Lughnasadh

Lughnasadh

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.
‘Lughnasadh’ is the eighth and final incarnation
in an evolving series of Anima Mundi online mixed
exhibitions following this rhythm of the seasons,
known as ‘the wheel of the year’. This ‘calendar’
provides a cue for the duration of each show, and
inevitably flavours the selection of works presented.
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“For many generations… they obeyed the laws
and loved the divine to which they were akin…
they reckoned that qualities of character were
far more important than their present prosperity.
So they bore the burden of their wealth and
possessions lightly, and did not let their high
standard of living intoxicate them or make them
lose their self-control… But when the divine
element in them became weakened… and their
human traits became predominant, they ceased to
be able to carry their prosperity with moderation.”
Plato, Timaeus
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Tim Shaw (b. 1964)
The Imperial War Museums have acquired
Tim Shaw’s monumental sculpture ‘Man
On Fire’ to be permanently installed at the
Imperial War Museum North in front of the
museum’s Libeskind building. The work,
cast into bronze, was unveiled in July 2023.
‘Man On Fire’ was originally conceived in
response to the US-led invasion of Iraq.
Larger than life in scale at 4 x 4 x 2.5 m, it
captures the horrific moments of a figure
on fire, caught in conflict. The sculpture
is a powerful image of contemporary
conflict and compassionately relates to the
human cost of war. Originally shaped by
photographs of a soldier diving for his life
from a burning armoured vehicle during a
riot in Basra, Iraq 2005, ‘Man on Fire’ bears
witness to the universal horror of war. War is
time old, and conflict does not discriminate
between gender, age or country. Russia’s
brutal invasion of Ukraine, testifies to the
fact that we continually repeat the same
tragic mistakes.
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 public
solo exhibition throughout the UK, Ireland
and internationally. 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 overtly political side to his
work became evident through a number
of sculptures responding to the issues
of terrorism and conflict. ‘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 FT 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.
Horror of War (Cast Head of Man on Fire (Imperial War Museum North))
resin (edition of 8), 66 x 60 x 58 cm
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Man on Fire (Working Model)
bronze (edition of 9), 38 x 40 x 25 cm
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David Kim Whittaker (b. 1964)
Yelena (Victim of War) is a multi-media
portrait made of Yelena Bolyachenko.
a woman who was badly wounded by a
Russian missile strike as she drank tea in
her kitchen in the Ukraine.
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 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.
Yelena (Victim of War)
oil, acrylic, pencil, china marker, cloth, torn bible, vinyl, tissue on primed panel, 91 x 91 cm
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David Cooper (b. 1972)
“There are acts of terror that can’t be ignored
or cleared from the mind. These ‘War Hed’s’
came about following Russia’s invasion of
Ukraine. In this series destruction is the
making. Clay, a simple medium from the
ground, moulded with taped hands, and
bitten, to sculpt the brutal yet fragile
pieces. Biting the clay became symbolic of
an act of unarmed survival.”
David Cooper’s work deals with disorder.
His work is examined inside out, and outside
in, through a series of unpremeditated and
intuitive processes. The works inquire into
a humanity that feels, fears and confronts
restriction and control; a state of being
often conducive to an abominable sense
of desolation and fettered anxiety. These
unknown (and unknowable) aspects of the
human condition, driven by momentary
absences of restraint, structure and
control are embodied. Broken happenings,
motivated by instinct, assemblage
techniques and random thoughts, naivety
and energy are exploited to sculpt the
identity of these unfathomable aspects of
human experience.
David Cooper was born in Wakefield, West
Yorkshire in 1972. He currently lives and
works in Suffolk. Cooper studied Fashion
at John Moores University followed by an
MA in Fashion Design at Central Saint
Martins where he went on to become
lead designer and head of menswear at
Alexander McQueen. More recently Cooper
attended Fine Art summer school at
the Slade School of Fine Art in 2008.
Works have been exhibited extensively in
the UK.
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‘War Hed (The Fallen)’
bronze (edition of 3), 26 cm height
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Paul Benney (b. 1959)
Paul Benney was born in London and
currently lives and works in Suffolk. He rose
to international prominence as a member of
the Soho and East Village Neo-Expressionist
group, whilst living and working in New
York City in the 1980s where he worked and
exhibited alongside peers Marylyn Minter,
Jean-Michel Basquiat and David Wojnarovicz
among the many other others who made
up the exploding NY art scene. Despite
living and working in this extraordinary
creative environment Benney’s painting
maintained a uniquely English sensibility.
Collections including the Metropolitan
Museum of Art in New York, The Brooklyn
Museum, The National Gallery of Australia
and The National Portrait Gallery in London,
The Royal Collection and The Eli Broad
Foundation own works. He has exhibited
in eight BP Portrait Award Exhibitions and
twice won the BP Visitors’ Choice Award.
Benney’s portrait subjects have included HM
Queen Elizabeth II, Sir Mick Jagger, John
Paul Getty III, 7th Marquess of Bath, The
State Portrait for Israel, Lord Rothschild,
as well as Ben Barnes for the portrait in
the feature film ‘A Portrait of Dorian Grey’.
Benney was invited to be resident artist
at Somerset House in 2010. During his
five year residency he held the exhibition
‘Night Paintings’ in 2012 and drew over
15,000 visitors. In 2017 his epic painting
and holosonic sound installation ‘Speaking
in Tongues’ was a prominent feature of the
Venice Biennale.
Deposition (Corpus Delicti Series)
oil on canvas, 210 x 135 cm
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Carlos Zapata (b. 1963)
Carlos Zapata predominately makes
idiosyncratic carved and painted wooden
sculpture alongside mixed media
installation. His work deals with many
challenging and potent humanist themes
including poverty, conflict, religion
and race, yet perhaps paradoxically, the
overriding characteristics of the work are of
emotive empathy and compassion. Zapata’s
work belongs to and takes inspiration from
folk and tribal artforms from all over the
world but specifically from South America,
from its indigenous populace and the
trade routes and traditions that have fed it
over the centuries. Many of his sculptures
have evolved from personal experience of
