A Skin Made Porous

Catalogue of the mixed multi-media exhibition 'A Skin Made Porous' curated by Joseph Clarke at Anima Mundi, St Ives

Catalogue of the mixed multi-media exhibition 'A Skin Made Porous' curated by Joseph Clarke at Anima Mundi, St Ives


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“Out beyond ideas of wrongdoing and rightdoing,<br />

there is a field. I’ll meet you there.When the<br />

soul lies down in that grass, the world is too<br />

full to talk about. Ideas, language, even the<br />

phrase each other doesn’t make any sense.”<br />

Jalāl al-Dīn Rūmī<br />


This introduction is bookended by two quotes, which<br />

whilst seemingly oppositional, indicate something<br />

intrinsic about the contradictory nature of our<br />

experience. A condition which feels ever pertinent<br />

when viewing our individual and collective exterior<br />

and interior placement in the world. This existential<br />

dichotomy provides a poetic seed from which this<br />

exhibition has grown, and in turn become something<br />

other. I hope that it provides viewers with a space<br />

and opportunity to contemplate and recognise the<br />

guarded self as a solitary entity, armoured. Yet our shells<br />

are there to be breached, by an evolving process<br />

of physical and metaphysical transformation.<br />

The disperate emotional effects of the universe we<br />

inhabit, allow us the potential to retreat or to<br />

transcend towards a greater sense of separation or a<br />

wider unity, where we and all become one.<br />


“It is often tragic to see how blatantly a man<br />

bungles his own life and the lives of others yet<br />

remains totally incapable of seeing how much the<br />

whole tragedy originates in himself, and how he<br />

continually feeds it and keeps it going. Not<br />

consciously, of course—for consciously he is<br />

engaged in bewailing and cursing a faithless<br />

world that recedes further and further into<br />

the distance. Rather, it is an unconscious<br />

factor which spins the illusions that veil his<br />

world. And what is being spun is a cocoon,<br />

which in the end will completely envelop him.”<br />

Carl Jung, ‘Aion’<br />


Paul Benney (b. 1959)<br />

Paul Benney was born in London and<br />

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

rose to international prominence as a<br />

member of the Soho and East Village<br />

Neo-Expressionist group, whilst living<br />

and working in New York City in the<br />

1980s where he worked and exhibited<br />

alongside peers Marylyn Minter, Jean-<br />

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<br />

and twice won the BP Visitors’ Choice<br />

Award. Benney’s portrait subjects have<br />

included HM Queen Elizabeth II, Sir Mick<br />

Jagger, John Paul Getty III, 7th Marquess<br />

of Bath, The State Portrait for Israel, Lord<br />

Rothschild, as well as Ben Barnes for the<br />

portrait in the feature film ‘A Portrait of<br />

Dorian Grey’. Benney was invited to be<br />

resident artist at Somerset House in 2010.<br />

During his five year residency he held the<br />

exhibition ‘Night Paintings’ in 2012 and<br />

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

painting and holosonic sound installation<br />

‘Speaking in Tongues’ was a prominent<br />

feature of the Venice Biennale.<br />

Horror Vacui<br />

digitally animated original painting on media player and monitor<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<br />

