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

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


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In many traditions, time is considered to be cyclical<br />

rather than straight line. Perceived as a perpetual<br />

cycle of growth and retreat tied to the Sun’s annual<br />

death and rebirth. This cycle is also viewed as a<br />

micro and macrocosm of broader life cycles in an<br />

immeasurable series of rotations composing the<br />

Universe. The days that fall on the landmarks of the<br />

yearly cycle traditionally mark the beginnings and<br />

middle-points of the four seasons.<br />

‘<strong>Lughnasadh</strong>’ is the eighth and final incarnation<br />

in an evolving series of Anima Mundi online mixed<br />

exhibitions following this rhythm of the seasons,<br />

known as ‘the wheel of the year’. This ‘calendar’<br />

provides a cue for the duration of each show, and<br />

inevitably flavours the selection of works presented.<br />


“For many generations… they obeyed the laws<br />

and loved the divine to which they were akin…<br />

they reckoned that qualities of character were<br />

far more important than their present prosperity.<br />

So they bore the burden of their wealth and<br />

possessions lightly, and did not let their high<br />

standard of living intoxicate them or make them<br />

lose their self-control… But when the divine<br />

element in them became weakened… and their<br />

human traits became predominant, they ceased to<br />

be able to carry their prosperity with moderation.”<br />

Plato, Timaeus<br />


Tim Shaw (b. 1964)<br />

The Imperial War Museums have acquired<br />

Tim Shaw’s monumental sculpture ‘Man<br />

On Fire’ to be permanently installed at the<br />

Imperial War Museum North in front of the<br />

museum’s Libeskind building. The work,<br />

cast into bronze, was unveiled in July 2023.<br />

‘Man On Fire’ was originally conceived in<br />

response to the US-led invasion of Iraq.<br />

Larger than life in scale at 4 x 4 x 2.5 m, it<br />

captures the horrific moments of a figure<br />

on fire, caught in conflict. The sculpture<br />

is a powerful image of contemporary<br />

conflict and compassionately relates to the<br />

human cost of war. Originally shaped by<br />

photographs of a soldier diving for his life<br />

from a burning armoured vehicle during a<br />

riot in Basra, Iraq 2005, ‘Man on Fire’ bears<br />

witness to the universal horror of war. War is<br />

time old, and conflict does not discriminate<br />

between gender, age or country. Russia’s<br />

brutal invasion of Ukraine, testifies to the<br />

fact that we continually repeat the same<br />

tragic mistakes.<br />

Shaw is a British artist, born in Belfast, he<br />

currently lives in Cornwall. He was elected<br />

an Academician at The Royal Academy<br />

in 2013 and made a Fellow of The Royal<br />

British Society of Sculptors and a Fellow of<br />

Falmouth University the same year. Shaw<br />

has had a number of significant public<br />

solo exhibition throughout the UK, Ireland<br />

and internationally. He has undertaken a<br />

number of public commissions including<br />

‘The Rites of Dionysus’ for The Eden<br />

Project, ‘The Minotaur’ for The Royal Opera<br />

House and ‘The Drummer’ for Lemon Quay,<br />

Truro. A more overtly political side to his<br />

work became evident through a number<br />

of sculptures responding to the issues<br />

of terrorism and conflict. ‘Tank on Fire’<br />

was awarded the selectors prize at the<br />

inaugural Threadneedle Prize in 2008 and<br />

the installation ‘Casting a Dark Democracy’<br />

was reviewed in 2008 by Jackie Wullschlager<br />

of The FT as ‘The most politically charged<br />

yet poetically resonant new work on show<br />

in London’. Shaw has been supported by<br />

the Kappatos Athens Art Residency, The<br />

Kenneth Armitage Foundation, The British<br />

School of Athens,The Delfina Studio Trust<br />

through residencies in Greece, Spain and a<br />

fellowship in London. Most recently as an<br />

Artist Fellow at the Kate Hamburger Centre<br />

for Advance Study in the Humanities of<br />

‘Law and Culture’ In Bonn, Germany where<br />

he began work on ’The Birth of Breakdown<br />

Clown’ an existential sculptural work<br />

utilising sculpture, robotics and AI.<br />

Horror of War (Cast Head of Man on Fire (Imperial War Museum North))<br />

resin (edition of 8), 66 x 60 x 58 cm<br />




Man on Fire (Working Model)<br />

bronze (edition of 9), 38 x 40 x 25 cm<br />


David Kim Whittaker (b. 1964)<br />

Yelena (Victim of War) is a multi-media<br />

portrait made of Yelena Bolyachenko.<br />

a woman who was badly wounded by a<br />

Russian missile strike as she drank tea in<br />

her kitchen in the Ukraine.<br />

Most of David Kim Whittaker’s paintings are<br />

based upon a metaphysical interpretation<br />

of the human head. These portrait portals,<br />

are often ambiguous, with the aim of<br />

representing the totality of the human<br />

condition - both the universal and the<br />

empathetic alongside personal experience.<br />

The works often juggle dual states of<br />

inner and outer calm and conflict, offering<br />

a glimpse of simultaneous strength and<br />

fragility, conscious and subconscious,<br />

masculine and feminine.<br />

The paintings express Whittaker’s constant<br />

focus on an attempt to express with the<br />

compounding global tensions of this<br />

particlar moment. A dual reflection of<br />

hope and warning stares back at us from<br />

the frame.<br />

Whittaker is a British artist born in<br />

Cornwall where they still reside.<br />

Exhibitions have been held internationally,<br />

notably including a major solo exhibition<br />

at the prestigious Fondazione Mudima in<br />

Milan in 2017. Works are in numerous<br />

museum collections, art foundations and<br />

international private collections. Whittaker<br />

was further acknowledged in 2011 as the<br />

recipient of the Towry Award (First Prize) at<br />

the National Open Art Competition.<br />

Yelena (Victim of War)<br />

oil, acrylic, pencil, china marker, cloth, torn bible, vinyl, tissue on primed panel, 91 x 91 cm<br />