living in a foreign land and from his home
country where civil issues continue to
trouble its people.
Carlos Zapata is a Colombian artist who
currently lives and works near Falmouth in
Cornwall, UK. He has exhibited extensively
internationally with works held in numerous
private and museum collections around
the world.
Ecstacy
polychrome wood and mixed media, 30 x 6 x 5 cm
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Henry Hussey (b. 1990)
Henry Hussey’s artworks are often
emotionally and physically raw, yet
contrastingly beautiful and intricate, created
with force through often paradoxically
laboured mediums, including textile,
glass, ceramic, paint and film. Whether
through an expanding vocabulary of quasimythological
symbols, or in embellished
lines of text extracted from performative
situations, Hussey explores personal and
national identity in response to aggravating
relationships and events. Recent
experimentations reveal a deep concern
with control and chaos and the sweet spot
in between these two distinctive states.
Henry Hussey is a British artist born in
London in 1990 where he still resides.
Hussey studied Textiles at Chelsea College
of Art before completing an MA in Textiles
at the Royal College of Art. His work is
widely respected and has been exhibited
in notable exhibitions including The
Textiel Biennale 2017 at Museum Rijswijk
in the Hague, a solo presentation at Art
Central in Hong Kong, the Bloomberg New
Contemporaries in 2014 at the Institute of
Contemporary Art in London, the Royal
Academy London and Volta New York and
the Young Talent Contemporary Prize at
the Ingram Collection in 2016. Hussey has
participated in residencies at La Vallonea,
Tuscany, Italy in 2018 and participated
in a residency at Palazzo Monti, Milan
in 2020. His work is held in collections
worldwide including Simmons & Simmons,
Hogan Lovells, The Groucho Club and
Soho House.
Bleed Me Dry
digitally printed linen & canvas, dyed hessian & yarn, bleached velvet, screen-print, embroidery, 260 x 130 cm
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Arthur Lanyon (b. 1985)
Arthur Lanyon paintings combine intuitive
figurative motifs with an emotive, gestural,
abstracted language. His energetic works
are sited on a physical and metaphysical
cross roads, like a belay between numerous
visual and emotional pinnacles. They offer
a progressive link between the outside
world, the inner architecture of the
brain, altered states of consciousness,
memory and the unencumbered essence of
child’s drawing.
Arthur Lanyon is a British artist born
in Leicester, England in 1985. He lives
and works from a studio near Penzance,
Cornwall. Born in to an artistic family, his
father was the painter Matthew Lanyon and
his grandfather the celebrated, influential
and world renowned modernist painter
Peter Lanyon. He won the Hans Brinker
Painting Award in Amsterdam in 2007 and
gained a first class degree in Fine Art
from Cardiff University in 2008. Upon
graduating he was featured in Saatchi’s
‘New Sensations’ exhibition. In 2014,
his work was in the long-list for the
Aesthetica Art Prize and was included in
the award’s published anthology. His debut
Anima Mundi solo exhibition ‘Return
to Whale’ opened in 2016, which was
followed by ‘White Chalk Lines in 2018,
‘Arcade Laundry’ in 2020 and ‘Coda for an
Obol’ in 2022. Works have been exhibited
extensively, notably including Untitled Art
Fair in Miami; Zona Maco, Mexico City;
the Saatchi Gallery London; The House of
St Barnabas, London; CGK, Copenhagen;
Tat Art, Barcelona and Herrick Gallery,
Mayfair. Arthur Lanyon paintings are held
in private collections worldwide.
House Hat
oil, oil stick, spray paint, charcoal on linen, 190 x 200 cm
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Miles Cleveland Goodwin (b. 1980)
Miles Cleveland Goodwin’s upbringing
in the American South is a recurring
theme in his brooding paintings and
sculptures. Goodwin draws parallels
between the people he portrays, the
rhythm of their rural ways of life, and
the rugged landscapes that they inhabit.
The artist frequently evokes themes of
mortality, decay and solitude with a sense
of phantasmagoric realism combined
with a haunting stillness. Goodwin’s
‘Southern Gothic’ works conjure the
ambivalent beauty of a place that is both
simultaneously desolate yet deeply soulful.
Goodwin lives and works in Georgia, USA.
He graduated from the Pacific Northwest
College of Art in Oregon in 2007 with a
BFA in painting and printmaking. His work
has been featured in group exhibitions
at the Hallie Ford Museum of Art, the
Grace Museum and the Amarillo Museum
of Art among others and can be found in
collections worldwide.
Lucifer
oil on canvas, 81 x 79 cm
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Andrew Hardwick (b. 1961)
Andrew Hardwick’s often large scale,
sedimentary paintings display his captivation
with ever decreasing wilderness zones; both
natural and man-made. Playing with and
subverting traditional notions of romantic
landscape painting and the sublime. The
paintings often depict edge-land zones
around big industrial conurbations or ports,
such as large-scale car storage compounds,
redundant factories and polluted waste
lands. Other works draw inspiration from
the more typically idyllic locations such as
Dartmoor and Bodmin Moor. However, these
landscapes are also filled with reminders
of human interference. Roads criss-cross
the moor in deeply scratched lines, a
narrow road is etched into an otherwise
massive moorland triptych, likewise a real
car radiator sits in the surface of another
painting as if decaying and buried by
the earth. His medium of working is also
atypical, paintings are heavily layered with
different types of paint (often sourced
from recycling centres), plaster, plastics,
soils, pigments, roofing felt, hay and
other unconventional materials. To this
rich surface relevant artefacts are often
added, creating reminders, triggering
memories or reflecting fears intrinsic to
a particular landscape. The concept of
layering in the landscape arrived partly
a result of the artist’s childhood, during
which his family’s farm was first sliced
in half by the M5 motorway and then
again by the Royal Portbury Dock. The
land once filled with sheep has become a
pure edge-land wilderness with detritus
of continuous development now occupying
and obliterating the land. Hardwick’s
entire oeuvre makes reference to concepts
of change, memory, history, emotion and
transience. Ever redolent is the notion that
we are but another layer in time.
Andrew Hardwick is a British artist born
in Bristol, England in 1961 where he still
resides. He achieved an MA in Fine Art at
the University of Wales. He is an elected
Academician at the Royal West of England
Academy. He has featured in four solo
exhibitions at Anima Mundi. Works have
been exhibited extensively including
numerous public shows and have been
collected worldwide.
Island, Estuary
mixed media on panels, 112 x 208 cm
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Sax Impey (b. 1969)
Sax Impey’s artworks are often large scale,
