ambiguous, with the aim of

representing the totality of the human

condition - both the universal and the

empathetic alongside personal experience.

The works often juggle dual states of inner

and outer calm and conflict, offering a glimpse

of simultaneous strength and fragility,

conscious and subconscious, masculine and

feminine. The paintings express Whittaker’s

constant focus on an attempt to express

something far greater than oneself. Recent

works depict the artists deep sensitivity

and increasing unease when confronted

with the compounding global tensions of

this particlar moment. A dual reflection of

hope and warning stares back at us from

the frame.

Whittaker is a British artist born in

Cornwall where 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.

The Nonbinary II (The Oolala)

oil and acrylic on primed panel, 92 x 92 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.

The Sweet Spot

pronghorn hide and horns, foam, clay, thread, pins, rubber eyes, 137 x 134 x 40 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 Past

altar cloth, digitally printed linen, hessian & hand woven fabric, dyed linen & yarn, embroidery 240 x 270 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.

I Know I Exist Somewhere, in Silence (1)

oil on panel, 30 x 24 cm


I Know I Exist Somewhere, in Silence (2)

oil on panel, 30 x 24 cm




Jackson Whitefield (1991)

Mild steel forms were buried, embedded or

secured to the earth at various pertinent

sites and left to be imprinted by the

elements. After a three month period the

steel shapes were photographed, removed

and then etched to paper. These forms are

presented alongside photographic images

of the sites where each form was left

to weather.

Jackson Whitefield is a British artist born in

St. Ives, Cornwall in 1991. Whitefield works

with a diverse range of media including

photography, film, drawing, book making

and site-specific earthworks. Themes which

run through his work include geology,

anthropology, process and language. While

his choice of media and interests are

diverse, his inspiration is rooted firmly

in his immediate surroundings. Always

allowing his environment to lead his

immediate enquiry his approach to making

the work is more about reacting and

engaging with the subject rather than

seeking out ideas that were already formed

in the mind.

Imprint I

etching on paper with silver gelatin prints in a five part polished aluminium frame, 87 x 87 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.

An Abuse of Power

oil on canvas with painted frame, 152 x 122 cm




Luke Routledge (b. 1988)

Luke Routledge creates a phantasmagoric

caste of grotesques constructed a

re-assembled from an ever growing body

of figures. Routledge’s sculptural output is

focused on the description of an alternate

society of nonsensical, protohumans,

anthropomorphic beings and the speculative

fictional multiverse that they call home.

This multiverse is used as a framework

within which to explore and unite diverse

research topics, creating a living, collage

territory. The hypothetical beings that these

sculptures represent are positioned as a

band of travellers exploring and striving to

understand the cosmos they inhabit. They

are building their cultures and communities

as Routledge, through research, stitches

new information into the fabric of their

reality. As his research expands to include

new topics, the beings transition from

place to place - with each presentation they

are simultaneously charting the boundaries

of their existence. Central to both the

material nature of his sculptures and the

narrative setting is the idea of assemblage.

His sculptures are constructed in a modular

method that allows them to be dismantled

and reassembled in new configurations,

resulting in new narrative threads emerging

across the installations and feeding the

stories that he creates. The sculptures,

their tools, possessions and elements of

their landscape are predominantly made

from an air dry clay material that he

has been developing for a number of

years. This material can be manipulated

to achieve a diverse range of finishes and

is used alongside other clays, silicones

and CAD components. He combines these

elements with altered electronics, treating

them as found objects; utilising them to

create a semblance of the technology and

architecture of this other space, brought to

life by animatronic elements.

Flower Sprite

mixed media sculpture, 120 x 60 x 60 cm


Michael McGrath (b. 1977)

Michael McGrath’s paintings are inspired

by an interest in the history of place and

his natural environment but also embodies

a curiosity in the cults of mysticism,

mythology and religion. An interest in

the esoteric is balanced and presented

alongside the more prosaic aspects of daily

life with a playful sense of naivety. His

painted faces often depict deities or the

deceased, where ghosts and skulls naturally

symbolise death and afterlife, but are

rendered with a fair measure of acceptance

and hope. McGrath imagines that “if there

were gods, ghosts or magic, they would

exist within nature and in the landscape;

not just as beings in the sky, but also in the

ground, in the trees, in the flowers and in

the animals.”

Michael McGrath is an American artist and

painter who lives and works in Rhinebeck,

in New York’s Hudson Valley. He graduated

from Ithaca College in 2000 with a B.F.A. in

Fine Art and has most recently shown work

in Rhinebeck, New York, Germany, Belgium,

and in Beijing, China.