David Cooper (b. 1972)<br />

“There are acts of terror that can’t be ignored<br />

or cleared from the mind. These ‘War Hed’s’<br />

came about following Russia’s invasion of<br />

Ukraine. In this series destruction is the<br />

making. Clay, a simple medium from the<br />

ground, moulded with taped hands, and<br />

bitten, to sculpt the brutal yet fragile<br />

pieces. Biting the clay became symbolic of<br />

an act of unarmed survival.”<br />

David Cooper’s work deals with disorder.<br />

His work is examined inside out, and outside<br />

in, through a series of unpremeditated and<br />

intuitive processes. The works inquire into<br />

a humanity that feels, fears and confronts<br />

restriction and control; a state of being<br />

often conducive to an abominable sense<br />

of desolation and fettered anxiety. These<br />

unknown (and unknowable) aspects of the<br />

human condition, driven by momentary<br />

absences of restraint, structure and<br />

control are embodied. Broken happenings,<br />

motivated by instinct, assemblage<br />

techniques and random thoughts, naivety<br />

and energy are exploited to sculpt the<br />

identity of these unfathomable aspects of<br />

human experience.<br />

David Cooper was born in Wakefield, West<br />

Yorkshire in 1972. He currently lives and<br />

works in Suffolk. Cooper studied Fashion<br />

at John Moores University followed by an<br />

MA in Fashion Design at Central Saint<br />

Martins where he went on to become<br />

lead designer and head of menswear at<br />

Alexander McQueen. More recently Cooper<br />

attended Fine Art summer school at<br />

the Slade School of Fine Art in 2008.<br />

Works have been exhibited extensively in<br />

the UK.<br />

.<br />

‘War Hed (The Fallen)’<br />

bronze (edition of 3), 26 cm height<br />


Paul Benney (b. 1959)<br />

Paul Benney was born in London and<br />

currently lives and works in Suffolk. He rose<br />

to international prominence as a member of<br />

the Soho and East Village Neo-Expressionist<br />

group, whilst living and working in New<br />

York City in the 1980s where he worked and<br />

exhibited alongside peers Marylyn Minter,<br />

Jean-Michel Basquiat and David Wojnarovicz<br />

among the many other others who made<br />

up the exploding NY art scene. Despite<br />

living and working in this extraordinary<br />

creative environment Benney’s painting<br />

maintained a uniquely English sensibility.<br />

Collections including the Metropolitan<br />

Museum of Art in New York, The Brooklyn<br />

Museum, The National Gallery of Australia<br />

and The National Portrait Gallery in London,<br />

The Royal Collection and The Eli Broad<br />

Foundation own works. He has exhibited<br />

in eight BP Portrait Award Exhibitions and<br />

twice won the BP Visitors’ Choice Award.<br />

Benney’s portrait subjects have included HM<br />

Queen Elizabeth II, Sir Mick Jagger, John<br />

Paul Getty III, 7th Marquess of Bath, The<br />

State Portrait for Israel, Lord Rothschild,<br />

as well as Ben Barnes for the portrait in<br />

the feature film ‘A Portrait of Dorian Grey’.<br />

Benney was invited to be resident artist<br />

at Somerset House in 2010. During his<br />

five year residency he held the exhibition<br />

‘Night Paintings’ in 2012 and drew over<br />

15,000 visitors. In 2017 his epic painting<br />

and holosonic sound installation ‘Speaking<br />

in Tongues’ was a prominent feature of the<br />

Venice Biennale.<br />

Deposition (Corpus Delicti Series)<br />

oil on canvas, 210 x 135 cm<br />




Carlos Zapata (b. 1963)<br />

Carlos Zapata predominately makes<br />

idiosyncratic carved and painted wooden<br />

sculpture alongside mixed media<br />

installation. His work deals with many<br />

challenging and potent humanist themes<br />

including poverty, conflict, religion<br />

and race, yet perhaps paradoxically, the<br />

overriding characteristics of the work are of<br />

emotive empathy and compassion. Zapata’s<br />

work belongs to and takes inspiration from<br />

folk and tribal artforms from all over the<br />

world but specifically from South America,<br />

from its indigenous populace and the<br />

trade routes and traditions that have fed it<br />

over the centuries. Many of his sculptures<br />

have evolved from personal experience of<br />

living in a foreign land and from his home<br />

country where civil issues continue to<br />

trouble its people.<br />

Carlos Zapata is a Colombian artist who<br />

currently lives and works near Falmouth in<br />

Cornwall, UK. He has exhibited extensively<br />

internationally with works held in numerous<br />

private and museum collections around<br />

the world.<br />

Ecstacy<br />

polychrome wood and mixed media, 30 x 6 x 5 cm<br />


Henry Hussey (b. 1990)<br />

Henry Hussey’s artworks are often<br />

emotionally and physically raw, yet<br />

contrastingly beautiful and intricate, created<br />

with force through often paradoxically<br />

laboured mediums, including textile,<br />

glass, ceramic, paint and film. Whether<br />

through an expanding vocabulary of quasimythological<br />

symbols, or in embellished<br />

lines of text extracted from performative<br />

situations, Hussey explores personal and<br />

national identity in response to aggravating<br />

relationships and events. Recent<br />

experimentations reveal a deep concern<br />

with control and chaos and the sweet spot<br />

in between these two distinctive states.<br />

Henry Hussey is a British artist born in<br />

London in 1990 where he still resides.<br />

Hussey studied Textiles at Chelsea College<br />

of Art before completing an MA in Textiles<br />

at the Royal College of Art. His work is<br />

widely respected and has been exhibited<br />

in notable exhibitions including The<br />

Textiel Biennale 2017 at Museum Rijswijk<br />

in the Hague, a solo presentation at Art<br />

Central in Hong Kong, the Bloomberg New<br />

Contemporaries in 2014 at the Institute of<br />

Contemporary Art in London, the Royal<br />

Academy London and Volta New York and<br />

the Young Talent Contemporary Prize at<br />

the Ingram Collection in 2016. Hussey has<br />

participated in residencies at La Vallonea,<br />

Tuscany, Italy in 2018 and participated<br />

in a residency at Palazzo Monti, Milan<br />

in 2020. His work is held in collections<br />

worldwide including Simmons & Simmons,<br />

Hogan Lovells, The Groucho Club and<br />

Soho House.<br />

Bleed Me Dry<br />

digitally printed linen & canvas, dyed hessian & yarn, bleached velvet, screen-print, embroidery, 260 x 130 cm<br />