immersive and elemental, incorporating
intense detail and dexterity and an
expressive, behavioural use of medium.
Since 2005, Impey has produced works
derived predominantly from experiences
at sea. A qualified RYA Yachtmaster he has
sailed many thousands of miles around the
world. His journeys have had a profound
impact and subsequent development as an
artist. Reconnecting with nature through
this powerful element has the almost
inescapable effect of calling to question
many of life’s existential questions. This
epiphanic moment of realisation, of
revelation, is at the core of Impey’s oeuvre.
Reflecting on and capturing personal
moments and making them universal,
Impey’s work reaffirms the importance
of introspection and confrontation, found
specifically when surrounded by the natural
world; “A mind can breathe, and observe,
and reflect, away from the shrill desperation
of a culture that, having forgotten that it is
better to say nothing than something about
nothing, invents ever new ways to fill
every single space with less and less”.
Impey was born in Penzance, Cornwall. He
currently works from one of the prestigious
Porthmeor Studios in St. Ives. From 2005,
he has collaborated with the cross-cultural,
environmental art group Red Earth. In 2007
Impey’s work was selected for the ‘Art Now
Cornwall’ exhibition at Tate St Ives where
he was placed on the cover of the associated
publication. The same year he was heralded
in The Times as one of the ‘New Faces
of Cornish Art’. In 2010 he was featured
in Owen Sheers’s BBC4 Documentary
‘Art of the Sea (In Pictures)’ alongside
Anish Kapoor, J. M. W. Turner, Martin Parr
and Maggi Hambling among others. His
work was selected as a finalist the 2013
Threadneedle Prize and the year before
was elected an Academician at the Royal
West of England Academy. His paintings
are in multiple collections including The
Arts Council, Warwick University and the
Connaught Hotel.
Reason
mixed media on panel, 122 x 183 cm
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Gabrielle K Brown (b. 1994)
Embodying a natural and intuitive,
seemingly naive, yet extremely complex
aesthetic, Gabrielle K Brown is a multifaceted,
multi-media artist who eagerly and
energetically seeks new ways to tell stories
through her artworks. Her pieces retain an
object, often shrine-like quality, utilising
materials including wood, various paints,
resin, fabrics and even hair - nothing
is beyond limits. The works dissect the
relationship we have with ourselves, our
companions, our society and our past with
an awe and celebration of nature and
the divine, shedding light on how we
grow and how we suffer as human beings.
Confrontational imagery is often contrasted
with uplifting symbolism, actions and
words - emphasising the extremes of the
human condition and experience, and
yearning within the energetic and fraught
times that we live in.
Born in 1994 on the east coast of Canada in
New Brunswick, Brown grew up along the
riverside and mountains which is where she
connected to art and began painting and
sculpting. She has spent much of her life
traveling the world and moving throughout
Canada which has always reflected in her
work, but has recently moved back home to
St John, the oldest city in Canada.Work has
been exhibited at Art Basel Miami, as well
as Montreal and New York and LA in the
United States.
The Only Lord and Saviour Who is Gonna Save You Is You
mixed media, 48 x 28 cm
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Luke Frost (b. 1976)
Luke Frost is a British abstract painter
living and working in West Cornwall.
Despite his notable heritage, as Son of
the English painter Anthony Frost and
the Grandson of the celebrated Modernist
painter Sir Terry Frost, his paintings could
be seen to instead echo a formality found in
1960s American hard-edge, post-painterly,
abstraction. However Frost has developed
his own means of exploring complex
colour relationships, be they harmonious
or provocative, and their impact on their
surroundings alongside an internal and
more contemplative space.
Frost began exhibiting in 2003 following
studies at Falmouth and Bath Schools
of Art. His work was featured in ‘Art
Now Cornwall’ at Tate St Ives in 2007
and in 2008 he was awarded a Tate St
Ives artist in residency during which
time he worked at Porthmeor Studio No.
5, formerly occupied by Ben Nicholson
and Patrick Heron. His solo exhibition
‘Paintings in Five Dimensions’ was shown
at Tate St Ives in 2009. He has since
exhibited in Cornwall, London and USA,
with essays written on his work by Matthew
Collings, Tony Godfrey and Michael Klein.
Deep Cobalt, Grey Volts
acrylic on aluminium, 53 x 36 cm
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Pale Cerulean & Cobalt Blue Volts
acrylic on aluminium, 70 x 45 cm
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Efrat Merin (b. 1989)
Efrat Merin is an artist working across
multiple mediums, mainly painting, drawing
and filmmaking. Her works set forth a
retelling of mythical narratives. Gorgons,
witches, hybrids, and hermaphrodites
fuse into an image of subconsciousness.
Nakedness is disengaged from sexuality,
binaries of femininity and masculinity are
transgressed. Female desire, with its long
history of being demonised, is unabashedly
celebrated; the female gaze regains its
power. In recent works, she uses the
sgraffito technique, in which parts of the
surface are scratched and removed, thus
exposing the layer underneath. The use of
cold encaustic paint, readily accepts every
mark. Revealing rather than adding, to this
archaeological-like process which endows
the works with a quality of discovery.
Merin was born in Tel Aviv and currently
lives in London. She completed her
BA in Fine Art at Hamidrasha Faculty
of the Arts, Beit Berl College in Israel
and was recently a participant in Turps
Studio Programme. Awards include an
upcoming residency at Van Gogh AIR,
Zundert, NL; the Darbyshire Award for
Emerging Art; Artist-in-Residence at Frans
Masereel Centrum, Kasterlee; Brixton Art
Prize (Shortlisted); Jackson’s Art Prize
(shortlisted) and Alpine Fellowship Visual
Art Prize (shortlisted). She is included in
Bloomberg New Contemporaries 2023.
Transmutations
cold encaustic on panel, 110 cm diameter
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Lilith & Eve in One of the Possible Worlds
cold encaustic on panel, 110 x 110 cm
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Birth of Lilith as an Androginous Time Traveller
cold encaustic on panel, 110 x 110 cm
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Jim Carter (b. 1975)
Often uneasy or tragic, irrational or other,
Jim Carter’s work is linked to a real world
of suffering and transcendence: making
sculpture from organic materials as a means
of advocacy, atonement or commemoration;
shifting to story and the written word as
a way to enter emotional and numinous
spaces of memory and dream. What appears
on the surface to be a wilful disturbance of
the remains of organic life in order to fulfil
a creative compulsion is intended to be
part of a transforming and re-sanctifying
