Animal

“The man and the beast are one cloth.”
Cornish Proverb
Here -where memory is held in stone and sea
and whispered on the wind - stories were once
told of the animals who moved between worlds.
These myths reflected our deeper relationship
- of an inherent knowing kinship or oneness
with all living beings. In ‘Cad Goddeau’, the 6th
Century Welsh poet Taliesin wrote “I have been
a stag, a salmon in a pool, a dog, a roebuck on
the mountain... I have been all these things.” This
sentiment is shared across time and cultures,
from the Siberian taiga to the distant Australian
desert where shamans, elders, and healers have
and continue to speak, although in decreasing
number, of the same truth: Animals are not “other.”
Bonaparte the Pig may well be right when he
claimed in Orwell’s ‘Animal Farm’ that “Four
legs good, two legs bad.” Today, in the shadow of
ecological collapse, a murmur of so called ‘older
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ways’ should perhaps be heard louder than ever.
Our Earth is burning, drowning, breaking under
weight of progress. Species vanish daily. And
behind every extinction is a broken relationship.
Science now supports what ancient teachings have
always held: That we are not separate from the
Earth. We are participants in a shared system.
It is scientific imperative. Earth is undergoing
a sixth mass extinction, driven by habitat loss,
climate change, and industrial exploitation. Since
1970, global wildlife populations have declined
by 69% on average. These losses are not isolated.
When a species disappears, it tears holes in our
ecosystems- and in ourselves.
This exhibition will invite you to listen to the
animal, and to see something inside yourself. To
remember that the wolf, the whale, the bird, and
the human all breathe the same air.
“We are not separate spirits.
We are one spirit walking in many bodies.”
Lakota oral tradition
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Lena Dabska (b. 2001)
Lena Dabska is a Polish artist currently in her
fourth year of study at the Academy of Fine
Arts in Warsaw. Her practice centres around an
expansive exploration of femininity and feminine
power, informed by personal experience and
a deep intuitive connection to nature. At the
core of her work lies a belief in womanhood as
a primal, untameable force. Through ongoing
experimentation, while remaining grounded in
the intuitive, bodily, and symbolic, her work
offers a vision of feminine energy as both fierce
and nurturing — a return to source. Recurring
totemic motifs embody strength, freedom, and
an ancient, sacred femininity. A sense of mythic
vitality persists — a reminder of the shared
lineage between humans and the natural world.
Hunted
lithodraph on paper, edition of 10, 50 x 70 cm
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Orchid
ecoline & ink on paper, 30 x 21 cm
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Kate Clark (b. 1972)
Kate Clark creates sculptures that provoke primal,
instinctive responses, inviting viewers to reflect
on their own humanity. By stitching ethically
sourced animal hides over hand-sculpted human
faces, Clark fuses human and animal into a
single form — evoking both identification and
unease. Her work explores the tension between
our evolutionary past and our contemporary
selves, suggesting that full awareness of the
human condition requires an acknowledgment of
our animal inheritance.
Clark lives and works in Brooklyn, New York. She
holds a BFA from Cornell University and an
MFA from Cranbrook Academy of Art, and has
received fellowships from the Jentel Foundation,
the Fine Arts Work Center, and the Marie Walsh
Sharpe Studio Program. Her work has been shown
in numerous solo and group museum exhibitions
across the U.S. and internationally, and is held
in public and private collections including JP
Morgan Chase, the 21c Collection, and the David
Roberts Art Foundation. Clark’s sculptures have
been widely featured in the press, and were the
subject of a National Geographic documentary
filmed in her studio.
Rivalry
baboon hide, foam, clay, pins, thread, rubber eyes, rope, 208 x 92 x 92 cm
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The Sisters’ Embrace
coyote hide, foam, clay, pins, thread, rubber eyes, 122 x 89 x 36 cm
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David Kim Whittaker (b. 1964)
Most of David Kim Whittaker’s paintings are based
upon a metaphysical interpretation of the human
head. These portrait-portals are often ambiguous
in gender and identity, aiming to represent the
totality of the human condition - the universal
where the cruel and the empathetic are held in
tension with personal experience. The works juggle
dual states of inner and outer calm and conflict,
offering glimpses of simultaneous strength and
fragility, conscious and subconscious, masculine
and feminine. They embody Whittaker’s ongoing
effort to express something far greater than the
individual self. In this particular painting, that
metaphysical interior is densely populated with
layered symbolism—mountains, flowers, vessels,
and embedded animals. The creatures featured
were all inhabitants of Kyiv Zoo at the onset of
war in Ukraine, their presence a quiet, haunting
witness to the ongoing human destruction.