Arthur Lanyon (b. 1985)<br />

Arthur Lanyon paintings combine intuitive<br />

figurative motifs with an emotive, gestural,<br />

abstracted language. His energetic works<br />

are sited on a physical and metaphysical<br />

cross roads, like a belay between numerous<br />

visual and emotional pinnacles. They offer<br />

a progressive link between the outside<br />

world, the inner architecture of the<br />

brain, altered states of consciousness,<br />

memory and the unencumbered essence of<br />

child’s drawing.<br />

Arthur Lanyon is a British artist born<br />

in Leicester, England in 1985. He lives<br />

and works from a studio near Penzance,<br />

Cornwall. Born in to an artistic family, his<br />

father was the painter Matthew Lanyon and<br />

his grandfather the celebrated, influential<br />

and world renowned modernist painter<br />

Peter Lanyon. He won the Hans Brinker<br />

Painting Award in Amsterdam in 2007 and<br />

gained a first class degree in Fine Art<br />

from Cardiff University in 2008. Upon<br />

graduating he was featured in Saatchi’s<br />

‘New Sensations’ exhibition. In 2014,<br />

his work was in the long-list for the<br />

Aesthetica Art Prize and was included in<br />

the award’s published anthology. His debut<br />

Anima Mundi solo exhibition ‘Return<br />

to Whale’ opened in 2016, which was<br />

followed by ‘White Chalk Lines in 2018,<br />

‘Arcade Laundry’ in 2020 and ‘Coda for an<br />

Obol’ in 2022. Works have been exhibited<br />

extensively, notably including Untitled Art<br />

Fair in Miami; Zona Maco, Mexico City;<br />

the Saatchi Gallery London; The House of<br />

St Barnabas, London; CGK, Copenhagen;<br />

Tat Art, Barcelona and Herrick Gallery,<br />

Mayfair. Arthur Lanyon paintings are held<br />

in private collections worldwide.<br />

House Hat<br />

oil, oil stick, spray paint, charcoal on linen, 190 x 200 cm<br />


Miles Cleveland Goodwin (b. 1980)<br />

Miles Cleveland Goodwin’s upbringing<br />

in the American South is a recurring<br />

theme in his brooding paintings and<br />

sculptures. Goodwin draws parallels<br />

between the people he portrays, the<br />

rhythm of their rural ways of life, and<br />

the rugged landscapes that they inhabit.<br />

The artist frequently evokes themes of<br />

mortality, decay and solitude with a sense<br />

of phantasmagoric realism combined<br />

with a haunting stillness. Goodwin’s<br />

‘Southern Gothic’ works conjure the<br />

ambivalent beauty of a place that is both<br />

simultaneously desolate yet deeply soulful.<br />

Goodwin lives and works in Georgia, USA.<br />

He graduated from the Pacific Northwest<br />

College of Art in Oregon in 2007 with a<br />

BFA in painting and printmaking. His work<br />

has been featured in group exhibitions<br />

at the Hallie Ford Museum of Art, the<br />

Grace Museum and the Amarillo Museum<br />

of Art among others and can be found in<br />

collections worldwide.<br />

Lucifer<br />

oil on canvas, 81 x 79 cm<br />




Andrew Hardwick (b. 1961)<br />

Andrew Hardwick’s often large scale,<br />

sedimentary paintings display his captivation<br />

with ever decreasing wilderness zones; both<br />

natural and man-made. Playing with and<br />

subverting traditional notions of romantic<br />

landscape painting and the sublime. The<br />

paintings often depict edge-land zones<br />

around big industrial conurbations or ports,<br />

such as large-scale car storage compounds,<br />

redundant factories and polluted waste<br />

lands. Other works draw inspiration from<br />

the more typically idyllic locations such as<br />

Dartmoor and Bodmin Moor. However, these<br />

landscapes are also filled with reminders<br />

of human interference. Roads criss-cross<br />

the moor in deeply scratched lines, a<br />

narrow road is etched into an otherwise<br />

massive moorland triptych, likewise a real<br />

car radiator sits in the surface of another<br />

painting as if decaying and buried by<br />

the earth. His medium of working is also<br />

atypical, paintings are heavily layered with<br />

different types of paint (often sourced<br />

from recycling centres), plaster, plastics,<br />

soils, pigments, roofing felt, hay and<br />

other unconventional materials. To this<br />

rich surface relevant artefacts are often<br />

added, creating reminders, triggering<br />

memories or reflecting fears intrinsic to<br />

a particular landscape. The concept of<br />

layering in the landscape arrived partly<br />

a result of the artist’s childhood, during<br />

which his family’s farm was first sliced<br />

in half by the M5 motorway and then<br />

again by the Royal Portbury Dock. The<br />

land once filled with sheep has become a<br />

pure edge-land wilderness with detritus<br />

of continuous development now occupying<br />

and obliterating the land. Hardwick’s<br />

entire oeuvre makes reference to concepts<br />

of change, memory, history, emotion and<br />

transience. Ever redolent is the notion that<br />

we are but another layer in time.<br />

Andrew Hardwick is a British artist born<br />

in Bristol, England in 1961 where he still<br />

resides. He achieved an MA in Fine Art at<br />

the University of Wales. He is an elected<br />

Academician at the Royal West of England<br />

Academy. He has featured in four solo<br />

exhibitions at Anima Mundi. Works have<br />

been exhibited extensively including<br />

numerous public shows and have been<br />

collected worldwide.<br />

Island, Estuary<br />

mixed media on panels, 112 x 208 cm<br />


Sax Impey (b. 1969)<br />

Sax Impey’s artworks are often large scale,<br />

immersive and elemental, incorporating<br />

intense detail and dexterity and an<br />

expressive, behavioural use of medium.<br />

Since 2005, Impey has produced works<br />

derived predominantly from experiences<br />

at sea. A qualified RYA Yachtmaster he has<br />

sailed many thousands of miles around the<br />

world. His journeys have had a profound<br />

impact and subsequent development as an<br />

artist. Reconnecting with nature through<br />

this powerful element has the almost<br />

inescapable effect of calling to question<br />

many of life’s existential questions. This<br />

epiphanic moment of realisation, of<br />

revelation, is at the core of Impey’s oeuvre.<br />

Reflecting on and capturing personal<br />

moments and making them universal,<br />

Impey’s work reaffirms the importance<br />

of introspection and confrontation, found<br />

specifically when surrounded by the natural<br />

world; “A mind can breathe, and observe,<br />

and reflect, away from the shrill desperation<br />

of a culture that, having forgotten that it is<br />

better to say nothing than something about<br />

nothing, invents ever new ways to fill<br />

every single space with less and less”.<br />

Impey was born in Penzance, Cornwall. He<br />

currently works from one of the prestigious<br />

Porthmeor Studios in St. Ives. From 2005,<br />

he has collaborated with the cross-cultural,<br />

environmental art group Red Earth. In 2007<br />

Impey’s work was selected for the ‘Art Now<br />

Cornwall’ exhibition at Tate St Ives where<br />

he was placed on the cover of the associated<br />

publication. The same year he was heralded<br />

in The Times as one of the ‘New Faces<br />

of Cornish Art’. In 2010 he was featured<br />

in Owen Sheers’s BBC4 Documentary<br />

‘Art of the Sea (In Pictures)’ alongside<br />

Anish Kapoor, J. M. W. Turner, Martin Parr<br />

and Maggi Hambling among others. His<br />

work was selected as a finalist the 2013<br />

Threadneedle Prize and the year before<br />

was elected an Academician at the Royal<br />

West of England Academy. His paintings<br />

are in multiple collections including The<br />

Arts Council, Warwick University and the<br />

Connaught Hotel.<br />

Reason<br />

mixed media on panel, 122 x 183 cm<br />




Gabrielle K Brown (b. 1994)<br />

Embodying a natural and intuitive,<br />

seemingly naive, yet extremely complex<br />

aesthetic, Gabrielle K Brown is a multifaceted,<br />

multi-media artist who eagerly and<br />

energetically seeks new ways to tell stories<br />

through her artworks. Her pieces retain an<br />

object, often shrine-like quality, utilising<br />

materials including wood, various paints,<br />

resin, fabrics and even hair - nothing<br />

is beyond limits. The works dissect the<br />

relationship we have with ourselves, our<br />

companions, our society and our past with<br />

an awe and celebration of nature and<br />

the divine, shedding light on how we<br />

grow and how we suffer as human beings.<br />

Confrontational imagery is often contrasted<br />

with uplifting symbolism, actions and<br />

words - emphasising the extremes of the<br />

human condition and experience, and<br />

yearning within the energetic and fraught<br />

times that we live in.<br />

Born in 1994 on the east coast of Canada in<br />

New Brunswick, Brown grew up along the<br />

riverside and mountains which is where she<br />

connected to art and began painting and<br />

sculpting. She has spent much of her life<br />

traveling the world and moving throughout<br />

Canada which has always reflected in her<br />

work, but has recently moved back home to<br />

St John, the oldest city in Canada.Work has<br />

been exhibited at Art Basel Miami, as well<br />

as Montreal and New York and LA in the<br />

United States.<br />

The Only Lord and Saviour Who is Gonna Save You Is You<br />

mixed media, 48 x 28 cm<br />


Luke Frost (b. 1976)<br />

Luke Frost is a British abstract painter<br />

living and working in West Cornwall.<br />

Despite his notable heritage, as Son of<br />

the English painter Anthony Frost and<br />

the Grandson of the celebrated Modernist<br />

painter Sir Terry Frost, his paintings could<br />

be seen to instead echo a formality found in<br />

1960s American hard-edge, post-painterly,<br />

abstraction. However Frost has developed<br />

his own means of exploring complex<br />

colour relationships, be they harmonious<br />

or provocative, and their impact on their<br />

surroundings alongside an internal and<br />

more contemplative space.<br />

Frost began exhibiting in 2003 following<br />

studies at Falmouth and Bath Schools<br />

of Art. His work was featured in ‘Art<br />

Now Cornwall’ at Tate St Ives in 2007<br />

and in 2008 he was awarded a Tate St<br />

Ives artist in residency during which<br />

time he worked at Porthmeor Studio No.<br />

5, formerly occupied by Ben Nicholson<br />

and Patrick Heron. His solo exhibition<br />

‘Paintings in Five Dimensions’ was shown<br />

at Tate St Ives in 2009. He has since<br />

exhibited in Cornwall, London and USA,<br />

with essays written on his work by Matthew<br />

Collings, Tony Godfrey and Michael Klein.<br />

Deep Cobalt, Grey Volts<br />

acrylic on aluminium, 53 x 36 cm<br />




Pale Cerulean & Cobalt Blue Volts<br />

acrylic on aluminium, 70 x 45 cm<br />


Efrat Merin (b. 1989)<br />

Efrat Merin is an artist working across<br />

multiple mediums, mainly painting, drawing<br />

and filmmaking. Her works set forth a<br />

retelling of mythical narratives. Gorgons,<br />

witches, hybrids, and hermaphrodites<br />

fuse into an image of subconsciousness.<br />

Nakedness is disengaged from sexuality,<br />

binaries of femininity and masculinity are<br />

transgressed. Female desire, with its long<br />

history of being demonised, is unabashedly<br />

celebrated; the female gaze regains its<br />

power. In recent works, she uses the<br />

sgraffito technique, in which parts of the<br />

surface are scratched and removed, thus<br />

exposing the layer underneath. The use of<br />

cold encaustic paint, readily accepts every<br />

mark. Revealing rather than adding, to this<br />

archaeological-like process which endows<br />

the works with a quality of discovery.<br />

Merin was born in Tel Aviv and currently<br />

lives in London. She completed her<br />

BA in Fine Art at Hamidrasha Faculty<br />

of the Arts, Beit Berl College in Israel<br />

and was recently a participant in Turps<br />

Studio Programme. Awards include an<br />

upcoming residency at Van Gogh AIR,<br />

Zundert, NL; the Darbyshire Award for<br />

Emerging Art; Artist-in-Residence at Frans<br />

Masereel Centrum, Kasterlee; Brixton Art<br />

Prize (Shortlisted); Jackson’s Art Prize<br />

(shortlisted) and Alpine Fellowship Visual<br />

Art Prize (shortlisted). She is included in<br />

Bloomberg New Contemporaries 2023.<br />

Transmutations<br />

cold encaustic on panel, 110 cm diameter<br />



Lilith & Eve in One of the Possible Worlds<br />

cold encaustic on panel, 110 x 110 cm<br />


Birth of Lilith as an Androginous Time Traveller<br />

cold encaustic on panel, 110 x 110 cm<br />



Jim Carter (b. 1975)<br />

Often uneasy or tragic, irrational or other,<br />

Jim Carter’s work is linked to a real world<br />

of suffering and transcendence: making<br />

sculpture from organic materials as a means<br />

of advocacy, atonement or commemoration;<br />

shifting to story and the written word as<br />

a way to enter emotional and numinous<br />

spaces of memory and dream. What appears<br />

on the surface to be a wilful disturbance of<br />

the remains of organic life in order to fulfil<br />

a creative compulsion is intended to be<br />

part of a transforming and re-sanctifying<br />

process. Taken materials are reconfigured<br />

into new forms to express complex feelings<br />

of grief and loss, love and devotion, fertility<br />

and renewal. Fundamental in this work is a<br />

conviction in an irrepressible spirit for<br />

regeneration in the world, an imperishable<br />

flame that rises most clearly in landscape<br />

and the magic and otherness of animals.<br />

Carter was born in Worcestershire in 1967.<br />

He received an MA with distinction in Art<br />

and Environment from Falmouth University<br />

and an MSc Award in Ecopsychology from<br />

the Centre For Human Ecology, Edinburgh.<br />

His work has appeared in Dark Mountain,<br />

Unpsychology and Earthlines magazine.<br />

Cygnus Shapes the Summer King<br />

wood, magpie & jackdaw feathers, earth, blood, alder & black poplar catkins, wool, deer & fox hair, 24 x 14 x 8 cm<br />