Future Planning for Pollinators

soft pastel, coloured pencil and acrylic on paper, 50 x 65 cm




Garden Plans for Attracting Dragons

soft pastel, coloured pencil and acrylic on paper, 50 x 65 cm


Peter Burns (b. 1975)

Peter Burns lives and works in County

Mayo, Ireland. His enchanting impasto

oil paintings unguardedly address the

plight of the lost soul, the lone wayfarer

and the anti-hero. Expressing the solitary

struggle to comprehend the universe that

looms over us and the magnitude of the

world we inhabit, overpowers us and seals

our fate to be ever a stranger in an ever

stranger land.

Burns’ work has been exhibited

extensively internationally and collected

worldwide, and has featured in Wall

Street International Magazine, The

Sunday Times and ArtForum. He was

also a recipient of the Pollock Krasner

Foundation Grant and was awarded a

BA in Sculpture and MFA in Painting

from The National College of Art &

Design, Dublin.

Red Sun

oil on linen, 26 x 36 cm




Jim Carter (b. 1975)

Often uneasy or tragic, irrational or other,

Jim Carter’s work is linked to a real world

of suffering and transcendence: making

sculpture from organic materials as a means

of advocacy, atonement or commemoration;

shifting to story and the written word as

a way to enter emotional and numinous

spaces of memory and dream. What appears

on the surface to be a wilful disturbance of

the remains of organic life in order to fulfil

a creative compulsion is intended to be

part of a transforming and re-sanctifying

process. Taken materials are reconfigured

into new forms to express complex feelings

of grief and loss, love and devotion, fertility

and renewal. Fundamental in this work is a

conviction in an irrepressible spirit for

regeneration in the world, an imperishable

flame that rises most clearly in landscape

and the magic and otherness of animals.

Carter was born in Worcestershire in 1967.

He received an MA with distinction in Art

and Environment from Falmouth University

and an MSc Award in Ecopsychology from

the Centre For Human Ecology, Edinburgh.

His work has appeared in Dark Mountain,

Unpsychology and Earthlines magazine.

For the Old Fires Still Burn and the Night is Blooming

wood, earth, 83 x 39 x 15 cm


Judith Nangala Crispin (b. 1970)

Judith Nangala Crispin is an Australian visual

artist, poet and musician, and a descendant of

Bpangerang people of North East Victoria. Her

skin name, Nangala, was given to her by the

Warlpiri people of the remote Tanami Desert

in northern Australia, a place she has lived

for a few months each year for over a decade.

Her work includes themes of displacement

and identity loss, a reflection on her ancestry,

but it is primarily centred on the concept of

connection with the land. This work forms

a part of Crispin’s ongoing series depicting

the transcendent ascending forms of recently

deceased fauna. Crispin’s camera-less method

of photography incorporates a range of

processes. Her own developed alternative

process of ‘lumachrome glass printing’,

combines elements of lumen printing, cliché

verre, chemical alchemy and drawing. She

works within a mobile geodesic dome which

functions as a giant lens where light streams

penetrate its plastic walls. The mobility of

her studio allows her to go to the site of her

subject, prior to respectful burial. The muse,

is raised onto a plastic box, rested on special

photographic paper for up to 50 hours as the

passage of sun and moonlight exposes its

posthumous portrait. Each work is viewed as

a collaboration with nature, where honouring

the subject is a key objective. In each work

the animals are diaphanous where light has

literally passed through their bodies. They

appear drawn in a primitive motion by a

slipstream of spirit, levitating in a space of

brooding luminosity that appears sentient

and wholly focused on the task of enfolding

each creature back into its care. The result

offers a profound sense of what lies beyond.

Nangala Crispin has published a collection of

poetry, The Myrrh-Bearers (Sydney: Puncher

& Wattmann, 2015), and a book of images and

poems made while living with the Warlpiri,

The Lumen Seed (New York: Daylight Books,

2017). She is a member of Oculi collective, one

of the chapter leads of Women Photograph

(Sydney), and was the 2021 Artist in residence

with Music Viva. She is also the Poetry

Editor for The Canberra Times. She has

also directed and worked on two major

social justice research projects – The Julfa

Project, which preserved photographic

records of a destroyed Armenian cemetery

and digitally reconstructed the site from

new and existing images; and Kurdiji 1.0, an

Aboriginal suicide prevention app, which

strengthens resilience in young indigenous

people by reconnecting them with community

and culture. Nangala Crispin work has been

exhibited internationally.