process. Taken materials are reconfigured
into new forms to express complex feelings
of grief and loss, love and devotion, fertility
and renewal. Fundamental in this work is a
conviction in an irrepressible spirit for
regeneration in the world, an imperishable
flame that rises most clearly in landscape
and the magic and otherness of animals.
Carter was born in Worcestershire in 1967.
He received an MA with distinction in Art
and Environment from Falmouth University
and an MSc Award in Ecopsychology from
the Centre For Human Ecology, Edinburgh.
His work has appeared in Dark Mountain,
Unpsychology and Earthlines magazine.
Cygnus Shapes the Summer King
wood, magpie & jackdaw feathers, earth, blood, alder & black poplar catkins, wool, deer & fox hair, 24 x 14 x 8 cm
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Chris Anthem (b. 1974)
Chris Anthem is a British artist. He has
strong links to Lebanon and East Africa,
living and painting in Sudan for the past
4 years, and more recently in Mauritania
and Senegal. Anthem studied fine art in
Liverpool and then the Slade School of
Fine Art London. Projects have included
painting dresses for Basil Soda Haute
Couture and The Budapest Art Factory
Residency. He is presently researching
a new body of work in Dakar, Senegal.
“The mark has an ambiguous nature; on
the one hand pertaining to be other than
its material actuality, whilst it still offers
the possibility of being congruent with
an honesty of spirit. I recognise that
honesty in artworks when I’ve managed
to keep its energy there. In some works
that honesty dies, it gets lost in its own
rhetoric and the energy dies, or rather the
works commit their own clichéd suicide,
stillborn in the cowl glister of varnish.
It still surprises me that honesty and
mortality are still so co-dependent and
that short-cuts of effect kill paintings.
Every successful artwork that I’ve done has
had at its core a tangible event, something
unresolved and nagging to get itched. That
before the idea, the internal image, before
the composition and the stitching of sources
and technique there is the event. In the
painting, in spite of its seductive surfaces
and its neurotic baroque, there lies some
tender actuality that only a pencil, or brush
and oil would soothe, and only a humility
of mark can address. The materials are the
salve that cures the surface – balm of a
meglip scab. And I guess it’s that rupture,
that intrusion on the surface tension on
the canvas; or paper, or mind, or body, that
the rest of the painting dresses – like you
would, whether functionally or theatrically,
a wound.”
The Telling of Adji Sarr
charcoal and chalk on paper, 160 x 120 cm
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Kate Clark (b. 1972)
Kate Clark’s sculptures invite the viewer to
experience an instinctive and primal reaction,
that encourages further examination of our
own humanity. Stitched over a hand-sculpted
human face, the material quality of her ethically
sourced animal hide brings an authenticity to
the final sculpture, through what the artist
describes as a unique energy and presence.
We identify with animals through both our
connection with and separation from them.
Recognising these contradictions, Clark’s
fusion of human and animal suggests that our
human condition is fully realised only when
we acknowledge and reconcile our current
state and our natural instincts, acknowledging
the animalistic inheritance within the human
condition. She achieves this through emphasis
on the characteristics that differentiate us
from the rest of the animal kingdom, and,
importantly, the ones that unite us.
Kate Clark lives and works in Brooklyn, New
York. She attended Cornell University for her
BFA and Cranbrook Academy of Art for her
MFA and has been awarded fellowships from the
Jentel Artists Residency in Wyoming, The Fine
Arts Work Center Residency in Provincetown,
MA, and the Marie Walsh Sharpe Studio
Program in New York. Clark was nominated
for a USA Fellowship, a Louis Comfort Tiffany
Award and an American Academy of Arts
and Letters award. She was awarded a grant
from The Virginia Groot Foundation in 2013
and a New York Foundation For the Arts
(NYFA) Fellowship Award in 2014. Clark has
exhibited in solo museum exhibitions at the
Mobile Museum of Art, The Newcomb Art
Museum and the Hilliard Museum and in group
museum exhibitions at the Aldrich Museum of
Contemporary Art, The Islip Art Museum, and
The Bellevue Arts Museum, MOFA: Florida
State University, Cranbrook Art Museum, Frist
Center for the Visual Arts, The Winnepeg Art
Gallery, the Glenbow Museum, the Musée de
la Halle Saint Pierre, Paris, The Art Gallery at
Cleveland State University, the Hudson Valley
Center for Contemporary Art, the Nevada
Museum of Art, the David Winton Bell Gallery
at Brown University, the Bemis Center for
Contemporary Arts, the Biggs Museum of
American Art, the Royal Melbourne Institute
of Technology, and the J. Paul Getty Museum.
Her work is collected internationally and is in
public collections such as the JP Morgan Chase
Art Collection, the 21c Collection, the David
Roberts Art Foundation and the C-Collection
in Switzerland. Clark’s sculptures have been
featured in the Wall Street Journal, New
York Times, New York Magazine, Art21:Blog,
The Village Voice, PAPERmag, The Atlantic,
Hyperallergic, NYArts, Huffington Post, Hi
Fructose, the BBC World News Brazil, Hey!
Magazine, Time Out, ID Paris, Cool Hunting,
Wallpaper, Creators Project/VICE, Sculpture
Review and many other publications.
In addition she was filmed by National
Geographic in her studio over a 2 month
period for a short documentary about her work.
Don’t Break the Spell
spanish goat, horns, clay, foam, thread, pins, rubber eyes, wood, 66 x 50 x 30 cm
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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.
Peak Line
mixed media on canvas, 240 x 150 cm
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Marianne Walker (b. 1970)
Marianne Walker makes three-dimensional
drawings that are heavily informed by the
material remains of the past. She uses
paper-clay to make fragmentary body parts
that she then draws across using ink and
pencil. She see’s drawing as a process
of materialisation, a dynamic enlivening
that infuses potency and presence into
the work. Her objective is to escape
the rectangular page and push the twodimensional
medium of drawing into
becoming a three-dimensional entity that
can further confront the viewer.
Marianne Walker was born and raised in
Yorkshire, then Hong Kong. She now lives
and works in London. She gained an MA
in Sculpture from Wimbledon College of
Art and received the Observer Magazine
New British Artist Award for her final
exhibition. Her work has been featured
in national and international exhibitions
including the Jerwood Drawing Prize,
Romantic Detachment (PS1, Moma New
York), Contemporary British Drawing 2015
(Xi’an Academy of Fine Arts, China) and
Artworks Open 2018 (Barbican Arts Group).
Foremothers Feet
ink and pencil on sculpted paperclay, 25 x 25 x 5 cm
47