These creatures - some partially obscured,
some emerging from the tangle of memory and
architecture - become emblems of loss, innocence
and endurance, evoking both a spiritual kinship
and the silent toll of conflict. The head becomes
a sanctuary, or perhaps a site of reckoning,
where personal reverie and geopolitical trauma
converge. This painting, like much of Whittaker’s
recent work, reflects a deepening sensitivity and
unease in response to escalating global tensions.
It is a dual mirror—one side hope, the other
warning—staring back from the frame with
quiet insistence.
Whittaker is a British artist born in Cornwall,
where they continue to live and work. Exhibitions
have been held internationally, including a
major solo exhibition at Fondazione Mudima
in Milan in 2017. Their work is represented
in numerous museum and private collections
worldwide. In 2011, Whittaker was awarded the
Towry Prize (First Prize) at the National Open
Art Competition.
Prisoners of Time
oil and acrylic on canvas, 180 x 140 cm
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Antony Micaleff (b. 1975)
Antony Micallef is a British contemporary artist
working in London, UK. He first appeared on
the British art scene after becoming a prize
winner of the BP Portrait Award competition
at the National Portrait Gallery. Since then, his
oevre fused political imagery with contemporary
expressionism winning him worldwide acclaim.
Micallef roots his visually charged figurative
paintings in the fields of social commentary and
physical and metaphysical self-examination in
the search to capture something of the human
condition. In his more recent works, he builds
up a substantial relief-like surface with extensive
paint mass sited upon a benign background. By
using significant layering, and heavy impasto, the
materiality of his medium is pushed to its extreme,
blurring the physical boundaries between painting
and sculpture.
Micaleff was taught by the painter John Virtue,
who was in turn taught by Frank Auerbach. He has
was selected as one of Louis Vuitton’s ‘Visionaries’
and as a visual collaborator with Peter Gabriel for
his ‘i/o’ album project and live tour. His paintings
features in private and public collections across
the world including the permanent collection of
Damien Hirst and the London design museum,
with work exhibited in institutions including The
National Portrait Gallery, The Royal Academy,
Tate Britain and the ICA.
Untitled
oil on cavnvas, 48 x 40 cm
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Tom Pether (b. 1990)
Tom Pether was born in the West Midlands,
UK, and is currently based in Plymouth. His
sculptural practice is driven by the slow accretion
and reworking of objects that we use in our
daily lives. His work explores a desire to escape
our worldly concerns, and our inevitable failure
to do so, and how this haunts us. Building
sculptures from the scraps of other sculptures,
Tom’s practice constantly eats itself in order
to excrete new work that is, in each iteration,
both more condensed and less certain of its own
boundaries. These objects bear a patina of time
and wear that shrouds the discrete histories of
their component parts; new properties emerge,
layered up somehow like the scent of smoke and
bodies and cooking in a houseshare’s communal
landing. An archipelago of self-contained worlds
that are remote yet familiar, physically stark yet
conceptually overstuffed; fundamentally doomed
attempts to understand the world through mute
objects possessing a knowledge of the world that
language cannot parse.
Neither Nor
antler, fake fur, wax, wire, concrete, 60 x 40 cm
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Miles Cleveland Goodwin (b. 1980)
Miles Cleveland Goodwin’s upbringing in the
American South is a recurring theme in his
brooding paintings and sculptures. Goodwin
draws parallels between the people he portrays,
the rhythm of their rural ways of life, and the
rugged landscapes that they inhabit. The artist
frequently evokes themes of mortality, decay
and solitude with a sense of phantasmagoric
realism combined with a haunting stillness.
Goodwin’s ‘Southern Gothic’ works conjure the
ambivalent beauty of a place that is both
simultaneously desolate yet deeply soulful.
Goodwin lives and works in Georgia, USA. He
graduated from the Pacific Northwest College
of Art in Oregon in 2007 with a BFA in painting
and printmaking. His work has been featured in
group exhibitions at the Hallie Ford Museum
of Art, the Grace Museum and the Amarillo
Museum of Art among others and can be found in
collections worldwide.
A Better World
oil on linen, 112 x 76 cm
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Crow Spirit
oil on panel, 41 x 61 cm
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Night Watch
oil on panel, 50 x 61 cm
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Andrew Litten (b. 1970)
Andrew Litten’s dynamic, gestural figurative
paintings explore the emotional complexity of
everyday life. Themes of love, loss, sensuality, fear,
anger, nostalgia, personal growth and identity
run through his work, which is marked by a raw,
empathetic approach and a visceral application
of media. His expressive gestures and layered
surfaces invite emotive, often contradictory
responses — from tenderness to disturbance,
compassion to repulsion.