Jonah Sings Canticles to the Rising Sun

lumachrome glass print, cliche-verse, chemigram. roadkill pardalote with gold chloride and seleni-

um, acid washed and subjected to electric current. exposed 26 hours on fibre paper in an abandoned

car. re-printed as a single image, detailed with gold and silver leaf, 120 x 90 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.


oil on panel, 76 x 122 cm


Roger Thorp (b. 1955)

Roger Thorp is a British artist born

in Derbyshire. He currently lives and

works in Cornwall. He previously worked

as a producer on music videos before

directing / producing programmes for

NGO’s such as WWF, ILO, Greenpeace

and the Red Cross, working in Australia,

Mongolia and the USA. He has also made

two feature films. Other work by Thorp

as a writer / director has been screened

in Rome, Barcelona, Berlin, Oslo,

Copenhagen, Istanbul, USA, Cornwall and

London. In 2015 he founded ‘The Olive

Network’ a sophisticated web platform

built to foster tolerance and understanding

throughout diverse global communities

by focusing on the positive long-term

contributions of charity, the arts and

humanities. Thorp’s artwork has been

exhibited extensively.

A Beautiful Morning

single channel video (duration 02:40)




Jamie Mills (b. 1983)

Jamie Mills’ practice is underpinned by an

investigation surrounding the dissemination

of gesture between materiality and

environments – referencing both internal

and external landscapes. These concerns are

reinforced by an interdisciplinary approach

to working and are made manifest through

the renderings of materials often sourced

or retrieved via immersion into nature or

borderlands The term ‘gestalt’ refers to a

concept within psychotherapeutic fields,

inferring that the nature of a whole is

greater than the sum of its parts. Mills’

employment of the mediums of photography,

sound and mark-making can be read in this

sense whereby a reality is constructed

not by the sole surface representation of

any individual element alone, but instead

there is a sense that the artists reality

is presented through the relationships

and the spaces between elements. In other

terms, it is work that requires both on

one hand a stepping away from, and on

the other an immersion into, in order

to extract an empathetic understanding

of the essence of the work that presides

from both a conscious and subconscious

framework of mind. Universally inherent

within his process of rendering, there

is a conscious dialogue between, on one

hand material intent (or ‘essence’) and on

the other, control (or the relinquishing

of control), so as to make work that

negotiates thresholds and occupies at

times a liminal status. In this sense Mills’

“intuitively composed” sound works, and

his images or assemblages become markers

to a series of internal journeys or rituals

informed by an often poetic dialogue

between material, form and environment.

Vestige (Of Stone and Stars)

paper, beeswax, graphite, thread, 27.5 x 34 cm


Roy Eastland (b. 1963)

“This work is one of a long-term and ongoing

series of drawings based on photobooth

images of my Mum. The starting point for

the drawings in this series are various used

and unused photobooth images which I’ve

found about the house at various times.

It was originally one of a strip of four

automatically timed (and in this case misstimed)

snap shots taken in a photobooth

(my hunch is that it would have been the

photobooth machine which used to be

in Woolworths on Margate High Street).

These drawings are a kind of meditation on

the random traces of human presence-inmoments.

The original photobooth images

are fixed traces of moments alone, waiting

for the automatically timed snapshots. I

like that Mum has moved every time the

camera took a photo: better posed images

would not have recorded those looks

that are familiar to me. The hand-writing

on my drawing is my copy of her handwriting.

This is another way to include her

presence in my drawing. And hand-writing

is also a kind of drawing. As with my other

metalpoint drawings, this drawing has been

repeatedly scratched-away and redrawn.

I’m constantly re-drawing these works in

the hope of catching sight of something

which feels true but which I could not

have foreseen. The best I can ever hope

for is a glimpse. I think of Drawing as the

Art of making traces meaningful; it’s the

business of making ghosts.”

Roy Eastland lives and works in Thanet,

Kent. He graduated from Edinburgh

College of Art in 1996. Works have been

exhibited in numerous solo and group

exhibition including the Trinity Buoy Wharf

Drawing Prize, The Jerwood Drawing Prize

(on three occasions), The ING Discerning

Eye Drawing Bursary, The Zoo Art Fair,

Miami Art Fair, The London Art Fair,

The BP Portrait Award, The British Art

Fair, The Hunting Art Prizes, Margate

Rocks, the Turner Contemporary Open,

among others.

Mum (Photo booth)

goldpoint and silverpoint on gesso on board, 21 x 15 cm




Andrew Litten (b. 1970)

Andrew Litten’s life size bronze sculpture

‘Listening’ recently formed the focal point

of The Samaritans’ medal winning ‘Listening

Garden’, at this years RHS Chelsea Flower

Show, in celebration of the Samaritans’ 70th

Birthday. The highly emotive piece, sat in a

quiet corner of the garden, waiting to hear

the thoughts of those who passed through.

Andrew’s expressionist style strives to

reflect the conflict and vulnerability of

human existence. His work draws on the

obscure, with his figures often appearing

in some form of isolation. However, with

‘Listening’, Andrew also wanted the figure

to encourage deep rooted human connection

- empathetically encouraging people to sit,

talk, listen, and be heard.

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.


bronze (edition of 3), 145 x 63 x 80 cm


Published by Anima Mundi to coincide with ’Litha’

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

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

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


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