Faye Eleanor Woods (b. 1998)
Faye Eleanor Woods is a Scottish artist
currently living and working in West
Yorkshire. Her symbolic artwork acts as a
love letter to her own experience, full of
life’s joy, absurdity, humour, loss and fear.
Recent works explore her own personal
journey through grief, one she describes
as dark, weepy and often hilarious. She
hails her work as a tangilble form of inner
catharsis. Using raw pigments and acrylic
ink she forces rich colour into the grain
of the canvas, blurring edges with copious
amounts of water or using thin layers of oil
to blend the figures with their backgrounds
creating an ethereal presence. As Woods
says “I try to bring attention to the surreal
aspects of life and the way the oddness of
experience manifests within individuals and
how that manifestation then affects me. In
my vulnerability I crave strange moments of
intimacy. I imagine drinking straight from
the tap of all emotion, drinking so much
of it, I take on too much and I’m sick and
everything I spew out ends up in my work.”
I Have Sold My Soul For This Pint & I Have No Regrets
raw pigment, acrylic ink and oil on canvas, 167 x 304 cm
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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 III
etching on paper with silver gelatin prints in polished aluminium frame, 87 x 91 cm
49

Laurence Edwards (b .1967)
Laurence Edwards’ sculptural practice
has long been concerned with the
physical and metaphysical, orderly and
entropic, entwining of man, nature and
time. Organic matter is often built into
the casting process, perhaps a detritus
of leaves, branches, stone and / or rope.
One of the few sculptors who casts
his own work, he is fascinated by the
metamorphosis of form and matter that
governs the lost-wax process which is
an inherent part of his process. It is a
method of working which also registers
symbolically and conceptually. His
primary working material is bronze, an
alloy that physically and metaphorically
illustrates the natural tendency of
any system in time to tend towards
disorder and chaos. His sculptures
express this raw material potential,
harnessing molten liquid versatility to
achieve solid mass. Each process mark
is both embraced and retained, telling
the story of how and why each work
came to be.
Based in Suffolk, Edwards studied
sculpture at Canterbury College of Art
and bronze casting at the Royal College
of Art with Sir Antony Caro. After
winning a Henry Moore Bursary, the
Angeloni Prize for Bronze Casting and
an Intach Travelling Scholarship, he
studied traditional casting techniques
in India and Nepal, an experience that
not only influenced his treatment of
form and technique, but also gave him
the necessary tools to establish his
own atelier and foundry. In November
2019, ‘Man of Stones’ was unveiled
at the Sainsbury Centre in Norfolk.
In 2018, Edwards was commissioned
by Doncaster Council to create a
sculpture that celebrates the lives of
those who worked in the collieries
around Doncaster. ‘A Rich Seam’ was
unveiled in Print Office Street in 2021.
In November 2021, Edwards installed
a 26-foot-high sculpture, alongside
the A12 highway in Suffolk, called
‘Yoxman’. This colossal figure embodies
his fascination between the human
figure and the environment; he is part
tree, cove, cliff and figure. In February
2023 “A Gathering of Uncertainties”
a solo exhibition of large scale works
and studies opened at Orange Regional
Museum, NSW, Australia. In May 2023
“Five Walking Men” on loan from the
Nock Art Foundation New Zealand
where unveiled on the new extension
to the Art Gallery of New South
Wales. Edwards is represented by
Messums Wiltshire.
Gathering of Uncertainties
bronze (edition of 12), 100 x 100 x 65 cm
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Katie Sims (b. 1988)
Painting, for Katie Sims, is the closest
thing to an act of communion. Her work
reinforces the complexities of engagement,
of seeing beyond first appearances and
in questioning the origins and absolutes
presented. Constraints are an integral part
of her process, from a conceptual, painterly
and physical stance. These limitations help
her pare back to the essential, towards a
directness of emotional statement and to
silence; the silence the process facilitates
and the silence the work is trying to get
at. It is a simplifying, but not in the sense
as to reduce complexity for it is layered
with complexity and thus demands more
from the viewer. Maintaining a balance
around the transition point requires great
focus akin to any devotional practice. The
repetition and movement between prior
intention and intention-in-action supports
the virtues of listening and humility
as she ‘assists’ something into being.
Her work is a process that leads to a resolve.
She places herself in an in-between space,
between two opposing poles, challenging
what resolve is through the middle ground
until these two states are in a complete
tension. Each resolution is different;
chromatically, compositionally, through
colour or light, yet each involves a circular
dialogue of adding and removing. Thus
her resolve sustains an instability of form,
which manifests as hesitant and uncertain
of itself. Sims sees this liminal space as the
place where distinctions dissolve and the
best opportunity for renewal is found. It is
a fluid, malleable situation that enables new
customs and identities to be unconcealed.
Katie Sims was born in Shropshire, England
in 1988 and currently lives and works on the
small island of Gozo, Malta. Her paintings
have been exhibited internationally and
can be found in collections worldwide.
The Green Ray
oil on panel, 30 x 24 cm
53