in Stafford. Cummings studied ceramics<br />

at Brighton University in 2002 before<br />

completing an MA in ceramics and glass<br />

at the Royal College of Art in 2005.<br />

She has undertaken a number of<br />

international artist residencies including a<br />

six month residency at the Victoria & Albert<br />

Museum in 2010. In 2017 she won first place<br />

at the inaugural Woman’s Hour Craft Prize<br />

with work exhibited at the V&A Museum,<br />

before touring to venues around the UK.<br />

Cummings was selected as the winner of<br />

the British Ceramics Biennial Award in<br />

2011 and awarded a ceramics fellowship at<br />

London’s Camden Arts Centre (2012–13).<br />

‘Supernatural’ was her first solo exhibition<br />

at Anima-Mundi. In addition, Cummings’<br />

work has been featured in numerous group<br />

exhibitions, including ‘60|40 Starting<br />

Point Series’ at Siobhan Davies Studios,<br />

London, ‘Formed Thoughts’ at Jerwood<br />

Space, London; and ‘Swept Away: Dust,<br />

Ashes, and Dirt in Contemporary Art and<br />

Design’ at the Museum of Arts and Design,<br />

New York. In 2013, she had a solo show<br />

at the University of Hawaii Art Gallery in<br />

Honolulu and The Newlyn Art Gallery.<br />

Paleozoic Bouquet<br />

unfired clay, glass, wood, wire, 60 x 25 x 25 cm<br />


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

and outer calm and conflict, offering a glimpse<br />

of simultaneous strength and fragility,<br />

conscious and subconscious, masculine and<br />

feminine. The paintings express Whittaker’s<br />

constant focus on an attempt to express<br />

something far greater than oneself. Recent<br />

works depict the artists deep sensitivity<br />

and increasing unease when confronted<br />

with the compounding global tensions of<br />

this 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 />

New Sunflowers<br />

oil and acrylic on canvas, 180 x 140 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 />

Neutral Grey & Blue Volts<br />

acrylic on cavnvas, 102 x 102 cm<br />


Pale Brilliant Blue Volts<br />

acrylic on aluminium, 84 x 84 cm<br />




Youki Hirakawa (b. 1983)<br />

‘Untitled (Tear)’ is a video by Youki Hirakawa<br />

documenting a fallen tear drop. As time passes<br />

it shows the different phases of the shape of<br />

the tear as it dries. Through his still and<br />

installation-based video artwork, Hirakawa<br />

explores a mysterious and immeasurable<br />

sense of time, loss and longing. His imagery<br />

is imbued with a melancholic quality,<br />

reconnecting a fragile past with a vivid<br />

present casting questions over the future.<br />

He creates a form of video-poetry which<br />

summons the voice of the lost. Hirakawa<br />

constructs his artworks as if to reveal hidden<br />

memories or narratives contained within<br />

the subject, resuscitating sensibilities that<br />

may have since been obscured, primarily<br />

through progressive human activity.<br />

Hirakawa is a Japanese contemporary<br />

artist born in Nagoya, Japan in 1983. He<br />

currently lives and works in Toyota, Japan,<br />

following a long residency in Berlin,<br />

Germany. He was invited to show at the<br />

‘48th International Film Festival Rotterdam’<br />

and ‘65th International Short Film Festival<br />

Oberhausen’ in 2019 and has held solo<br />

exhibitions internationally, including Ando<br />

Gallery, Tokyo, Double Square Gallery,<br />

Taipei, Kunstlerhaus Bethanien, Berlin,<br />

Kunstkraftwerk, Leipzig, Minokamo City<br />

Museum, Japan. Hirakawa has also been<br />

invited to exhibit in international art<br />

festivals including Digital Art Festival<br />

Taipei 2017, International Contemporary<br />

Art Festival Kaunas in 2016, Sapporo<br />

International Art Festival 2014 and Aichi<br />

Triennale 2013. His inaugural solo exhibition<br />

‘Secret Fire’ at Anima Mundi was held<br />

in 2016 and his follow up ‘A River Under<br />

Water’ in 2018. In 2017 he was finalist of<br />

Sovereign Asian Art Prize. Works are held<br />

in numerous public and private collections.<br />

Untitled (Tear)<br />

single channel video<br />


Agnes Treherne (b. 1987)<br />

Agnes Treherne lives and works in Sussex.<br />

Her work is concerned with how our<br />

thoughts and articulations are informed<br />

by the environments in which we live. She<br />

works from the premise that the act of<br />

drawing, and the attention it gives to what<br />

is being drawn, is fruitful both to the artist<br />

and the subject, so that the existence of<br />

both is enriched by the other. When there<br />

is a figurative element in her paintings<br />

and drawings, it is often to convey both<br />

connection and dislocation. Her paintings<br />

are based on observations of daily life and<br />

the landscape which surrounds her, like<br />

stills from a film, where time has stopped<br />

and imprinted the situation in a refined<br />

and eternal light. The characters, when<br />

they appear, often seem simultaneously<br />

overwhelmed yet integrated offering a<br />

profound sense of awe, humility, yet also<br />

hope and reassurance within the prosaic<br />

yet sublime settings.<br />

/<br />

Bucks Stream<br />

oil on birch panel, 53 x 61 cm<br />



Cinderhill<br />

oil on birch panel, 53 x 61 cm<br />


Cinderhill<br />

oil on birch panel, 53 x 61 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 for ten years before<br />