Born in Aylesbury in 1970, Litten is a self-taught
British artist working from his studio in Fowey,
Cornwall. After leaving art college as a teenager,
he initially used humble domestic materials such
as envelopes and furniture parts to critique art
elitism and commodification. Following a move
to Cornwall in 2001, Litten began exhibiting,
gaining early recognition with his inclusion in
Nudes in New York, reviewed by the New York
Times. He has since shown in solo exhibitions
at Goldfish Fine Art, Millennium (St Ives),
L-13 (London), Spike Island and Motorcade
FlashParade (Bristol), and in curated group
shows worldwide, including at Tate Modern’s
No Soul For Sale, and during the 54th Venice
Biennale. His work has also been shown in four
major museums in China. Litten’s artworks are
held in numerous public and private international
collections.
Protector
mixed media, wrist watch and pink pong rackets, 110 x 150 x 80 cm
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Woman As Cat
mixed media, 53 x 70 x 21 cm
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Dr Martin Shaw (b. 1971)
Dr Martin Shaw tells stories and explored wild
ideas about how myth used to be a kind of
language that spoke-across-species. That myth
itself can be a place where we witness not just
narratives about the earth, but moments where
the earth itself speaks through these stories. With
inspirations ranging as far as Gaston Bachelard
to Islamic Cosmology to the work of Joseph
Beuys, Shaw celebrates electrifying storytelling
and thought-stimulating ideas.
Dr. Martin Shaw’s first book, ‘A Branch From
The Lightning Tree’ was awarded the Nautilus
prize for non-fiction, and was followed by ‘Snowy
Tower’ and ‘Scatterlings’ to complete a trilogy of
works on mythology, landscape and the nature of
soul. An international teacher, he has designed
andLife’ courses at Stanford University, and,
lead both the ‘Oral Tradition’ and ‘Mythic Life’
courses at Stanford University and as a fellow
of of Schumacher College in Devon, co-created
their MA in Myth and Ecology. His school of
independent scholars in mythopoetic’s and
wilderness studies is just entering its fourteenth
year. Recent collaborations have included Mark
Rylance, Coleman Barks and David Abram. He is a
painting scholar from The British School in Rome,
and his translations of Gaelic and Welsh folklore
(with Tony Hoagland) have been published in The
Mississippi Review, Poetry International, Kenyon
Review, Orion, and Poetry Magazine. 2018 will
see the release of his new book, ‘Courting the
Dawn: Poems of Lorca’ (with Stephan Harding),
with several more in completion: all involving a
revisioning of the word romanticism in the early
twenty first century. is essay and conversation
with Ai Weiwei on myth and migration was
released by the Marciano Art Foundation.
Owl Man
charcoal on paper, 30 x 21 cm
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Elk Man
charcoal on paper, 30 x 21 cm
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Fish Man
charcoal on paper, 30 x 21 cm
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Oleksii Shcherbak (b. 1997)
Oleksii Shcherbak was born in Chernihiv, Ukraine
and is currently based in Paris. He is currently
studying at the Beaux-Arts de Paris, having
graduated from the National Academy of Fine Arts
& Architecture in Kyiv. Shcherbak’s work navigates
a fluid, introspective terrain, where sentimental
and mythic figures emerge from a subconscious
mass of sensations. His paintings often centre
on mysterious protagonists entangled with
chimeric creatures - hybrid forms that function as
psychological extensions of the subject, offering
silent yet expressive insight into their inner
state. These dreamlike entanglements serve less
to depict likeness than to evoke emotional and
symbolic resonance, capturing the contradictions
of sensory experience and memory. His practice
is driven by a longing for elusive, often imagined
recollection - a nostalgia for memories that may
never have existed - and a fascination with how
these affective fragments are triggered, shaped,
and distorted by the passage of time. These
works perhaps suggest something of the primitive
or inherent relationship between man, spirit
and beast.
Shcherbak has exhibited widely across Europe,
China, and the United States. Notable recent
exhibitions include Behind the Order of
Things (Yusto Giner, Madrid, 2025), Dante’s
Inferno (Unit Gallery, London, 2024), Realism
Now (MEAM, Barcelona, 2024), and the solo
presentation Victims of Grenouilles (Rukh Art
Hub & Mriya Gallery, New York, 2024). His
work has been featured in publications such
as The Guide Artists Magazine, Contemporary
Identities, and Emerging Art in Ukraine, and
he has illustrated several titles with Nebo
Booklab Publishing.