Massimo Angei (b. 1962)
Massimo Angèi’s elemental, tempestuous
yet ethereal oil paintings reflect varied
emotional states whilst remaining open to
physical and metaphysical interpretation.
Tableaus and forms are suggested but
never fully established, perhaps evoking
landscape, weather patterns, natural
systems, inner psychology or spiritual
connectedness. Voluptuous cloud-like
billows intersperse with delicate spiralling
marks forming an ecstatic unity reminiscent
of both renaissance grandeur and primitive
automatic drawing.
Massimo Angèi was born in La Spezia, Italy,
he currently lives and works in Sarzana,
near the borderline between Liguria
and Tuscany. Following art school, he
collaborated with various institutions and
museums exhibiting early representational
depictions of flora and fauna. After finishing
his degree at the Fine Arts Academy in
Carrara/Painting (Accademia di Belle
Arti\Pittura), he participated in his first
exhibitions, and the creation of the Idioma
group along with Marco Casentini, Fabio
Linari, Jacopo Bruno, Andrea Geremia.
He then began to work as an independent
freelance photographer working for photo
agencies including Grazia Neri of Milan,
and Bilderberg of Hamburg, publishing his
images in both Italian and international
magazines. A vivid dream in the spring of
2006 made him realise that his destiny was
as a painter, and he vowed to never again
abandon it.
Il suono delle piante che crescono (The sound of Growing Plants)
oil on board, 80 x 70 cm
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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.
Cordelia, formless in a clear winter night, watched new trees germinate and spread their roots out
from her discarded rex hare form, like forked lightning
Lumachrome glass print, cliche-verre, chemigram, electroplating and drawing. Fox-killed rex hare on
fibre paper, with seeds, acid, copper chloride, wax resists and electric current. Exposed 54 hours in
an abandoned car. Re-exposed 23 hours in filtered UV light, electric current, acid & mixed chlorides.
re-printed as a single image, detailed with gold and silver leaf, 150 x 115 cm
57

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.
The Shaman’s Tears
single channel video (duration 01:17)
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Simone Pellegrini (b. 1972)
Simone Pellegrini’s visionary works appear
as timeless artefacts describing complex
systems of interconnectivity. The works are
made through a process of pressing motifs,
painted on to discarded paper fragments,
on to a rich parchment-like paper, which is
then hand-coloured and distressed with oil
to create a rich and deep patination of age
and wear. Their compositional arrangements
echo an archaic sensibility, depicting
dreamlike symbology and structures where
figures float or wander either lost or found,
consumed or enraptured. Whilst remaining
cryptic Pellegrini’s paintings make tangible,
more elusive philosophical, mystical and
spiritual aspects of universal relatedness.
Simone Pellegrini was born in Ancona,
Italy in 1972, and he is currently based
in Bologna, Italy. His works have been
exhibited internationally and are in
numerous public collections including the
Museum of Modern Art in Bologna; the
Civic Museum in Monza; Volker Feierabend
in Frankfurt; Bologna Fiere; Maramotti
Art Collection, Reggio Emilia; Unicredit
Art Collection, Milan and Museum
Kunstpalast Duesseldorf.
Usuato droma
mixed media on hand made paper, 93 x 180 cm
61

Dr Martin Shaw (b. 1959)
Dr Martin Shaw tells stories and explored
wild ideas about how myth used to be a
kind of language that spoke-across-species.
That myth itself can be a place where we
witness not just narratives about the earth,
but moments where the earth itself speaks
through these stories. With inspirations
ranging as far as Gaston Bachelard to Islamic
Cosmology to the work of Joseph Beuys,
Shaw celebrates electrifying storytelling and
thought-stimulating ideas.
Dr. Martin Shaw’s first book, ‘A Branch From
The Lightning Tree’ was awarded the Nautilus
prize for non-fiction, and was followed by
‘Snowy Tower’ and ‘Scatterlings’ to complete
a trilogy of works on mythology, landscape and
the nature of soul. An international teacher,
he has designed andLife’ courses at Stanford
University, and, lead both the ‘Oral Tradition’
and ‘Mythic Life’ courses at Stanford
University and as a fellow of of Schumacher
College in Devon, co-created their MA in
Myth and Ecology. His school of independent
scholars in mythopoetic’s and wilderness
studies is just entering its fourteenth year.
Recent collaborations have included Mark
Rylance, Coleman Barks and David Abram. He
is a painting scholar from The British School
in Rome, and his translations of Gaelic and
Welsh folklore (with Tony Hoagland) have
been published in The Mississippi Review,
Poetry International, Kenyon Review, Orion,
and Poetry Magazine. 2018 will see the
release of his new book, ‘Courting the Dawn:
Poems of Lorca’ (with Stephan Harding), with
several more in completion: all involving
a revisioning of the word romanticism in
the early twenty first century. is essay and
conversation with Ai Weiwei on myth and
migration was released by the Marciano
Art Foundation.
Sabbath Christ
charcoal on paper, 30 x 21 cm
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Alastair & Fleur Mackie (b. 1977)
“When early humans ceased their nomadic
existence as hunter-gatherers and settled down
to cultivate the earth and produce food, they
believed that the success of their labours was
dependent on deities who would oversee the
fruitfulness of their crops. In Britain it was
believed that a spirit lived amongst the crop
and that at harvest time it retreated before
the oncoming reapers, taking refuge in the
last of the standing corn. The final sheaf was
personified, revered, and its fall marked with
a formal ceremony and display. The sheaf
was then fashioned into an effigy, a talisman
believed to contain the spirit, and taken into
the farmer’s home to be kept safe indoors
throughout the winter, only to be returned to
the earth with the coming of the new season.
Giving the spirit a refuge during the dark
and cold winter months was believed to ensure
good luck for the forthcoming crop. In some
cases the ‘trophy’ was burnt at the end of
the winter as a way of releasing the spirit.
As the earliest cultivated crops in human
history, cereals continue to be among the most
important food sources for us today. With a
predicted world population of 9 billion by
2050, demand is expected to increase by 60%
while their vulnerability to climate change
leaves us precariously exposed. In keeping
with historical convention we took hold of the
corn spirit and in collaboration with one of the
few remaining true practitioners of the craft,
produced a traditional spiral plait which, in
turn, has been encased within a mould, burnt
out, and cast. The remnant ash from the effigy
has then been used to make ‘The New Season’.”
Alastair and Fleur Mackie’s practice is
one of contrasts. It is as labour-intensive
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.
Cast
bronze, steel, copper, 58 x 5 x 5 cm
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The New Season
ash retrieved from foundry mould of ‘Cast’, calico, wood, glass, 40 x 36 x 5 cm
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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.
.
The Cords Have Been Cut
oil and 23.5ct gold on board, 65 x 38 cm
67