moving to Cornwall in 1999. Since then<br />

she has had numerous solo exhibitions<br />

and was the First Prize Winner in The<br />

National Open Art Competition, 2012. She<br />

was also awarded the Somerville Gallery<br />

painting prize in 2003 and first prize<br />

winner at the Sherborne Open in 2007<br />

and the Evolver prize at The RWA in 2019<br />

and the Judges Choice at the Chaiya Art<br />

Award 2023. Works were acquired by the<br />

Anthony Pettullo Outsider Art Collection<br />

in Milwaukee with further works held in<br />

collections worldwide.<br />

Her Inward Glance<br />

oil on canvas, 52 x 37 cm<br />



If I Rise On The Wings Of The Dawn (Psalm 139 vs 9)<br />

oil on paper, 33 x 21 cm<br />


Oceans<br />

oil on paper, 31 x 21 cm<br />



Secret Heart<br />

oil on board, 42 x 30 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 />

Faith<br />

polychromed wood, 42 x 30 x 13 cm<br />




Vessel<br />

polychromed wood, 18 x 27 x 20 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 />

Shadow Is Yours I<br />

mixed media on canvas, 240 x 120 cm<br />




Shadow Is Yours II<br />

mixed media on canvas, 240 x 120 cm<br />


Gabriel Tendai Choto (b. 1995)<br />

Gabriel Tendai Choto’s artwork combines<br />

the twin disciplines of printmaking and<br />

painting. Through his singular technique<br />

Choto seeks new pathways into the painted<br />

image by taking cues from the surface quality<br />

produced by the printmaking process. His<br />

evolving, experimental practice involves<br />

layering painted areas of naturalism over<br />

the delicate compositional architecture<br />

of etching, resulting in paintings where<br />

physical presence and absence imply a<br />

metaphoric liminal state. Sensitive and<br />

intimate, these images include close family<br />

members, depicting quiet moments of<br />

contemplation or affectionate domestic<br />

scenes taken from old photographs,<br />

increasingly progressing in to self portraits<br />

where through constructed situations the<br />

artist examines his own identity. Choto’s<br />

intimate paintings draw on themes of<br />

home, pride, identity diaspora, change<br />

and personal as well as cultural fragility.<br />

Choto was born in 1995 in Harare, Zimbabwe.<br />

He was raised in Bradford, Yorkshire and<br />

currently lives and works in London. After<br />

completing his Diploma in Art and Design<br />

at Leeds Arts University in 2012, Choto<br />

gained a BAFA in Drawing from Camberwell<br />

College of Art (UAL), London, in 2014<br />

and more recently has completed an MFA<br />

at Central St Martins, London. Selected<br />

group exhibitions include FBA Futures,<br />

Mall Galleries, London, UK (2018); Flock,<br />

GX Gallery, London, UK (2017); Blxckout<br />

Revolution: The Exhibition, 198 Gallery,<br />

London, UK (2017); BAME, Hotel Elephant<br />

Gallery, London, UK (2016); and Long Live<br />

the New Flesh, Tower Gallery, London, UK<br />

(2015). In 2018, Choto was selected for the<br />

Clyde & Co Art Award. Choto’s debut solo<br />

exhibition at Anima Mundi featured in 2021<br />

and most recently he has been personally<br />

invited by Yinka Shonibare to submit for<br />

the 2021 RA Summer Exhibition.<br />

Stranding<br />

oil on panel, 61 x 122 cm<br />




Malcolm Pate (b. 1998)<br />

Malcolm Pate is a Canadian artist whose<br />

work explores the evocative nature of<br />

light. Pate uses naturally occurring<br />

and generated light to create ethereal<br />

echoes of reality. Employing cognitive<br />

neuroscientific theories of associative<br />

memory, visual object identification, and<br />

pattern recognition, he seeks to distil each<br />

subject to their core essence - a ghostly<br />

reflection of the world we perceive. His<br />

work explores where simplified patterns<br />

and systems bring personal memories into<br />

focus, evoking a unique response in the<br />

viewer, one that often defies description<br />

in words but instead conjures connection<br />

and feeling. As we face a future where<br />

nature as we know it may be little more<br />

than a memory, Pate endeavours to discover<br />

pathways to maintain our connection to the<br />

peace it provides.<br />

A graduate of fine art at Chelsea College<br />

of Art, Pate’s work has been shown<br />

internationally at Aomori Museum of Art<br />

(Japan), Barbican Art Gallery (UK), Eltuek<br />

Arts Centre (Canada), Fosun Foundation<br />

(China), Louise Blouin Foundation Gallery<br />

(UK), McIntosh Gallery (Canada), New<br />

Museum (USA), and the Southbank Centre<br />

(UK), among others.<br />

Flock<br />

human silhouettes are flocked like a murmuration of starlings - custom software video<br />