Bird
oil on canvas, 100 x 80 cm
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Lia
oil on canvas, 65 x 54 cm
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Jim Carter (b. 1967)
Often uneasy or tragic, irrational or other,
Jim Carter’s work is linked to a real world of
suffering and transcendence: making sculpture
from organic materials as a means of advocacy,
atonement or commemoration; shifting to story
and the written word as a way to enter emotional
and numinous spaces of memory and dream.
What appears on the surface to be a wilful
disturbance of the remains of organic life in order
to fulfil a creative compulsion is intended to be
part of a transforming and re-sanctifying process.
Taken materials are reconfigured into new forms
to express complex feelings of grief and loss, love
and devotion, fertility and renewal. Fundamental
in this work is a conviction in an irrepressible
spirit for regeneration in the world, an
imperishable flame that rises most clearly in
landscape and the magic and otherness of animals.
Carter was born in Worcestershire in 1967. He
received an MA with distinction in Art and
Environment from Falmouth University and an
MSc Award in Ecopsychology from the Centre
For Human Ecology, Edinburgh. His work has
appeared in Dark Mountain, Unpsychology and
Earthlines magazine.
Fen Temple, Torn Falcon
r iver debris (silt, cow bone); fox & sheep bone; adhesive, wood, clay, found wire, fox earth, straw, bone dust,
horse hair, ash, remains of thrush nest; fox, cow, bird and sheep marks, jackdaw scratches, 25 x 16 cm
Green Sun Siskin (Plum Orchard)
fox & rabbit bone, adhesive, wood, clay, horse hair, feathers, straw, leaves, graveyard soil, fox
earth, blood; jackdaw pecks and scratches, fox scratches and bites, blackbird marks, 15 x 6 cm
Ossuary (Starling , Linnet, Crow)
Deer skull fragments, fox bone, clay, ash, adhesive, wood, horse hair, straw, ivy, chalk, blood, crow
feathers; jackdaw pecks and scratches, fox scratches and bites, sheep and deer marks, 16 x 9 cm
February, March, April Rook
deer, fox, cow & sheep bone; adhesive, sheep tooth, wood, found wire, branch, clay, straw, leaves, ash, catkins,
graveyard soil, fox earth, blood; jackdaw pecks & scratches, fox scratches & bites, sheep & blackbird marks, 24 x 7 cm
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I Slipped Through Bracken & Blackthorn Twigs - The Old Enchantment
paper, ash, bark, charcoal, adhesive, found wire, clay, remains of swallow nest, earth, debris, rain
water, cow bone, bone black; rat, stoat, sheep and deer marks, fox and raven cuts, 32 x 24 cm
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I Shook Off The Magpie (To Yarrow, Poplar, Marsh Marigold)
paper, ash, bark, charcoal, adhesive, found wire, clay, remains of wren and blackbird nest, soil
from fox earth, debris, bone dust, willow leaf; fox, sheep, cow and deer marks, 31 x 25 cm
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Jamie Mills (b. 1983)
Jamie Mills’ practice is underpinned by an
investigation surrounding the dissemination of
gesture between materiality and environments
– referencing both internal and external
landscapes. These concerns are reinforced by an
interdisciplinary approach to working and are
made manifest through the renderings of materials
often sourced or retrieved via immersion into
nature or borderlands The term ‘gestalt’ refers to a
concept within psychotherapeutic fields, inferring
that the nature of a whole is greater than the sum
of its parts. Mills’ employment of the mediums
of photography, sound and mark-making can be
read in this sense whereby a reality is constructed
not by the sole surface representation of any
individual element alone, but instead there is a
sense that the artists reality is presented through
relationships and the spaces between elements. In
other terms, it is work that requires both on one
hand a stepping away from, and on the other an
immersion into, in order to extract an empathetic
understanding of the essence of the work that
presides from both a conscious and subconscious
framework of mind. Universally inherent within
his process of rendering, there is a conscious
dialogue between, on one hand material intent
(or ‘essence’) and on the other, control (or the
relinquishing of control), so as to make work
that negotiates thresholds and occupies at times
a liminal status. In this sense Mills’ “intuitively
composed” sound works, and his images or
assemblages become markers to a series of internal
journeys or rituals informed by an often poetic
dialogue between material, form and environment
Untitled, (Luminary Device)
feather, scrim, plaster, wax, pigment, chalk, quill, copper nail, wool, 46 cm height
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Memory of Salt
paper, thread, quills, beeswax, resin, chalk, kaolin, 40 x 32 cm
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Claire Curneen (b. 1968)
Claire Curneen was born in Tralee, Co. Kerry,
Ireland and currently lives and works in
Wales, UK. Her iconic sculptures are poignant
contemplations on the liminal and precarious
nature of the human condition; exploring themes
around death, rebirth and the sublime. Universal
and profound states of fear, loss, suffering and
sacrifice fuse with devotion, desire, wonder and
mystery to underlie each intricate, porcelain
figure. Their translucent and fragile qualities
offer potent, metaphoric abstract narratives.