Chris Anthem (b. 1974)<br />

Chris Anthem is a British artist. He has<br />

strong links to Lebanon and East Africa,<br />

living and painting in Sudan for the past<br />

4 years, and more recently in Mauritania<br />

and Senegal. Anthem studied fine art in<br />

Liverpool and then the Slade School of<br />

Fine Art London. Projects have included<br />

painting dresses for Basil Soda Haute<br />

Couture and The Budapest Art Factory<br />

Residency. He is presently researching<br />

a new body of work in Dakar, Senegal.<br />

“The mark has an ambiguous nature; on<br />

the one hand pertaining to be other than<br />

its material actuality, whilst it still offers<br />

the possibility of being congruent with<br />

an honesty of spirit. I recognise that<br />

honesty in artworks when I’ve managed<br />

to keep its energy there. In some works<br />

that honesty dies, it gets lost in its own<br />

rhetoric and the energy dies, or rather the<br />

works commit their own clichéd suicide,<br />

stillborn in the cowl glister of varnish.<br />

It still surprises me that honesty and<br />

mortality are still so co-dependent and<br />

that short-cuts of effect kill paintings.<br />

Every successful artwork that I’ve done has<br />

had at its core a tangible event, something<br />

unresolved and nagging to get itched. That<br />

before the idea, the internal image, before<br />

the composition and the stitching of sources<br />

and technique there is the event. In the<br />

painting, in spite of its seductive surfaces<br />

and its neurotic baroque, there lies some<br />

tender actuality that only a pencil, or brush<br />

and oil would soothe, and only a humility<br />

of mark can address. The materials are the<br />

salve that cures the surface – balm of a<br />

meglip scab. And I guess it’s that rupture,<br />

that intrusion on the surface tension on<br />

the canvas; or paper, or mind, or body, that<br />

the rest of the painting dresses – like you<br />

would, whether functionally or theatrically,<br />

a wound.”<br />

The Telling of Adji Sarr<br />

charcoal and chalk on paper, 160 x 120 cm<br />




Kate Clark (b. 1972)<br />

Kate Clark’s sculptures invite the viewer to<br />

experience an instinctive and primal reaction,<br />

that encourages further examination of our<br />

own humanity. Stitched over a hand-sculpted<br />

human face, the material quality of her ethically<br />

sourced animal hide brings an authenticity to<br />

the final sculpture, through what the artist<br />

describes as a unique energy and presence.<br />

We identify with animals through both our<br />

connection with and separation from them.<br />

Recognising these contradictions, Clark’s<br />

fusion of human and animal suggests that our<br />

human condition is fully realised only when<br />

we acknowledge and reconcile our current<br />

state and our natural instincts, acknowledging<br />

the animalistic inheritance within the human<br />

condition. She achieves this through emphasis<br />

on the characteristics that differentiate us<br />

from the rest of the animal kingdom, and,<br />

importantly, the ones that unite us.<br />

Kate Clark lives and works in Brooklyn, New<br />

York. She attended Cornell University for her<br />

BFA and Cranbrook Academy of Art for her<br />

MFA and has been awarded fellowships from the<br />

Jentel Artists Residency in Wyoming, The Fine<br />

Arts Work Center Residency in Provincetown,<br />

MA, and the Marie Walsh Sharpe Studio<br />

Program in New York. Clark was nominated<br />

for a USA Fellowship, a Louis Comfort Tiffany<br />

Award and an American Academy of Arts<br />

and Letters award. She was awarded a grant<br />

from The Virginia Groot Foundation in 2013<br />

and a New York Foundation For the Arts<br />

(NYFA) Fellowship Award in 2014. Clark has<br />

exhibited in solo museum exhibitions at the<br />

Mobile Museum of Art, The Newcomb Art<br />

Museum and the Hilliard Museum and in group<br />

museum exhibitions at the Aldrich Museum of<br />

Contemporary Art, The Islip Art Museum, and<br />

The Bellevue Arts Museum, MOFA: Florida<br />

State University, Cranbrook Art Museum, Frist<br />

Center for the Visual Arts, The Winnepeg Art<br />

Gallery, the Glenbow Museum, the Musée de<br />

la Halle Saint Pierre, Paris, The Art Gallery at<br />

Cleveland State University, the Hudson Valley<br />

Center for Contemporary Art, the Nevada<br />

Museum of Art, the David Winton Bell Gallery<br />

at Brown University, the Bemis Center for<br />

Contemporary Arts, the Biggs Museum of<br />

American Art, the Royal Melbourne Institute<br />

of Technology, and the J. Paul Getty Museum.<br />

Her work is collected internationally and is in<br />

public collections such as the JP Morgan Chase<br />

Art Collection, the 21c Collection, the David<br />

Roberts Art Foundation and the C-Collection<br />

in Switzerland. Clark’s sculptures have been<br />

featured in the Wall Street Journal, New<br />

York Times, New York Magazine, Art21:Blog,<br />

The Village Voice, PAPERmag, The Atlantic,<br />

Hyperallergic, NYArts, Huffington Post, Hi<br />

Fructose, the BBC World News Brazil, Hey!<br />

Magazine, Time Out, ID Paris, Cool Hunting,<br />

Wallpaper, Creators Project/VICE, Sculpture<br />

Review and many other publications.<br />

In addition she was filmed by National<br />

Geographic in her studio over a 2 month<br />

period for a short documentary about her work.<br />

Don’t Break the Spell<br />

spanish goat, horns, clay, foam, thread, pins, rubber eyes, wood, 66 x 50 x 30 cm<br />


Sam Lock (b. 1973)<br />

Sam Lock’s considered and expressive,<br />

often large scale, abstract paintings embrace<br />

the principle that change is a process not<br />

an event. A meditation on the continual<br />

flow and movement both around us and<br />

within us inspires each gesture. They are<br />

not made with a system or fixed process<br />

but through an energy that embraces both<br />

change and chance, in a manner that is<br />

both organic and unscripted, following its<br />

own path until there is a balance between<br />

presence and absence. There are silences<br />

and hiding places that are both poetic and<br />

activating, and a physicality and immediacy,<br />

where his aim to ‘submit’ himself to the<br />

canvas, eliminates extraneous thought in<br />

order to guarantee a purity of response.<br />

A response arising through concentration<br />

and intuition where thought and action, go<br />

hand-in-hand. This is what Lock refers to<br />

as the ‘poetry of moments’, of the spiritual<br />

nature of now becoming then, and how<br />

what started as waves of actions, becomes<br />

a forest of memory. Lock is interested<br />

in marks, resulting in paintings, that<br />

communicate both instantly and slowly - to<br />

slow down perception, and to create forms<br />

that don’t reveal themselves fully, all at<br />

once, through a filling up and emptying<br />

of space and surface; traces and echoes<br />

exist in a palimpsest, a build-up of painted<br />

marks, layers and statements that conceal<br />

and reveal, where time becomes held in<br />

a concrete way and the painting achieves<br />

a physical weight and substance. These<br />

layers allow you to swim in and out of the<br />

painting, they lead back in time, retaining<br />

a mystery and dynamism of the moment<br />

rather than a recollection of a misty<br />

lost past.<br />

Sam Lock was born in London and now<br />

lives and works near Brighton with his<br />

studio in a converted industrial unit further<br />

up the coast. Lock studied at Edinburgh<br />

College of Art and Edinburgh University,<br />

graduating in 1997 with MA’s in both Fine<br />

Art and Art History. During his training,<br />

he won a scholarship to travel to Rome,<br />

and explore the relationship between<br />

history, archaeology and the processes<br />

of painting, a preoccupation which still<br />

forms the conceptual basis that underpins<br />

his practice.<br />

Peak Line<br />

mixed media on canvas, 240 x 150 cm<br />




Marianne Walker (b. 1970)<br />

Marianne Walker makes three-dimensional<br />

drawings that are heavily informed by the<br />

material remains of the past. She uses<br />

paper-clay to make fragmentary body parts<br />

that she then draws across using ink and<br />

pencil. She see’s drawing as a process<br />

of materialisation, a dynamic enlivening<br />

that infuses potency and presence into<br />

the work. Her objective is to escape<br />

the rectangular page and push the twodimensional<br />

medium of drawing into<br />

becoming a three-dimensional entity that<br />

can further confront the viewer.<br />

Marianne Walker was born and raised in<br />

Yorkshire, then Hong Kong. She now lives<br />

and works in London. She gained an MA<br />

in Sculpture from Wimbledon College of<br />

Art and received the Observer Magazine<br />

New British Artist Award for her final<br />

exhibition. Her work has been featured<br />

in national and international exhibitions<br />

including the Jerwood Drawing Prize,<br />

Romantic Detachment (PS1, Moma New<br />

York), Contemporary British Drawing 2015<br />

(Xi’an Academy of Fine Arts, China) and<br />

Artworks Open 2018 (Barbican Arts Group).<br />

Foremothers Feet<br />

ink and pencil on sculpted paperclay, 25 x 25 x 5 cm<br />


Faye Eleanor Woods (b. 1998)<br />

Faye Eleanor Woods is a Scottish artist<br />

currently living and working in West<br />

Yorkshire. Her symbolic artwork acts as a<br />

love letter to her own experience, full of<br />

life’s joy, absurdity, humour, loss and fear.<br />

Recent works explore her own personal<br />

journey through grief, one she describes<br />

as dark, weepy and often hilarious. She<br />

hails her work as a tangilble form of inner<br />

catharsis. Using raw pigments and acrylic<br />

ink she forces rich colour into the grain<br />

of the canvas, blurring edges with copious<br />

amounts of water or using thin layers of oil<br />

to blend the figures with their backgrounds<br />

creating an ethereal presence. As Woods<br />

says “I try to bring attention to the surreal<br />

aspects of life and the way the oddness of<br />

experience manifests within individuals and<br />

how that manifestation then affects me. In<br />

my vulnerability I crave strange moments of<br />

intimacy. I imagine drinking straight from<br />

the tap of all emotion, drinking so much<br />

of it, I take on too much and I’m sick and<br />

everything I spew out ends up in my work.”<br />

I Have Sold My Soul For This Pint & I Have No Regrets<br />

raw pigment, acrylic ink and oil on canvas, 167 x 304 cm<br />




Jackson Whitefield (1991)<br />

Mild steel forms were buried, embedded or<br />

secured to the earth at various pertinent<br />

sites and left to be imprinted by the<br />

elements. After a three month period the<br />

steel shapes were photographed, removed<br />

and then etched to paper. These forms are<br />

presented alongside photographic images<br />

of the sites where each form was left<br />

to weather.<br />

Jackson Whitefield is a British artist born in<br />

St. Ives, Cornwall in 1991. Whitefield works<br />

with a diverse range of media including<br />

photography, film, drawing, book making<br />

and site-specific earthworks. Themes which<br />

run through his work include geology,<br />

anthropology, process and language. While<br />

his choice of media and interests are<br />

diverse, his inspiration is rooted firmly<br />

in his immediate surroundings. Always<br />

allowing his environment to lead his<br />

immediate enquiry his approach to making<br />

the work is more about reacting and<br />

engaging with the subject rather than<br />

seeking out ideas that were already formed<br />

in the mind.<br />

Imprint III<br />

etching on paper with silver gelatin prints in polished aluminium frame, 87 x 91 cm<br />