Jamie Mills (b. 1983)<br />

Jamie Mills’ practice is underpinned by an<br />

investigation surrounding the dissemination<br />

of gesture between materiality and<br />

environments – referencing both internal<br />

and external landscapes. These concerns are<br />

reinforced by an interdisciplinary approach<br />

to working and are made manifest through<br />

the renderings of materials often sourced<br />

or retrieved via immersion into nature or<br />

borderlands The term ‘gestalt’ refers to a<br />

concept within psychotherapeutic fields,<br />

inferring that the nature of a whole is<br />

greater than the sum of its parts. Mills’<br />

employment of the mediums of photography,<br />

sound and mark-making can be read in this<br />

sense whereby a reality is constructed<br />

not by the sole surface representation of<br />

any individual element alone, but instead<br />

there is a sense that the artists reality<br />

is presented through the relationships<br />

and the spaces between elements. In other<br />

terms, it is work that requires both on<br />

one hand a stepping away from, and on<br />

the other an immersion into, in order<br />

to extract an empathetic understanding<br />

of the essence of the work that presides<br />

from both a conscious and subconscious<br />

framework of mind. Universally inherent<br />

within his process of rendering, there<br />

is a conscious dialogue between, on one<br />

hand material intent (or ‘essence’) and on<br />

the other, control (or the relinquishing<br />

of control), so as to make work that<br />

negotiates thresholds and occupies at<br />

times a liminal status. In this sense Mills’<br />

“intuitively composed” sound works, and<br />

his images or assemblages become markers<br />

to a series of internal journeys or rituals<br />

informed by an often poetic dialogue<br />

between material, form and environment.<br />

Sentinal Absolve<br />

rubber, cotton skrim, thread, beeswax, 21.5 x 13.5 x 4 cm<br />



Sentinel Refuge<br />

rubber, wool, cotton scrim, thread . 32 × 21 × 6.5 cm<br />


Open Sentry<br />

rubber, wool, cotton scrim, thread . 58 × 16 × 11.5 cm<br />


Bandaged Object (A Device for Holding and Waiting)<br />

distemper on canvas, mixed fabric, thread, wood, fastenings, stone . 71 x 12 x 11 cm<br />



Jonathan Michael Ray (b. 1984)<br />

Jonathan Michael Ray’s ‘mono no aware’<br />

artworks examine the multilayered<br />

histories, fictions and beliefs assigned<br />

to artefacts, materials and the places he<br />

encounters. A practice comprising of<br />

stained glass, photography, sculpture,<br />

print, drawing, video and installation,<br />

much of his work is deeply connected to<br />

his surroundings. He regularly uses found<br />

objects and images imbued with their<br />

own histories, as well as material direct<br />

from the landscape, appropriating their<br />

symbolism while creating a new context<br />

and meaning. By layering and combining<br />

material, he is interested in looking beyond<br />

the surface of a purely physical existence<br />

and breaking down the institutions by<br />

which we are taught to see and experience<br />

the world. His work alludes to the sublime<br />

power that inanimate material and objects<br />

can contain when we give them space, time<br />

and authority to do so.<br />

Jonathan Michael Ray was born in High<br />

Wycombe, UK and has been based in<br />

West Cornwall since 2018. He studied at<br />

Nottingham Trent in 2007 and at Slade<br />

School of Fine Art in 2016. In 2022 Ray’s<br />

work was the subject of a two person<br />

exhibition alongside Willeminha Barnes<br />

Graham at Tate St Ives. In 2023, following<br />

his solo exhibition “Long Way Home” at<br />

Anima Mundi, Ray was commissioned to<br />

produce a new sculpture for Tremenheere<br />

Sculpture Garden, which the garden has<br />

since acquired. Ray’s sculpture ‘Dark<br />

Lith’ is on a long term display at The<br />

New Art Centre, Roche Court. In addition<br />

he co-curated “Ud Rocashaas”, a group<br />

exhibition at Hweg Gallery, Penzance.<br />

The Widow’s Gift<br />

stained glass fragments and lead in LED backlit frame, 56.5 x 43.5 cm<br />



The Astrologer’s Misfortune<br />

stained glass fragments and lead in LED backlit frame, 56.5 x 43.5 cm<br />


Out of this World<br />

stained glass fragments and lead in LED backlit frame, 57.5 x 43.5 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 />