Marie-Claire Hamon
Rather than a topographical representation
of landscape, Marie-Claire Hamon’s work
taps into the strata of history, ecology,
cultural lore, and experience that form our
human connection to a place. However,
humans are not defined identities at the
centre of the landscapes she paints. When
humans do appear in her paintings, they are
undefined by race, culture, gender, or time;
they exist as archetypal representations
of the human spirit. Her paintings are
built through a deliberately slow process
of layering. There is a very literal stage of
‘watching paint dry’; it is this stage that
allows her to read the work and marvel at
the strange synchronicities that have arisen
in her paintings. Through this process of
layering, she has introduced elements that
suggest mandalas, vestiges of ancient forms
of religion, and reminiscences of esoteric
signage. She works with the unknown,
the accidental, and an unfixed sense of
identity. The element of discovery and
surprise forms an essential part of her
practice as it proliferates new possibilities
and directions.
Marie-Claire Hamon was born in
Switzerland and currently lives and works
in remote West Cornwall. The area is
charged with history, myths and folklore,
where the ancient walls partitioning the
fields are some of the most ancient on the
planet, Neolithic quoits and Menhirs dot
the surrounding area. Her work has been
exhibited throughout the UK, including
the Royal College Hunting Prize, The
Discerning Eye, The Wells Contemporary,
Brighton University and The Centre for
European Culture in London.
The Mountain
oil on canvas, 50 x 60 cm
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Hermitage
oil on canvas, 30 x 40 cm
71

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.
Spellbind Reflecting
acrylic on unprimed canvas, 102 x 80 cm
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Lisa Wright (b. 1965)
Lisa Wright’s work talks about the truth
of things, and how it anchors us to the
very essence of human experience. Nature,
nurture, truth and wonderment are all
aspects that she is capable of conjuring.
For her, the act of drawing is a reminder
of the power of line and form to distil
the complexity of the world into a single
image. Painting, is an act of suspension,
capturing fleeting moments of her deepest
thoughts, rendering them eternal. The
aspiration for Wright is for the work to
evoke emotions that verbal language cannot
express. Wrights practice is rooted in the
rigour of observational drawing. Using her
sketchbook and camera she records the
everyday creating visual narratives for later
paintings. Wright has spent the majority
of her career chronicling the growth and
development of her relationship with her
children, from pregnancy to adulthood.
These drawings and paintings are not just
a representation of Wright’s experiences,
but rather their embodiment, bringing
their intangible reality into the visible
world for all to recognise and relate to.
After studying at The Royal Academy
Schools, London, 1990-1993, Wright
moved to Cornwall, in the south west of
England, where she currently lives and
works. Her work has featured in numerous
solo and curated group exhibitions both
nationally and internationally and is held
in many important corporate and private
collections. Notable achievements include
her appointment as the Royal Shakespeare
Company artist in residence throughout
the two year period of the RSC’s acclaimed
‘Histories’ cycle of plays, culminating in
an exhibition at the Roundhouse- which
ran concurrently with the plays- and
subsequently at the Royal Academy of
Arts London; consistent selection for the
Royal Academy’s Summer Exhibition for
over 20 years; inclusion in the significant
‘Art Now Cornwall’, exhibition at Tate St
Ives 2008 and winning The National Open
Art Prize, the Hunting Art Prize, the 2013
Threadneedle Prize and most recently
Future Forest- a collaborative project with
Tom Piper to celebrate the centeniary of
The Forestry Commission.
Balance of Control
oil on canvas, 45 x 35 cm
75

Balance of Surrender
oil on canvas, 50 x 40 cm
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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.
Contained (Study for Returned)
oil on board and frame), 42 x 35 cm
79 73

Sequence of Destinations (Study for Returned)
oil on board and frame), 46 x 30 cm
80

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82

Spencer Shakespear (b. 1967)
Born in in London, Spencer Shakespeare
discovered his addiction to the natural
world in his yearly holidays to Cornwall with
his family, which, after 20 years of living on
Australia’s Gold Coast he has returned to,
residing near Penzance where he says the
bird song is at its most beautiful. Being
an obsessive and automatic drawer since
the age of seven, Shakespeare completed
a degree in Illustration at Bournemouth
College of Art and Design. He enjoys
transcribing places of intersection; the
coastline, the edge of forests - places where
a transition of boundaries takes place.
The garden is significant in his work
because of the element of interchange
between the domestic boundary and the
beginning of wilderness. Although he is
inspired by such places, he never strives
to capture the specifics of the landscape
around him, instead drawing and exposing
his own imaginary world upon it. His work
connotes a kind of mystery and magic - a
world where high contrast colours inject
life force: vibrating with an emotional
energy. His semi-abstract canvases show
the blurred boundaries of the humming
world he witnesses.
Red Kite Revival
oil, acrylic, charcoal, graphic on canvas, 170 x 195 cm
83

Sam Bassett (b. 1982)
Sam Bassett artworks display a boundless
zeal, sharp humour and honest pathos made
with a creative, experimental, freedom. His
language of mark-making varies from raw
sweeping gestures to draughtsman-like
drawn or sgraffitto schematics. His dexterity
enables him to effortlessly capture scattered
images of his inner monologue - often
erratic, often pinpoint. The ups and downs,
the highs and lows. His paintings could
be described as a form of ‘psychological
cubism’, where the inner and the outer
self reveal themselves and coalesce. His
autobiographical work maps a fast paced
and over-active mind searching for the
personal and universal meaning and in turn
reflect both positive and negative concerns
about 21st century society and the wider
human condition. Bassett’s most recent
works imbue a deep rooted connection
to place, the sea and landscape, as well
as community and heritage. The localised
placement of these cautionary tales become
allegorical for broader more universal hopes
and wider loss, fear and disconnection.
Bassett is a British artist born Cornwall
where he still lives and works. St Ives
has been his family’s home since 1695.
The artistic traditions of the town had an
undoubted influence over his development,
but his Grandfather, a fisherman by trade was
also a keen amateur painter, as was his other
Grandfather in Newlyn. The young Bassett
was supported early on with encouragement
and painting materials. Bassett ’s studio
space is part of a complex that coincidently
sits above his Grandfather’s former net
loft. He studied in Bournemouth, England
and then lived in London but the pull of
the sea brought him home. In addition to
his own practice Bassett founded LETH
projects, a curatorial platform for emergent
artists. Bassett has exhibited internationally
including solo exhibitions with Vigo in
London, Kornfeld Gallery in Berlin and
Anima Mundi, solo presentations have also
featured at START at the Saatchi Gallery in
London and CODE Art Fair, Copenhagen.
Works are held in an increasing number
of collections worldwide including the
acquisition of the work ‘Lost Karensa’
by Tremenheere Sculpture Park which is
permanently exhibited alongside James
Turrell, Kishio Suga, Richard Long and David
Nash among others. Bassett has been featured
in numerous articles included Christies
magazine and The New York post which is
indicative of a notable and rapid increase
in the artists popularity and ambition.
Together With Bird
mixed media on canvas, 76 x 102 cm
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86