Porcelain, terracotta and black stoneware create
a grounded vulnerability to these works, with
dribbles of glaze and flashes of gold to embellish
denoted sacred qualities.
Works have been exhibited internationally
and appear in many notable public collections
including The Crafts Council, London; Shipley Art
Gallery, Gateshead; National Museum & Gallery
of Wales, Cardiff; Victoria and Albert Museum,
London; The Fitzwilliam Museum, Cambridge;
Manchester City Art Gallery, Manchester;
National Museum of Scotland, Edinburgh;
Aberystwyth Arts Centre, Aberystwyth, Wales;
Cleveland Craft Centre, Middlesbrough; Oldham
Art Gallery and Museum, Manchester; York
City Art Gallery, York; Middlesbrough Institute
of Modern Art, Middlesbrough; Crawford Art
Gallery, Cork, Eire; Limerick City Gallery of Art,
Limerick, Eire; Ulster Museum, Belfast, Northern
Ireland; Benaki Museum, Athens, Greece; Clay
Studio, Philadelphia. Recent exhibitions include
‘Alive & Unfolding’ at Le Delta, Namur (2025),
and ‘Slipping the Veil’ at St Bartholomew the
Great, London (2025). In 2025, her porcelain
installation ‘Baroque and Berserk’ was acquired
by the National Museum of Wales, Cardiff.
Siren
glazed terracotta, 72 x 36 x 32 cm
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Figure with Bird
porcelain & gold lustre, 50 x 30 x 25 cm
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Sam Bassett (b. 1982)
“I woke up early, 5-ish in the hope that I’d go up
Trevalgan Hill to see the sun rise and just be where my
Gran’s ashes were scattered by my parents and family
the week before. It’s where Granddad was scattered
too, so I was keen to get there to, connect, talk, have a
think you know, just be. The morning was misty and
as I got closer to the hill, ascending , it got thicker and
thicker. I finally got to the base of the hill and as I
went through the gate I was met by two birds. I could
only see about 10 yards ahead and these two danced
and played with each other just steps in front of me to
the very top of the hill. It was a dance, a celebration,
a sign? I was delighted to see these two together. So
happy, so playful, I cried, smiling and they joyfully
led me to the top. I sat up top, with nothing to look
at, they disappeared and I sat. I just sat, sitting pretty
I was. It felt huge. No sun rise, nothing to see but
that day I went home and started making drawings
of birds. Over the past three years they’ve become
upright. Walking. Figures. It’s funny what gets you
started on something and funnier how it turns out.”
Sam Bassett was born in Cornwall, where he
still lives and works. His work blends sharp
humour, emotional intensity, and boundless
experimentation. His distinctive visual language
from sweeping gestures to more precise
draughtsmanship and sgraffito schematics -
channels the erratic clarity of an inner monologue
unfolding on canvas. Described by some as a form
of psychological cubism, his paintings reveal the
interplay between internal and external worlds,
exploring personal memory, cultural identity,
and wider concerns about contemporary life.
Autobiographical yet universally resonant, his
recent works show a deepening connection to
landscape, the sea, and his Cornish heritage —
offering cautionary allegories of community, loss,
and renewal.
Bassett has exhibited internationally, with solo
shows at Vigo Gallery (London), Kornfeld
Gallery (Berlin), and Anima Mundi (St Ives), as
well as presentations at START (Saatchi Gallery)
and CODE Art Fair (Copenhagen). His work is
held in growing public and private collections,
including Lost Karensa at Tremenheere Sculpture
Park, permanently displayed alongside works
by James Turrell, Richard Long and others. His
practice has been profiled in Christie’s Magazine,
The New York Post, and other publications,
reflecting his rising influence and ambition.