Laurence Edwards (b .1967)<br />

Laurence Edwards’ sculptural practice<br />

has long been concerned with the<br />

physical and metaphysical, orderly and<br />

entropic, entwining of man, nature and<br />

time. Organic matter is often built into<br />

the casting process, perhaps a detritus<br />

of leaves, branches, stone and / or rope.<br />

One of the few sculptors who casts<br />

his own work, he is fascinated by the<br />

metamorphosis of form and matter that<br />

governs the lost-wax process which is<br />

an inherent part of his process. It is a<br />

method of working which also registers<br />

symbolically and conceptually. His<br />

primary working material is bronze, an<br />

alloy that physically and metaphorically<br />

illustrates the natural tendency of<br />

any system in time to tend towards<br />

disorder and chaos. His sculptures<br />

express this raw material potential,<br />

harnessing molten liquid versatility to<br />

achieve solid mass. Each process mark<br />

is both embraced and retained, telling<br />

the story of how and why each work<br />

came to be.<br />

Based in Suffolk, Edwards studied<br />

sculpture at Canterbury College of Art<br />

and bronze casting at the Royal College<br />

of Art with Sir Antony Caro. After<br />

winning a Henry Moore Bursary, the<br />

Angeloni Prize for Bronze Casting and<br />

an Intach Travelling Scholarship, he<br />

studied traditional casting techniques<br />

in India and Nepal, an experience that<br />

not only influenced his treatment of<br />

form and technique, but also gave him<br />

the necessary tools to establish his<br />

own atelier and foundry. In November<br />

2019, ‘Man of Stones’ was unveiled<br />

at the Sainsbury Centre in Norfolk.<br />

In 2018, Edwards was commissioned<br />

by Doncaster Council to create a<br />

sculpture that celebrates the lives of<br />

those who worked in the collieries<br />

around Doncaster. ‘A Rich Seam’ was<br />

unveiled in Print Office Street in 2021.<br />

In November 2021, Edwards installed<br />

a 26-foot-high sculpture, alongside<br />

the A12 highway in Suffolk, called<br />

‘Yoxman’. This colossal figure embodies<br />

his fascination between the human<br />

figure and the environment; he is part<br />

tree, cove, cliff and figure. In February<br />

2023 “A Gathering of Uncertainties”<br />

a solo exhibition of large scale works<br />

and studies opened at Orange Regional<br />

Museum, NSW, Australia. In May 2023<br />

“Five Walking Men” on loan from the<br />

Nock Art Foundation New Zealand<br />

where unveiled on the new extension<br />

to the Art Gallery of New South<br />

Wales. Edwards is represented by<br />

Messums Wiltshire.<br />

Gathering of Uncertainties<br />

bronze (edition of 12), 100 x 100 x 65 cm<br />




Katie Sims (b. 1988)<br />

Painting, for Katie Sims, is the closest<br />

thing to an act of communion. Her work<br />

reinforces the complexities of engagement,<br />

of seeing beyond first appearances and<br />

in questioning the origins and absolutes<br />

presented. Constraints are an integral part<br />

of her process, from a conceptual, painterly<br />

and physical stance. These limitations help<br />

her pare back to the essential, towards a<br />

directness of emotional statement and to<br />

silence; the silence the process facilitates<br />

and the silence the work is trying to get<br />

at. It is a simplifying, but not in the sense<br />

as to reduce complexity for it is layered<br />

with complexity and thus demands more<br />

from the viewer. Maintaining a balance<br />

around the transition point requires great<br />

focus akin to any devotional practice. The<br />

repetition and movement between prior<br />

intention and intention-in-action supports<br />

the virtues of listening and humility<br />

as she ‘assists’ something into being.<br />

Her work is a process that leads to a resolve.<br />

She places herself in an in-between space,<br />

between two opposing poles, challenging<br />

what resolve is through the middle ground<br />

until these two states are in a complete<br />

tension. Each resolution is different;<br />

chromatically, compositionally, through<br />

colour or light, yet each involves a circular<br />

dialogue of adding and removing. Thus<br />

her resolve sustains an instability of form,<br />

which manifests as hesitant and uncertain<br />

of itself. Sims sees this liminal space as the<br />

place where distinctions dissolve and the<br />

best opportunity for renewal is found. It is<br />

a fluid, malleable situation that enables new<br />

customs and identities to be unconcealed.<br />

Katie Sims was born in Shropshire, England<br />

in 1988 and currently lives and works on the<br />

small island of Gozo, Malta. Her paintings<br />

have been exhibited internationally and<br />

can be found in collections worldwide.<br />

The Green Ray<br />

oil on panel, 30 x 24 cm<br />


Massimo Angei (b. 1962)<br />

Massimo Angèi’s elemental, tempestuous<br />

yet ethereal oil paintings reflect varied<br />

emotional states whilst remaining open to<br />

physical and metaphysical interpretation.<br />

Tableaus and forms are suggested but<br />

never fully established, perhaps evoking<br />

landscape, weather patterns, natural<br />

systems, inner psychology or spiritual<br />

connectedness. Voluptuous cloud-like<br />

billows intersperse with delicate spiralling<br />

marks forming an ecstatic unity reminiscent<br />

of both renaissance grandeur and primitive<br />

automatic drawing.<br />

Massimo Angèi was born in La Spezia, Italy,<br />

he currently lives and works in Sarzana,<br />

near the borderline between Liguria<br />

and Tuscany. Following art school, he<br />

collaborated with various institutions and<br />

museums exhibiting early representational<br />

depictions of flora and fauna. After finishing<br />

his degree at the Fine Arts Academy in<br />

Carrara/Painting (Accademia di Belle<br />

Arti\Pittura), he participated in his first<br />

exhibitions, and the creation of the Idioma<br />

group along with Marco Casentini, Fabio<br />

Linari, Jacopo Bruno, Andrea Geremia.<br />

He then began to work as an independent<br />

freelance photographer working for photo<br />

agencies including Grazia Neri of Milan,<br />

and Bilderberg of Hamburg, publishing his<br />

images in both Italian and international<br />

magazines. A vivid dream in the spring of<br />

2006 made him realise that his destiny was<br />

as a painter, and he vowed to never again<br />

abandon it.<br />

Il suono delle piante che crescono (The sound of Growing Plants)<br />

oil on board, 80 x 70 cm<br />




Judith Nangala Crispin (b. 1970)<br />

Judith Nangala Crispin is an Australian visual<br />

artist, poet and musician, and a descendant of<br />

Bpangerang people of North East Victoria. Her<br />

skin name, Nangala, was given to her by the<br />

Warlpiri people of the remote Tanami Desert<br />

in northern Australia, a place she has lived<br />

for a few months each year for over a decade.<br />

Her work includes themes of displacement<br />

and identity loss, a reflection on her ancestry,<br />

but it is primarily centred on the concept of<br />

connection with the land. This work forms<br />

a part of Crispin’s ongoing series depicting<br />

the transcendent ascending forms of recently<br />

deceased fauna. Crispin’s camera-less method<br />

of photography incorporates a range of<br />

processes. Her own developed alternative<br />

process of ‘lumachrome glass printing’,<br />

combines elements of lumen printing, cliché<br />

verre, chemical alchemy and drawing. She<br />

works within a mobile geodesic dome which<br />

functions as a giant lens where light streams<br />

penetrate its plastic walls. The mobility of<br />

her studio allows her to go to the site of her<br />

subject, prior to respectful burial. The muse,<br />

is raised onto a plastic box, rested on special<br />

photographic paper for up to 50 hours as the<br />

passage of sun and moonlight exposes its<br />

posthumous portrait. Each work is viewed as<br />

a collaboration with nature, where honouring<br />

the subject is a key objective. In each work<br />

the animals are diaphanous where light has<br />

literally passed through their bodies. They<br />

appear drawn in a primitive motion by a<br />

slipstream of spirit, levitating in a space of<br />

brooding luminosity that appears sentient<br />

and wholly focused on the task of enfolding<br />

each creature back into its care. The result<br />

offers a profound sense of what lies beyond.<br />

Nangala Crispin has published a collection of<br />

poetry, The Myrrh-Bearers (Sydney: Puncher<br />

& Wattmann, 2015), and a book of images and<br />

poems made while living with the Warlpiri,<br />

The Lumen Seed (New York: Daylight Books,<br />

2017). She is a member of Oculi collective, one<br />

of the chapter leads of Women Photograph<br />

(Sydney), and was the 2021 Artist in residence<br />

with Music Viva. She is also the Poetry<br />

Editor for The Canberra Times. She has<br />

also directed and worked on two major<br />

social justice research projects – The Julfa<br />

Project, which preserved photographic<br />

records of a destroyed Armenian cemetery<br />

and digitally reconstructed the site from<br />

new and existing images; and Kurdiji 1.0, an<br />

Aboriginal suicide prevention app, which<br />

strengthens resilience in young indigenous<br />

people by reconnecting them with community<br />

and culture. Nangala Crispin work has been<br />

exhibited internationally.<br />

Cordelia, formless in a clear winter night, watched new trees germinate and spread their roots out<br />

from her discarded rex hare form, like forked lightning<br />

Lumachrome glass print, cliche-verre, chemigram, electroplating and drawing. Fox-killed rex hare on<br />

fibre paper, with seeds, acid, copper chloride, wax resists and electric current. Exposed 54 hours in<br />

an abandoned car. Re-exposed 23 hours in filtered UV light, electric current, acid & mixed chlorides.<br />

re-printed as a single image, detailed with gold and silver leaf, 150 x 115 cm<br />