Mouth of Conduit<br />

oil, oil stick, charcoal, gesso, spray paint, collage on linen, 217 x 170 cm<br />


Simon Hitchens (b. 1967)<br />

Simon Hitchens’ work explores the<br />

interconnectedness between the human<br />

and the non-human, as a means to<br />

learning about Mankind’s relationship with<br />

impermanence. The material backbone of<br />

his work is rock in its raw and natural<br />

state. This is not carved and polished<br />

but plucked from the rock face or quarry<br />

floor. He remains acutely aware of the<br />

historical significance that stone has as the<br />

prime material to make sculpture, and as<br />

a sculptor is challenged to make art that<br />

contributes to this debate. As a climber<br />

he maintains an intimate relationship with<br />

rock, and is acutely aware that geologically<br />

it is the very material that supports us upon<br />

the planet. In the age of the Anthropogenic<br />

it seems pertinent to question how we<br />

comprehend the geological and human<br />

worlds as united, interconnected even.<br />

Hitchens believes there is increasingly<br />

a disconnect between these two worlds.<br />

which is harmful not only to the planet but<br />

also our psyche. Consequently, rock is the<br />

conceptual focus of his work and typically<br />

the material backbone within it. His work<br />

questions differences between animate and<br />

inanimate, more specifically rock and flesh,<br />

mountain and body; exploring themes of<br />

transience and transcendence. He makes<br />

post-human hybrid forms that negotiate a<br />

numinous space somewhere between rock<br />

and flesh: a line of inquiry into the nature<br />

of being.<br />

Simon Hitchens graduated in Fine Art<br />

from the University of the West of England<br />

in 1990 and his work has been exhibited<br />

around the world since then. He frequently<br />

exhibits in solo and group exhibitions,<br />

undertaking private commissions and<br />

numerous largescale public commissions.<br />

He was elected Fellow of the Royal Society<br />

of Sculptors in 1998, is an RWA Academician<br />

and is the fourth generation of artists in<br />

his family.<br />

More Than Human<br />

rock, wax, resin, 28 x 50 x 36 cm<br />



A Certain Reciprocity<br />

rock, wax, resin, 22 x 38 x 17 cm<br />


A Certain Reciprocity<br />

rock, wax, resin, 17 x 45 x 34 cm<br />



More Than Human<br />

rock, wax, resin, 25 x 34 x 38 cm<br />


Marija Rinkevičiūtė (b. 1993)<br />

Marija Rinkevičiūtė is a painter and musician<br />

living and working in Vilnius, Lithuania.<br />

Her specific interest lies in the phenomena<br />

of colour, light, emotional experience and<br />

intuition. Rinkevičiūtė’s process leads to<br />

abstract expression as a vehicle to poetically<br />

allude to the ephemerality of memory. She<br />

finds colour relativity, elusiveness and the<br />

impact on human psychology or particular<br />

fascination. “A painting, to me, is a complex<br />

organism that is not a coloured “facade”,<br />

but rather a set of experiences of particular<br />

space and time.”<br />

Rinkevičiūtė received her BA degree in<br />

monumental art from the Vilnius Academy<br />

of Arts with time spent at the Academie<br />

Royale des Beaux-Arts in Brussels.<br />

She has participated in solo and group<br />

exhibitions internationally<br />

.<br />

A Broken Painting<br />

mixed media on linen mounted on wooden panel, 30 x 20 cm<br />



Untitled<br />

distemper on linen mounted on wooden panel, 30 x 20 cm<br />


It Was Sunny Yesterday<br />

dust, wax, pigment on linen mounted on wooden panel, 30 x 20 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 />

Odore di ruggine (The Smell of Rust)<br />

oil on board, 47 x 40 cm<br />



Ricordi confusi (Confused Memories)<br />

oil on board, 47 x 40 cm<br />


Linee solide e tenere (Solid and Tender Lines)<br />

oil on board, 47 x 40 cm<br />


Published by Anima Mundi to coincide with ’A <strong>Skin</strong> <strong>Made</strong> <strong>Porous</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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