Trevalgan
acrylic on cavnvas, 180 x 120 cm
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Judith Nangala Crispin (b. 1970)
Judith Nangala Crispin is an Australian visual
artist, poet and musician, and a descendant of
Bpangerang people of North East Victoria. Her
skin name, Nangala, was given to her by the
Warlpiri people of the remote Tanami Desert in
northern Australia, a place she has lived for a few
months each year for over a decade. Her work
includes themes of displacement and identity loss,
a reflection on her ancestry, but it is primarily
centred on the concept of connection with the
land. This work forms a part of Crispin’s ongoing
series depicting the transcendent ascending forms
of recently deceased fauna. Crispin’s camera-less
method of photography incorporates a range
of processes. Her own developed alternative
process of ‘lumachrome glass printing’, combines
elements of lumen printing, cliché verre, chemical
alchemy and drawing. She works within a mobile
geodesic dome which functions as a giant lens
where light streams penetrate its plastic walls.
The mobility of her studio allows her to go to
the site of her subject, prior to respectful burial.
The muse, is raised onto a plastic box, rested on
special photographic paper for up to 50 hours
as the passage of sun and moonlight exposes its
posthumous portrait. Each work is viewed as
a collaboration with nature, where honouring
the subject is a key objective. In each work the
animals are diaphanous where light has literally
passed through their bodies. They appear drawn
in a primitive motion by a slipstream of spirit,
levitating in a space of brooding luminosity
that appears sentient and wholly focused on
the task of enfolding each creature back into its
care. The result offers a profound sense of what
lies beyond.
Nangala Crispin has published a collection of
poetry, The Myrrh-Bearers, and The Lumen Seed.
She is a member of Oculi collective, one of the
chapter leads of Women Photograph (Sydney), and
was the 2021 Artist in residence with Music Viva.
She is also the Poetry Editor for The Canberra
Times. She has also directed and worked on two
major social justice research projects – The Julfa
Project; and Kurdiji 1.0, an Aboriginal suicide
prevention app, which strengthens resilience in
young indigenous people by reconnecting them
with community and culture. Nangala Crispin
work has been exhibited internationally.
There’s a door inside a nebula - where the dead go through.
Marvin and Dorothy, still spinning , find one another on the other side of stars
lumachrome glass print, cliche-verse, chemigram. cat-killed New York chipmunk and grey squirrel on fibre
paper. Re-exposed with sane, ochre, wax, house paint, Vegemite and sand. First exposure 13 hours under
perspex in New York. Second exposure, 36 hours in a Braidwood greenhouse, edition of 10, 30 x 37 cm
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The Tree of Joyfulness erupts from the marrow of the First Rat. And its humming branches call the spirit rodents,
those lost or returning to the source, and offers them shelter
lumachrome glass print, cliche-verre, chemigram, drawing, scan. Pressed kangaroo paw, dehydrated bush
rat, five frost-killed marsupial mice with seeds, household chemicals, copper chloride, crayon, wax,
vegemite and graphite on fibre paper. Exposed 37 hours in a greenhouse, edition of 10, 30 x 37 cm
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In the garden of Namadji, a tree holds nine small birds in its arms,
as they grieve for their friend beneath the earth
lumachrome glass print, cliche-verre, chemigram, drawing, scan. Ten still born Keats, pressed native
fuchsia (Eremophila Latrobe), sea-water and vegemite on fibre paper. Exposed 21 hours in a polycarbonate
greenhouse, edition of 10, 30 x 37 cm
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Tim Shaw (b. 1964)
Tim Shaw RA’s sculpture is often dualistic,
incorporating current affairs, societal complexity
and human conflict with ancient, mythical,
metaphysical and primal concerns. Shaw’s
powerful oeuvre connects these elements to create
wider, timeless portraits of humanity. The tension
between ancient past and a prosaic presence,
between solidity and breakdown, becomes an
organic part of his worldview, whether he’s looking
at human transgression or the enlightenment of
primitive ritual.