Roger Thorp (b. 1955)<br />

Roger Thorp is a British artist born<br />

in Derbyshire. He currently lives and<br />

works in Cornwall. He previously worked<br />

as a producer on music videos before<br />

directing / producing programmes for<br />

NGO’s such as WWF, ILO, Greenpeace<br />

and the Red Cross, working in Australia,<br />

Mongolia and the USA. He has also made<br />

two feature films. Other work by Thorp<br />

as a writer / director has been screened<br />

in Rome, Barcelona, Berlin, Oslo,<br />

Copenhagen, Istanbul, USA, Cornwall and<br />

London. In 2015 he founded ‘The Olive<br />

Network’ a sophisticated web platform<br />

built to foster tolerance and understanding<br />

throughout diverse global communities<br />

by focusing on the positive long-term<br />

contributions of charity, the arts and<br />

humanities. Thorp’s artwork has been<br />

exhibited extensively.<br />

The Shaman’s Tears<br />

single channel video (duration 01:17)<br />




Simone Pellegrini (b. 1972)<br />

Simone Pellegrini’s visionary works appear<br />

as timeless artefacts describing complex<br />

systems of interconnectivity. The works are<br />

made through a process of pressing motifs,<br />

painted on to discarded paper fragments,<br />

on to a rich parchment-like paper, which is<br />

then hand-coloured and distressed with oil<br />

to create a rich and deep patination of age<br />

and wear. Their compositional arrangements<br />

echo an archaic sensibility, depicting<br />

dreamlike symbology and structures where<br />

figures float or wander either lost or found,<br />

consumed or enraptured. Whilst remaining<br />

cryptic Pellegrini’s paintings make tangible,<br />

more elusive philosophical, mystical and<br />

spiritual aspects of universal relatedness.<br />

Simone Pellegrini was born in Ancona,<br />

Italy in 1972, and he is currently based<br />

in Bologna, Italy. His works have been<br />

exhibited internationally and are in<br />

numerous public collections including the<br />

Museum of Modern Art in Bologna; the<br />

Civic Museum in Monza; Volker Feierabend<br />

in Frankfurt; Bologna Fiere; Maramotti<br />

Art Collection, Reggio Emilia; Unicredit<br />

Art Collection, Milan and Museum<br />

Kunstpalast Duesseldorf.<br />

Usuato droma<br />

mixed media on hand made paper, 93 x 180 cm<br />


Dr Martin Shaw (b. 1959)<br />

Dr Martin Shaw tells stories and explored<br />

wild ideas about how myth used to be a<br />

kind of language that spoke-across-species.<br />

That myth itself can be a place where we<br />

witness not just narratives about the earth,<br />

but moments where the earth itself speaks<br />

through these stories. With inspirations<br />

ranging as far as Gaston Bachelard to Islamic<br />

Cosmology to the work of Joseph Beuys,<br />

Shaw celebrates electrifying storytelling and<br />

thought-stimulating ideas.<br />

Dr. Martin Shaw’s first book, ‘A Branch From<br />

The Lightning Tree’ was awarded the Nautilus<br />

prize for non-fiction, and was followed by<br />

‘Snowy Tower’ and ‘Scatterlings’ to complete<br />

a trilogy of works on mythology, landscape and<br />

the nature of soul. An international teacher,<br />

he has designed andLife’ courses at Stanford<br />

University, and, lead both the ‘Oral Tradition’<br />

and ‘Mythic Life’ courses at Stanford<br />

University and as a fellow of of Schumacher<br />

College in Devon, co-created their MA in<br />

Myth and Ecology. His school of independent<br />

scholars in mythopoetic’s and wilderness<br />

studies is just entering its fourteenth year.<br />

Recent collaborations have included Mark<br />

Rylance, Coleman Barks and David Abram. He<br />

is a painting scholar from The British School<br />

in Rome, and his translations of Gaelic and<br />

Welsh folklore (with Tony Hoagland) have<br />

been published in The Mississippi Review,<br />

Poetry International, Kenyon Review, Orion,<br />

and Poetry Magazine. 2018 will see the<br />

release of his new book, ‘Courting the Dawn:<br />

Poems of Lorca’ (with Stephan Harding), with<br />

several more in completion: all involving<br />

a revisioning of the word romanticism in<br />

the early twenty first century. is essay and<br />

conversation with Ai Weiwei on myth and<br />

migration was released by the Marciano<br />

Art Foundation.<br />

Sabbath Christ<br />

charcoal on paper, 30 x 21 cm<br />




Alastair & Fleur Mackie (b. 1977)<br />

“When early humans ceased their nomadic<br />

existence as hunter-gatherers and settled down<br />

to cultivate the earth and produce food, they<br />

believed that the success of their labours was<br />

dependent on deities who would oversee the<br />

fruitfulness of their crops. In Britain it was<br />

believed that a spirit lived amongst the crop<br />

and that at harvest time it retreated before<br />

the oncoming reapers, taking refuge in the<br />

last of the standing corn. The final sheaf was<br />

personified, revered, and its fall marked with<br />

a formal ceremony and display. The sheaf<br />

was then fashioned into an effigy, a talisman<br />

believed to contain the spirit, and taken into<br />

the farmer’s home to be kept safe indoors<br />

throughout the winter, only to be returned to<br />

the earth with the coming of the new season.<br />

Giving the spirit a refuge during the dark<br />

and cold winter months was believed to ensure<br />

good luck for the forthcoming crop. In some<br />

cases the ‘trophy’ was burnt at the end of<br />

the winter as a way of releasing the spirit.<br />

As the earliest cultivated crops in human<br />

history, cereals continue to be among the most<br />

important food sources for us today. With a<br />

predicted world population of 9 billion by<br />

2050, demand is expected to increase by 60%<br />

while their vulnerability to climate change<br />

leaves us precariously exposed. In keeping<br />

with historical convention we took hold of the<br />

corn spirit and in collaboration with one of the<br />

few remaining true practitioners of the craft,<br />

produced a traditional spiral plait which, in<br />

turn, has been encased within a mould, burnt<br />

out, and cast. The remnant ash from the effigy<br />

has then been used to make ‘The New Season’.”<br />

Alastair and Fleur Mackie’s practice is<br />

one of contrasts. It is as labour-intensive<br />

as it is formally effortless, as grounded in<br />

ideas of nature as it is in the intrinsically<br />

human struggle to define a role within the<br />

environment; it is as intellectually ambitious<br />

as it is aesthetically understated. Alastair grew<br />

up in an agricultural community in Cornwall,<br />

UK while Fleur’s childhood was split between<br />

Cameroon, France, and the UK. They met<br />

at art school in London in the late 90’s.<br />

Initially their creative practices were separate,<br />

but over time their work has evolved into a<br />

natural collaboration. In 2011 they moved to<br />

live and work in Cornwall, the landscape of<br />

which has played a key role in the shaping<br />

of their vocabulary. Naturally occurring<br />

elements (native metals, wood, sea shells) are<br />

meticulously rearranged and transformed in a<br />

knowingly quixotic attempt to make sense of<br />

the primordial. Each work is something of an<br />

enigma, enriched by the loaded associations of<br />

its material and the story behind its making.<br />

Ally and Fleur operate by reduction; materials<br />

are pared down to their core. In their work,<br />

process dictates form, no matter how poetic or<br />

Romantic the piece’s origin. Alastair and Fleur<br />

Mackie have shown extensively in the UK and<br />

internationally, including exhibitions at the<br />

Saatchi Gallery in London, the Venice Biennale<br />

and the Reykjavik Art Museum. They have<br />

worked on a number of public commissions<br />

and their work is held in collections including<br />

The Olbricht Collection in Berlin, the Salsali<br />

Private Museum in Dubai and the Wellcome<br />

Collection in London.<br />

Cast<br />

bronze, steel, copper, 58 x 5 x 5 cm<br />


The New Season<br />

ash retrieved from foundry mould of ‘Cast’, calico, wood, glass, 40 x 36 x 5 cm<br />