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.
Angel
tin glazed terracotta, 63 x 30 x 23 cm
87

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.
Over the Storm
oil on paper, 24 x 37 cm
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90

Phoebe Cummings (b. 1981)
Phoebe Cummings’ works predominantly
using unfired clay to make poetic and
performative sculptures and installations
that emphasise materiality, fragility, time,
creation, loss and decay. Her impressive
interventions are often constructed directly
on site, allowing an instinctive development
of tensions between object and location.
Cummings questions what we will carry
forward into the future by producing
intricate, hand made and exquisitely
delicate sculptures based on ancient plants
and primitive ritual, imbued with a sense
of magic and mysticism. Drawing together
elements of English Paganism as well as
the aesthetic excess of Baroque and Rococo
design, the resultant objects could be
considered as dystopian ornaments of a
future anthropology or fragile relics of an
almost forgotten past.
Cummings is a British artist born in
Walsall, England and currently resides in
Stafford. She studied ceramics at Brighton
University in 2002 before completing an
MA in ceramics and glass at the Royal
College of Art in 2005. She has undertaken
a number of international artist residencies
including a six month residency at the
Victoria & Albert Museum in 2010. In 2017
she won first place at the inaugural Woman’s
Hour Craft Prize with work exhibited at the
V&A Museum, before touring to venues
around the UK. Cummings was selected
as the winner of the British Ceramics
Biennial Award in 2011 and awarded a
ceramics fellowship at London’s Camden
Arts Centre (2012–13). ‘Supernatural’ was
her first solo exhibition at Anima-Mundi.
In addition, Cummings’ work has been
featured in numerous group exhibitions,
including ‘60|40 Starting Point Series’ at
Siobhan Davies Studios, London, ‘Formed
Thoughts’ at Jerwood Space, London;
and ‘Swept Away: Dust, Ashes, and Dirt
in Contemporary Art and Design’ at the
Museum of Arts and Design, New York. In
2013, she had a solo show at the University
of Hawaii Art Gallery in Honolulu and The
Newlyn Art Gallery.
Study
unfired clay, 20 x 15 x 20 cm
91

Luke Hannam (b. 1966)
Luke Hannam describes his work as the
result of an ‘ordered chaos’ where poetic
paintings are made ‘in the eye of the storm’,
where creativity spins wildly, through bursts
of impulse around a silent meditative deep
well of meaning. Ideas emerge out of an
energetic dedication to drawing and a
relentless desire to explore images and
motifs. His work is instantly recognisable
through his strong punch of colour and
definite use of line which weaves its way
sensuously across the surface, denoting both
the delicacy and strength of the form and
spirit of the subject. Hannam’s paintings
expressively offer a singular view on how
what he sees, how he thinks and pivotally
how he feels about the human condition and
what lies beyond our materiality. His work
could be seen to continue the Romantic
tradition, embracing reality and mysticism
with the wonder of experience.
Luke Hannam was born in 1966 and currently
lives in East Sussex, UK. He studied Fine
Art in the 1980s and whilst others of his
generation faithfully chanted the conceptual
mantra of the time, Hannam focussed on
perfecting his expressive drawing skills
seeking inspiration from the earlier masters.
Works have been exhibited and collected
internationally, including the collections
of Stefan Simchowitz and David Kowitz.
The Apple Peelers
oil on canvas, 90 x 120 cm
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Andy Harper (b. 1971)
Andy Harper’s intricate oil paintings deal
with the fruits of labour in the shadow of
uncertainty. On one side they are concerned
with the immediate process of painting, the
mechanical, almost automated act of laying
down mark after mark on a wet surface. On
the other hand, they are subject to longterm
strategy, each mark developed over
time and embedded into a composition that
provides an architectural structure for the
work. While this framework may be logically
ordered, the marks themselves are organic
entities, forming a broad visual library that
has taken on a life its own, growing through
repetition and recombination in each new
work. The paintings act like a Petri-dish for
the culturing of this visual language, and a
greenhouse for its cultivation. The forms may
seem organic, but upon closer inspection
they are not specific to anything the natural
world has to offer. Rather they appear
as a synthetic form of nature, generated
from compulsive repetition and subjective
reinterpretation, a world that has somehow
evolved beyond the point of progeny to
become its own independent alien entity.
Andy Harper lives in St Just, the most
westerly town in Cornwall and works from a
studio at the renowned Porthmeor Studios
in St Ives. He studied his BA in Fine
Art: Painting & Printmaking at Brighton
Polytechnic and then MA Fine Art: Painting
at the Royal College of Art, London. In
1996, with some peers from the RCA, Harper
co-founded NotCut which ran a studio and
photographic darkroom in London and
curated ‘Lightness & Weight’ in Birmingham.
During this time he also studied part time
at Middlesex University for an MA in Visual
Culture and had his first solo exhibition
in London in 1998. After attending the
Braziers International Artist Workshop in
2000, Harper became a member of the
organising committee until 2008. Harper
has taught in many institutions nationally
and internationally, and had teaching posts
at Central St. Martins, The City Lit and
is currently a Senior Lecturer on the
MFA Fine Art programme at Goldsmiths,
University of London. Harper has exhibited
widely in Europe, North America and
South Korea.
Seriquel
oil on board, 60 cm diameter
95

Published by Anima Mundi to coincide with ’Lughnasadh’
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