Shaw is a British artist, born in Belfast, he
currently lives in Cornwall. He was elected an
Academician at The Royal Academy in 2013 and
made a Fellow of The Royal British Society of
Sculptors and a Fellow of Falmouth University the
same year. Shaw has had a number of significant
solo shows throughout the UK, Ireland and
internationally. Most recently the major public
solo exhibitions ‘What Remains’ and ‘Something
is Not Quite Right’ a collaboration between The
Exchange and Anima-Mundi, ‘Mother the Air is
Blue, The Air is Dangerous’ was held in the F.E
McWilliam Gallery in Northern Ireland, ‘Black
Smoke Rising’ toured from Mac Birmingham
to Aberystwyth Arts Centre and Back From the
Front presents: Shock and Awe – Contemporary
Artists at War and Peace at the Royal West of
England Academy. He has undertaken a number
of public commissions including ‘The Rites of
Dionysus’ for The Eden Project, ‘The Minotaur’
for The Royal Opera House and ‘The Drummer’
for Lemon Quay, Truro. A more political side to
his work became evident in a number of sculptures
responding to the issues of terrorism and The
Iraq War. ‘Tank on Fire’ was awarded the selectors
prize at the inaugural Threadneedle Prize in 2008
and the installation ‘Casting a Dark Democracy’
was reviewed in 2008 by Jackie Wullschlager of
The Financial Times as ‘The most politically
charged yet poetically resonant new work on
show in London’. Shaw has been supported by the
Kappatos Athens Art Residency, The Kenneth
Armitage Foundation, The British School
of Athens, The Delfina Studio Trust through
residencies in Greece, Spain and a fellowship in
London. Most recently as an Artist Fellow at the
Kate Hamburger Centre for Advance Study in the
Humanities of ‘Law & Culture’ In Bonn, Germany
Hallucinatory Scene (La Corrida (Dreams in Red))
bronze, edition of 8, 20 cm, 19 cm, 15 cm & 28 cm height
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Paul Benney (b. 1959)
Paul Benney was born in London and currently
lives and works in Suffolk, UK. He rose to
international prominence as a member of the Soho
and East Village Neo-Expressionist group, whilst
living and working in NYC in the 1980s where he
exhibited alongside peers such as Marilyn Minter,
Jean-Michel Basquiat, and David Wojnarowicz,
among many other. Despite being immersed in
this extraordinary creative environment, Benney’s
painting has always maintained a uniquely
English sensibility.
His work is held in major collections including
the Metropolitan Museum of Art in New York,
the Brooklyn Museum, the National Gallery
of Australia, the National Portrait Gallery in
London, the Royal Collection, and the Eli Broad
Foundation. He has exhibited in eight BP Portrait
Award exhibitions and twice won the BP Visitors’
Choice Award. Benney’s portrait subjects have
included HM Queen Elizabeth II, Sir Mick Jagger,
John Paul Getty III, the 7th Marquess of Bath, the
State Portrait for Israel, Lord Rothschild, and Ben
Barnes for the feature film A Portrait of Dorian
Gray. In 2010, Benney was invited to be resident
artist at Somerset House, where he held his
exhibition Night Paintings in 2012, drawing over
15,000 visitors. In 2017, his epic painting and
holosonic sound installation Speaking in Tongues
was a prominent feature of the Venice Biennale.
Most recently, Benney completed the official
state coronation portrait of Queen Camilla,
continuing his longstanding role as a leading
figure in contemporary British painting
‘What Dark is This’, an important early edition
that won a U.S. National Print Prize in the 1980s
and is held in the collection of the Zimmerli
Museum, USA. Reflecting on the work, Benney
notes: “Looking back, I guess I would add that
although its meaning is deliberately somewhat
ambiguous, my intention was to explore the
male sexual drive, territorial aggression and
confrontational nature that can exist side by side
with the more aspirational human virtues such as
courage, virtue and wisdom.”
What Dark is This
textured copper plate etching on archival paper, 105 x 80 cm
57

Kate Walters (1958)
Kate Walters is a British artist based in Penzance,
West Cornwall. Her practice moves fluidly between
painting, drawing, writing, and shamanic inquiry.
Rooted in the symbolic and the visionary, her
work channels inner states and liminal experience
- engaging themes of birth, death, transformation,
animality, and the maternal. Drawing on Jungian
thought, myth, and embodied spiritual practice,
Walters’ images often emerge from a process of
trance or meditation, where animals, archetypes,
and human figures appear as guides or thresholds.
Using ink, watercolour, oil and mixed media, her
intimate, gestural works possess both delicacy
and ferocity - markings of vulnerability and
ecstatic knowledge. The work is often diaristic,
shaped by dream imagery and the retrieval of
unconscious material through ritual, breathwork,
and wilderness retreat.
Walters studied Fine Art at Falmouth and
Painting at Brighton, later completing an MA at
Wimbledon School of Art. Her work has been
shown in solo and group exhibitions across the
UK and internationally, including at Newlyn Art
Gallery, The Royal West of England Academy,
Bridport Arts Centre, and the Venice Biennale
(2013, with the WW Gallery). She has undertaken
residencies at places including the Isles of Iona
and Shetland, Hospitalfield, and the Santa Fe Art
Institute. Her writing and visual work have been
published in EarthLines, Resurgence & Ecologist,
and Numéro Cinq.
All Is Shadow
watercolour on paper, 50 x 70 cm
58

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How I Was Nourished
watercolour on paper, 56 x 76 cm
61

Faye Eleanor Woods (1998)
Faye Eleanor Woods is a Scottish artist currently
living and working in West Yorkshire. Her
symbolic artwork acts as a love letter to her
own experience, full of life’s joy, absurdity,
humour, loss and fear. Recent works explore
her own personal journey through grief, one she
describes as dark, weepy and often humerous.