Alice Ellis Bray (b. 1994)<br />

Alice Ellis-Bray is an artist from Lamorna<br />

in Cornwall. She works with self made<br />

costume, painting, performance and<br />

script to explore the infinite possibilities<br />

of identity and experience. Through<br />

learning the properties of nature and the<br />

nature of people, Bray seeks to portray<br />

an interconnectedness she feels with all<br />

things. Painting has assisted her as a tool<br />

to transmute stubborn emotions laying<br />

dormant within, painting the strength<br />

she seeks in the eyes of her paintings,<br />

helping her to find a way through life with<br />

painting as her remedy. With her oeuvre<br />

she has created something of a temple<br />

to mythical women, using arch-shaped<br />

boards tinged with gold in an allusion to<br />

religious iconography, which frame ‘selfie’,<br />

‘alter -ego’, subjects that are either direct<br />

references to well-known figures, looser<br />

notions of the primitive.<br />

Alice Ellis-Bray has exhibited her work<br />

widely, most recently at Tate St Ives.<br />

She has also taught at a number of art<br />

galleries and schools including Newlyn<br />

Art Gallery, Tate St Ives and CAST in<br />

Helston, Cornwall. She was selected as an<br />

‘Artist to Watch’ by Elephant Magazine in<br />

August 2022.<br />

.<br />

The Cords Have Been Cut<br />

oil and 23.5ct gold on board, 65 x 38 cm<br />


Marie-Claire Hamon<br />

Rather than a topographical representation<br />

of landscape, Marie-Claire Hamon’s work<br />

taps into the strata of history, ecology,<br />

cultural lore, and experience that form our<br />

human connection to a place. However,<br />

humans are not defined identities at the<br />

centre of the landscapes she paints. When<br />

humans do appear in her paintings, they are<br />

undefined by race, culture, gender, or time;<br />

they exist as archetypal representations<br />

of the human spirit. Her paintings are<br />

built through a deliberately slow process<br />

of layering. There is a very literal stage of<br />

‘watching paint dry’; it is this stage that<br />

allows her to read the work and marvel at<br />

the strange synchronicities that have arisen<br />

in her paintings. Through this process of<br />

layering, she has introduced elements that<br />

suggest mandalas, vestiges of ancient forms<br />

of religion, and reminiscences of esoteric<br />

signage. She works with the unknown,<br />

the accidental, and an unfixed sense of<br />

identity. The element of discovery and<br />

surprise forms an essential part of her<br />

practice as it proliferates new possibilities<br />

and directions.<br />

Marie-Claire Hamon was born in<br />

Switzerland and currently lives and works<br />

in remote West Cornwall. The area is<br />

charged with history, myths and folklore,<br />

where the ancient walls partitioning the<br />

fields are some of the most ancient on the<br />

planet, Neolithic quoits and Menhirs dot<br />

the surrounding area. Her work has been<br />

exhibited throughout the UK, including<br />

the Royal College Hunting Prize, The<br />

Discerning Eye, The Wells Contemporary,<br />

Brighton University and The Centre for<br />

European Culture in London.<br />

The Mountain<br />

oil on canvas, 50 x 60 cm<br />




Hermitage<br />

oil on canvas, 30 x 40 cm<br />


Rebecca Harper (b. 1989)<br />

Much of Rebecca Harper’s work has revealed<br />

itself through a diasporic consciousness<br />

which can often involve a multiplicity of<br />

belonging and a sense of difference, often<br />

one of ‘otherness’ and displacement. The<br />

identity of the displaced positioning is a<br />

paradox between location and dislocation,<br />

out of place everywhere and not completely<br />

anywhere. Generally, the work frames<br />

expressions of ‘being’ and manifests itself<br />

within an unfolding, wondering, allegoric<br />

commentary on the locations that she<br />

inhabits and those which inhabit her.<br />

Recent work explores a cast of reoccurring<br />

characters that rotate around the outskirts<br />

of the house that she grew up in, where<br />

she also found herself locked down during<br />

Covid. This work is a part of a body of work<br />

that acknowledges the human and worldly<br />

capacity to live at the edge of the precipice.<br />

The characters are never seen as portraits<br />

as such, more like actors that play a role,<br />

filling in for particular people, as they fill<br />

a stage. As Rebecca says of the figure who<br />

resembles herself; “It feels like perhaps this<br />

woman, has almost become a guiding spirit<br />

of myself, one of vulnerability and strength<br />

in the dealings of uncertainty, instability<br />

loss, and grief. She shows up reliably again<br />

and again during terrible turbulence.”<br />

Harper was born in London in 1989,<br />

where she continues to live and work. She<br />

studied at UWE Bristol then The Royal<br />

Drawing School and Turps Art School<br />

(Postgraduate’s). Rebecca was Artist in<br />

Residence at The Santozium Museum,<br />

Santorini, in summer 2019, and Artist in<br />

Residence for the Ryder Project Space at<br />

A.P.T Studios, Deptford in 2018-19 before<br />

becoming a studio and committee Member<br />

in 2019. She was winner of the ACS Studio<br />

Prize in 2018. Chameleon, her debut solo<br />

show at Anima Mundi met with great<br />

acclaim including a review in the FT by<br />

Jackie Wullshlager. Most recently Rebecca<br />

was selected for The John Moore’s Painting<br />

Prize 2021, and previously selected for<br />

Bloomberg New Contemporaries in 2018 at<br />

South London Gallery, Other curated shows<br />

include Huxley Parlour, Public Gallery, The<br />

Royal Academy Summer Show, Christies<br />

London and NYC, Flowers Gallery’, Paul<br />

Stolper Gallery, Turps Art Gallery and<br />

Arusha Gallery. Her work is on long term<br />

display in the Albright Collection at<br />

Maddox Street Club in London curated<br />

by Beth Greenacre and at the Santozeum<br />

Museum in Santorini. Harper is represented<br />

in many public and private collections<br />

internationally including the Ullens and<br />

the Royal Collections.<br />

Spellbind Reflecting<br />

acrylic on unprimed canvas, 102 x 80 cm<br />




Lisa Wright (b. 1965)<br />

Lisa Wright’s work talks about the truth<br />

of things, and how it anchors us to the<br />

very essence of human experience. Nature,<br />

nurture, truth and wonderment are all<br />

aspects that she is capable of conjuring.<br />

For her, the act of drawing is a reminder<br />

of the power of line and form to distil<br />

the complexity of the world into a single<br />

image. Painting, is an act of suspension,<br />

capturing fleeting moments of her deepest<br />

thoughts, rendering them eternal. The<br />

aspiration for Wright is for the work to<br />

evoke emotions that verbal language cannot<br />

express. Wrights practice is rooted in the<br />

rigour of observational drawing. Using her<br />

sketchbook and camera she records the<br />

everyday creating visual narratives for later<br />

paintings. Wright has spent the majority<br />

of her career chronicling the growth and<br />

development of her relationship with her<br />

children, from pregnancy to adulthood.<br />

These drawings and paintings are not just<br />

a representation of Wright’s experiences,<br />

but rather their embodiment, bringing<br />

their intangible reality into the visible<br />

world for all to recognise and relate to.<br />

After studying at The Royal Academy<br />

Schools, London, 1990-1993, Wright<br />

moved to Cornwall, in the south west of<br />

England, where she currently lives and<br />

works. Her work has featured in numerous<br />

solo and curated group exhibitions both<br />

nationally and internationally and is held<br />

in many important corporate and private<br />

collections. Notable achievements include<br />

her appointment as the Royal Shakespeare<br />

Company artist in residence throughout<br />

the two year period of the RSC’s acclaimed<br />

‘Histories’ cycle of plays, culminating in<br />

an exhibition at the Roundhouse- which<br />

ran concurrently with the plays- and<br />

subsequently at the Royal Academy of<br />

Arts London; consistent selection for the<br />

Royal Academy’s Summer Exhibition for<br />

over 20 years; inclusion in the significant<br />

‘Art Now Cornwall’, exhibition at Tate St<br />

Ives 2008 and winning The National Open<br />

Art Prize, the Hunting Art Prize, the 2013<br />

Threadneedle Prize and most recently<br />

Future Forest- a collaborative project with<br />

Tom Piper to celebrate the centeniary of<br />

The Forestry Commission.<br />

Balance of Control<br />

oil on canvas, 45 x 35 cm<br />


Balance of Surrender<br />

oil on canvas, 50 x 40 cm<br />




Andrew Litten (b. 1970)<br />

Andrew Litten’s life size bronze sculpture<br />

‘Listening’ recently formed the focal point<br />

of The Samaritans’ medal winning ‘Listening<br />

Garden’, at this years RHS Chelsea Flower<br />

Show, in celebration of the Samaritans’ 70th<br />

Birthday. The highly emotive piece, sat in a<br />

quiet corner of the garden, waiting to hear<br />

the thoughts of those who passed through.<br />

Andrew’s expressionist style strives to<br />

reflect the conflict and vulnerability of<br />

human existence. His work draws on the<br />

obscure, with his figures often appearing<br />

in some form of isolation. However, with<br />

‘Listening’, Andrew also wanted the figure<br />

to encourage deep rooted human connection<br />

- empathetically encouraging people to sit,<br />

talk, listen, and be heard.<br />

Andrew Litten is a British artist, born in<br />

Aylesbury, Buckinghamshire in 1970. He<br />

currently works from his studio in Fowey,<br />

Cornwall. He is a self-taught artist leaving<br />

art college as a teenager having found it<br />

to be too restrictive to his aspired method<br />

of working. For a decade he created mostly<br />

small-scale works using humble domestic or<br />

found materials (including envelopes and<br />

assembled furniture parts). The work made<br />

at this time deliberately challenged ideas<br />

of art elitism and art as commodity. He<br />

then moved to Cornwall in 2001 and chose<br />

to begin exhibiting. Early success came<br />

when his work was included in an exhibition<br />

titled ‘Nudes’ in New York City, (along with<br />

Jacob Epstein and Pierre-Auguste Renoir),<br />

where his work was highlighted and reviewed<br />

by the New York Times. Shortly after he had<br />

four consecutive solo exhibitions at Goldifsh<br />

Fine Arts in Penzance, Cornwall. Other<br />

notable exhibitions included ‘Move’ at Vyner<br />

Street, London, during Frieze Art Week<br />

2007, where his work ‘Dog Breeder’, created<br />

as a twisted and emphatic anti-art statement,<br />

was exhibited. He was also included in ‘No<br />

Soul For Sale’ at Tate Modern Turbine Hall,<br />

London in 2010. In 2012 he held a major<br />

solo exhibition at Millennium in St Ives,<br />

Cornwall and that year was given a guest<br />

solo exhibition at L13 Light Industrial<br />

Workshop, London. He has also held largescale<br />

solo exhibitions at Spike Island and<br />

Motorcade FlashParade in Bristol. ‘Ordinary<br />

Bodies, Ordinary Bones’ was conceived with<br />

support from The Arts Council, UK and<br />

was exhibited at Anima Mundi in 2018.<br />

Works have been included in numerous<br />

international curated mixed exhibitions<br />

in Berlin, Dublin, Siena, Milwaukee and<br />

New York City and in Venice during the<br />

54th Biennale. Most recently paintings have<br />

been exhibited in four major museums in<br />

China. Andrew Litten paintings feature<br />

in numerous international private and<br />

public collections.<br />

Contained (Study for Returned)<br />

oil on board and frame), 42 x 35 cm<br />

79 73

Sequence of Destinations (Study for Returned)<br />

oil on board and frame), 46 x 30 cm<br />




Spencer Shakespear (b. 1967)<br />

Born in in London, Spencer Shakespeare<br />

discovered his addiction to the natural<br />

world in his yearly holidays to Cornwall with<br />

his family, which, after 20 years of living on<br />

Australia’s Gold Coast he has returned to,<br />

residing near Penzance where he says the<br />

bird song is at its most beautiful. Being<br />

an obsessive and automatic drawer since<br />

the age of seven, Shakespeare completed<br />

a degree in Illustration at Bournemouth<br />

College of Art and Design. He enjoys<br />

transcribing places of intersection; the<br />

coastline, the edge of forests - places where<br />

a transition of boundaries takes place.<br />

The garden is significant in his work<br />

because of the element of interchange<br />

between the domestic boundary and the<br />

beginning of wilderness. Although he is<br />

inspired by such places, he never strives<br />

to capture the specifics of the landscape<br />

around him, instead drawing and exposing<br />

his own imaginary world upon it. His work<br />

connotes a kind of mystery and magic - a<br />

world where high contrast colours inject<br />