She hails her work as a tangilble form of inner
catharsis. Using raw pigments and acrylic ink
she forces rich colour into the grain of the
canvas, blurring edges with copious amounts
of water or using thin layers of oil to blend
the figures with their backgrounds creating an
ethereal presence. As Woods says “I try to bring
attention to the surreal aspects of life and the
way the oddness of experience manifests within
individuals and how that manifestation then
affects me. In my vulnerability I crave strange
moments of intimacy. I imagine drinking straight
from the tap of all emotion, drinking so much of
it, I take on too much and I’m sick and everything
I spew out ends up in my work.”
A Deer of Nine Colours
raw pigment, acrylic ink and chalk pastel on canvas, 102 x 82 cm
62

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64

Andrew Hardwick (b. 1961)
Andrew Hardwick’s often large scale, sedimentary
paintings display his captivation with ever
decreasing wilderness zones; both natural and
man-made. Playing with and subverting traditional
notions of romantic landscape painting and the
sublime. The paintings often depict edge-land
zones around big industrial conurbations or
ports, such as large-scale car storage compounds,
redundant factories and polluted waste lands.
Other works draw inspiration from the more
typically idyllic locations such as Dartmoor and
Bodmin Moor. However, these landscapes are
also filled with reminders of human interference.
Roads criss-cross the moor in deeply scratched
lines, a narrow road is etched into an otherwise
massive moorland triptych, likewise a real car
radiator sits in the surface of another painting
as if decaying and buried by the earth. His
medium of working is also atypical, paintings
are heavily layered with different types of
paint (often sourced from recycling centres),
plaster, plastics, soils, pigments, roofing felt,
hay and other unconventional materials. To
this rich surface relevant artefacts are often
added, creating reminders, triggering memories or
reflecting fears intrinsic to a particular landscape.
The concept of layering in the landscape arrived
partly a result of the artist’s childhood, during
which his family’s farm was first sliced in half
by the M5 motorway and then again by the
Royal Portbury Dock. The land once filled with
sheep has become a pure edge-land wilderness
with detritus of continuous development now
occupying and obliterating the land. Hardwick’s
entire oeuvre makes reference to concepts of
change, memory, history, emotion and transience.
Ever redolent is the notion that we are but
another layer in time.
Andrew Hardwick is a British artist born in
Bristol, England in 1961 where he still resides.
He achieved an MA in Fine Art at the University
of Wales. He is an elected Academician at
the Royal West of England Academy. He has
featured in four solo exhibitions at Anima
Mundi. Works have been exhibited extensively
including numerous public shows and have been
collected worldwide.
Wind, Rain & Cows, Bodmin Moor
mixed media on panel, 30 x 42 cm
65

Sheep, Slopes, Dartmouth
mixed media on panel, 26 x 30 cm
66

Two Horses, Moor, Standing Stone
mixed media on panel, 26 x 30 cm
67

Joy Wolfenden Brown (b. 1961)
Joy Wolfenden Brown’s intimate oil paintings feel
hauntingly familiar, possessing a raw emotional,
honesty. She captures fleeting fragments of
memory, moments in time where the inherent
vulnerability of the figures depicted, often in
isolation, is palpable. These are lovingly yet
spontaneously executed reflections on the
human condition, which have an unnervingly, yet
simultaneously comforting, unguarded quality.
Joy Wolfenden Brown is a British artist born
in Stamford, Lincolnshire. She currently lives
in Bude, North Cornwall. She graduated
from Leeds University then completed a
post-graduate diploma in Art Therapy at
Hertfordshire College of Art & Design which she
worked as for ten years before moving to Cornwall
in 1999. Since then she has had numerous solo
exhibitions and was the First Prize Winner in
The National Open Art Competition, 2012. She
was also awarded the Somerville Gallery painting
prize in 2003 and first prize winner at the
Sherborne Open in 2007 and the Evolver prize
at The RWA in 2019 and the Judges Choice at
the Chaiya Art Award 2023. Works were acquired
by the Anthony Pettullo Outsider Art Collection
in Milwaukee with further works held in
collections worldwide.
Home on the Wind
oil on paper, 20 x 31 cm
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Night Song
oil on paper, 14 x 26 cm
70

Oh Dove
oil on paper, 14 x 26 cm
71

Published by Anima Mundi to coincide with ‘Animals’
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