life force: vibrating with an emotional<br />

energy. His semi-abstract canvases show<br />

the blurred boundaries of the humming<br />

world he witnesses.<br />

Red Kite Revival<br />

oil, acrylic, charcoal, graphic on canvas, 170 x 195 cm<br />


Sam Bassett (b. 1982)<br />

Sam Bassett artworks display a boundless<br />

zeal, sharp humour and honest pathos made<br />

with a creative, experimental, freedom. His<br />

language of mark-making varies from raw<br />

sweeping gestures to draughtsman-like<br />

drawn or sgraffitto schematics. His dexterity<br />

enables him to effortlessly capture scattered<br />

images of his inner monologue - often<br />

erratic, often pinpoint. The ups and downs,<br />

the highs and lows. His paintings could<br />

be described as a form of ‘psychological<br />

cubism’, where the inner and the outer<br />

self reveal themselves and coalesce. His<br />

autobiographical work maps a fast paced<br />

and over-active mind searching for the<br />

personal and universal meaning and in turn<br />

reflect both positive and negative concerns<br />

about 21st century society and the wider<br />

human condition. Bassett’s most recent<br />

works imbue a deep rooted connection<br />

to place, the sea and landscape, as well<br />

as community and heritage. The localised<br />

placement of these cautionary tales become<br />

allegorical for broader more universal hopes<br />

and wider loss, fear and disconnection.<br />

Bassett is a British artist born Cornwall<br />

where he still lives and works. St Ives<br />

has been his family’s home since 1695.<br />

The artistic traditions of the town had an<br />

undoubted influence over his development,<br />

but his Grandfather, a fisherman by trade was<br />

also a keen amateur painter, as was his other<br />

Grandfather in Newlyn. The young Bassett<br />

was supported early on with encouragement<br />

and painting materials. Bassett ’s studio<br />

space is part of a complex that coincidently<br />

sits above his Grandfather’s former net<br />

loft. He studied in Bournemouth, England<br />

and then lived in London but the pull of<br />

the sea brought him home. In addition to<br />

his own practice Bassett founded LETH<br />

projects, a curatorial platform for emergent<br />

artists. Bassett has exhibited internationally<br />

including solo exhibitions with Vigo in<br />

London, Kornfeld Gallery in Berlin and<br />

Anima Mundi, solo presentations have also<br />

featured at START at the Saatchi Gallery in<br />

London and CODE Art Fair, Copenhagen.<br />

Works are held in an increasing number<br />

of collections worldwide including the<br />

acquisition of the work ‘Lost Karensa’<br />

by Tremenheere Sculpture Park which is<br />

permanently exhibited alongside James<br />

Turrell, Kishio Suga, Richard Long and David<br />

Nash among others. Bassett has been featured<br />

in numerous articles included Christies<br />

magazine and The New York post which is<br />

indicative of a notable and rapid increase<br />

in the artists popularity and ambition.<br />

Together With Bird<br />

mixed media on canvas, 76 x 102 cm<br />




Claire Curneen (b. 1968)<br />

Claire Curneen’s iconic sculptures are<br />

poignant contemplations on the liminal and<br />

precarious nature of the human condition;<br />

exploring themes around death, rebirth and<br />

the sublime. Universal and profound states<br />

of fear, loss, suffering and sacrifice fuse<br />

with devotion, desire, wonder and mystery<br />

to underlie each intricate, porcelain figure.<br />

Their translucent and fragile qualities offer<br />

potent, metaphoric abstract narratives.<br />

Porcelain, terracotta and black stoneware<br />

create a grounded vulnerability to these<br />

works, with dribbles of glaze and flashes of<br />

gold to embellish denoted sacred qualities.<br />

Claire Curneen was born in Tralee, Co.<br />

Kerry, Ireland in 1968 and currently lives<br />

and works in Wales, UK. Works have been<br />

exhibited internationally and appear in<br />

many notable public collections including<br />

The Crafts Council, London; Shipley<br />

ArGallery, Gateshead; National Museum<br />

& Gallery of Wales, Cardiff; Victoria and<br />

Albert Museum, London; The Fitzwilliam<br />

Museum, Cambridge; Manchester City Art<br />

Gallery, Manchester; National Museum of<br />

Scotland, Edinburgh; Aberystwyth Arts<br />

Centre, Aberystwyth, Wales; Cleveland Craft<br />

Centre, Middlesbrough; Oldham Art Gallery<br />

and Museum, Manchester; York City Art<br />

Gallery, York; Middlesbrough Institute of<br />

Modern Art, Middlesbrough; Crawford Art<br />

Gallery, Cork, Eire; Limerick City Gallery<br />

of Art, Limerick, Eire; Ulster Museum,<br />

Belfast, Northern Ireland; Benaki Museum,<br />

Athens, Greece; Clay Studio, Philadelphia,<br />

USA; Mint Museum of Craft + Design,<br />

Charlotte, North Carolina, USA; Icheon<br />

World Ceramic Centre, Gyeonggi-do, Korea;<br />

Taipei Ceramics Museum, Taiwan.<br />

Angel<br />

tin glazed terracotta, 63 x 30 x 23 cm<br />


Joy Wolfenden Brown (b. 1961)<br />

Joy Wolfenden Brown’s intimate oil<br />

paintings feel hauntingly familiar<br />

possessing a raw, emotional, honesty. She<br />

captures fleeting fragments of memory,<br />

moments in time where the inherent<br />

vulnerability of the figures depicted, often<br />

in isolation, is palpable. These are lovingly<br />

yet spontaneously executed reflections<br />

on the human condition, which have an<br />

unnervingly, yet simultaneously comforting,<br />

unguarded quality.<br />

Joy Wolfenden Brown is a British artist born<br />

in Stamford, Lincolnshire. She currently<br />

lives in Bude, North Cornwall. She graduated<br />

from Leeds University then completed a<br />

post-graduate diploma in Art Therapy at<br />

Hertfordshire College of Art & Design<br />

which she worked as an for ten years before<br />

moving to Cornwall in 1999. Since then<br />

she has had numerous solo exhibitions and<br />

was the First Prize Winner in The National<br />

Open Art Competition, 2012. She was also<br />

awarded the Somerville Gallery painting<br />

prize in 2003 and first prize winner at the<br />

Sherborne Open in 2007 and the Revolver<br />

Pricze at The RWA in 2019. Works were<br />

acquired by the Anthony Pettullo Outsider<br />

Art Collection in Milwaukee with further<br />

works held in collections worldwide.<br />

Over the Storm<br />

oil on paper, 24 x 37 cm<br />




Phoebe Cummings (b. 1981)<br />

Phoebe Cummings’ works predominantly<br />

using unfired clay to make poetic and<br />

performative sculptures and installations<br />

that emphasise materiality, fragility, time,<br />

creation, loss and decay. Her impressive<br />

interventions are often constructed directly<br />

on site, allowing an instinctive development<br />

of tensions between object and location.<br />

Cummings questions what we will carry<br />

forward into the future by producing<br />

intricate, hand made and exquisitely<br />

delicate sculptures based on ancient plants<br />

and primitive ritual, imbued with a sense<br />

of magic and mysticism. Drawing together<br />

elements of English Paganism as well as<br />

the aesthetic excess of Baroque and Rococo<br />

design, the resultant objects could be<br />

considered as dystopian ornaments of a<br />

future anthropology or fragile relics of an<br />

almost forgotten past.<br />

Cummings is a British artist born in<br />

Walsall, England and currently resides in<br />

Stafford. She studied ceramics at Brighton<br />

University in 2002 before completing an<br />

MA in ceramics and glass at the Royal<br />

College of Art in 2005. She has undertaken<br />

a number of international artist residencies<br />

including a six month residency at the<br />

Victoria & Albert Museum in 2010. In 2017<br />

she won first place at the inaugural Woman’s<br />

Hour Craft Prize with work exhibited at the<br />

V&A Museum, before touring to venues<br />

around the UK. Cummings was selected<br />

as the winner of the British Ceramics<br />

Biennial Award in 2011 and awarded a<br />

ceramics fellowship at London’s Camden<br />

Arts Centre (2012–13). ‘Supernatural’ was<br />

her first solo exhibition at Anima-Mundi.<br />

In addition, Cummings’ work has been<br />

featured in numerous group exhibitions,<br />

including ‘60|40 Starting Point Series’ at<br />

Siobhan Davies Studios, London, ‘Formed<br />

Thoughts’ at Jerwood Space, London;<br />

and ‘Swept Away: Dust, Ashes, and Dirt<br />

in Contemporary Art and Design’ at the<br />

Museum of Arts and Design, New York. In<br />

2013, she had a solo show at the University<br />

of Hawaii Art Gallery in Honolulu and The<br />

Newlyn Art Gallery.<br />

Study<br />

unfired clay, 20 x 15 x 20 cm<br />


Luke Hannam (b. 1966)<br />

Luke Hannam describes his work as the<br />

result of an ‘ordered chaos’ where poetic<br />

paintings are made ‘in the eye of the storm’,<br />

where creativity spins wildly, through bursts<br />

of impulse around a silent meditative deep<br />

well of meaning. Ideas emerge out of an<br />

energetic dedication to drawing and a<br />

relentless desire to explore images and<br />

motifs. His work is instantly recognisable<br />

through his strong punch of colour and<br />

definite use of line which weaves its way<br />

sensuously across the surface, denoting both<br />

the delicacy and strength of the form and<br />

spirit of the subject. Hannam’s paintings<br />

expressively offer a singular view on how<br />

what he sees, how he thinks and pivotally<br />

how he feels about the human condition and<br />

what lies beyond our materiality. His work<br />

could be seen to continue the Romantic<br />

tradition, embracing reality and mysticism<br />

with the wonder of experience.<br />

Luke Hannam was born in 1966 and currently<br />

lives in East Sussex, UK. He studied Fine<br />

Art in the 1980s and whilst others of his<br />

generation faithfully chanted the conceptual<br />

mantra of the time, Hannam focussed on<br />

perfecting his expressive drawing skills<br />

seeking inspiration from the earlier masters.<br />

Works have been exhibited and collected<br />

internationally, including the collections<br />

of Stefan Simchowitz and David Kowitz.<br />

The Apple Peelers<br />

oil on canvas, 90 x 120 cm<br />




Andy Harper (b. 1971)<br />

Andy Harper’s intricate oil paintings deal<br />

with the fruits of labour in the shadow of<br />

uncertainty. On one side they are concerned<br />

with the immediate process of painting, the<br />

mechanical, almost automated act of laying<br />

down mark after mark on a wet surface. On<br />

the other hand, they are subject to longterm<br />

strategy, each mark developed over<br />

time and embedded into a composition that<br />

provides an architectural structure for the<br />

work. While this framework may be logically<br />

ordered, the marks themselves are organic<br />

entities, forming a broad visual library that<br />

has taken on a life its own, growing through<br />

repetition and recombination in each new<br />

work. The paintings act like a Petri-dish for<br />

the culturing of this visual language, and a<br />

greenhouse for its cultivation. The forms may<br />

seem organic, but upon closer inspection<br />

they are not specific to anything the natural<br />

world has to offer. Rather they appear<br />

as a synthetic form of nature, generated<br />

from compulsive repetition and subjective<br />

reinterpretation, a world that has somehow<br />

evolved beyond the point of progeny to<br />

become its own independent alien entity.<br />

Andy Harper lives in St Just, the most<br />

westerly town in Cornwall and works from a<br />

studio at the renowned Porthmeor Studios<br />

in St Ives. He studied his BA in Fine<br />

Art: Painting & Printmaking at Brighton<br />

Polytechnic and then MA Fine Art: Painting<br />

at the Royal College of Art, London. In<br />

1996, with some peers from the RCA, Harper<br />

co-founded NotCut which ran a studio and<br />

photographic darkroom in London and<br />

curated ‘Lightness & Weight’ in Birmingham.<br />

During this time he also studied part time<br />

at Middlesex University for an MA in Visual<br />

Culture and had his first solo exhibition<br />

in London in 1998. After attending the<br />

Braziers International Artist Workshop in<br />

2000, Harper became a member of the<br />

organising committee until 2008. Harper<br />

has taught in many institutions nationally<br />

and internationally, and had teaching posts<br />

at Central St. Martins, The City Lit and<br />

is currently a Senior Lecturer on the<br />

MFA Fine Art programme at Goldsmiths,<br />

University of London. Harper has exhibited<br />

widely in Europe, North America and<br />

South Korea.<br />

Seriquel<br />

oil on board, 60 cm diameter<br />


Published by Anima Mundi to coincide with ’<strong>Lughnasadh</strong>’<br />

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

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

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


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