Winner of 2020 Exhibition
Kate Aries
Kate explores perception and illusion through experimentation with the camera, using different techniques to obscure and restrict her body. Kate uses the body as a way of questioning her identity in the contemporary world, physically, sexually, virtually, and digitally: often creating a tension between a position of sexuality and one of vulnerability. Feminism and female solidarity have become an important part of Kate's practice, as well as the adverse effects of isolation and helplessness. The body is increasingly represented to us through digital mediation. Kate's practice focuses not only on embodied experience but also the manipulated and processed image and the mutability of identities in this increasingly mediatised society. 

A creatively and intellectually ambitious person with a Master's Degree in Fine Art with Distinction from the Winchester School of Art. Kate's practice has seen her work exhibited in the UK and abroad. Kate is part of the DYSPLA (a Development & Production Studio of Neurodivergent Storymakers), Filiart (Feminism in London) artist group, and the Nasty Women Movement. Recent projects to note include the Nasty Women Exhibition London, Artist Residency at OVADA Oxford, video art screening at the Institute of Contemporary Art London, and The Old Fire Station - Oxford Together Stories commission. 
https://katearies.wixsite.com/kate-aries-fine-art
Instagram: @katearies_artist
Twitter: @artist_aries
‘’Lockdown Series’’ Kate Aries, mixed media series, 2020

Inspired by these unprecedented times, with many of us physically isolated from friends and family, Kate has depicted imagery that represents a communal longing for touch and connection. Though Kate's work typically revolves around a personal female narrative, she has also tried to consider differing experiences and perspectives. The flowers are from her daily allowed walks at the start of lockdown, Kate was drawn to the comfort in the blooming spring flowers, juxtaposed to the general sense of fear and gloom. Through Pride, the rainbow has come to stand for something hopeful and positive as well as now paying tribute to the medic personnel. The series features bright multi-coloured backgrounds in reference to this, as a documentation of this extraordinary time where now, more than ever, we need art to enhance our connections with others and mutual understanding of our differences. 
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2020 Artist Gallery
‘’A Baltic Story IV’’ Alan Rutherford, mixed-media, 2020 “This is essentially a landscape and has all the elements that are found in a traditional landscape such as sea, land, buildings and people. However this particular landscape paints a picture of a specific turning point in history when the USSR collapsed and the former Soviet occupied countries gained their independence. The work was inspired by a visit to the Baltic states and researching this tumultuous period. In this landscape, there are stories of ordinary people and their desire for freedom. The visual aesthetics create a narrative of hope, unity, desire and freedom that is anchored down by a resilience that is both humble and inspiring. The materials used have been sourced from original found objects such as documents from the very first days of independence, ethnographical study maps of textiles in the Baltics, photographs taken from period books and also at site locations.” @alanrfineart
‘’A Baltic Story IV’’ Alan Rutherford, mixed-media, 2020 “This is essentially a landscape and has all the elements that are found in a traditional landscape such as sea, land, buildings and people. However this particular landscape paints a picture of a specific turning point in history when the USSR collapsed and the former Soviet occupied countries gained their independence. The work was inspired by a visit to the Baltic states and researching this tumultuous period. In this landscape, there are stories of ordinary people and their desire for freedom. The visual aesthetics create a narrative of hope, unity, desire and freedom that is anchored down by a resilience that is both humble and inspiring. The materials used have been sourced from original found objects such as documents from the very first days of independence, ethnographical study maps of textiles in the Baltics, photographs taken from period books and also at site locations.” @alanrfineart
‘’m+e look up’’ Alessandro Paiano, A5 Print, 2020 M+E what if isolation will make 2 from 1? www.iamafraidilostmyglove.com @ap_portfolio_ @alexpbickel
‘’m+e look up’’ Alessandro Paiano, A5 Print, 2020 M+E what if isolation will make 2 from 1? www.iamafraidilostmyglove.com @ap_portfolio_ @alexpbickel
‘’ skating on the seine, 1891.’’ Alexander Johnson, oil on canvas, 2020 I work from Victorian stereoscope card photographs. This one is dated 1891 and titled 'skating on the Seine'. This is typical of my work, isolating one figure from group historical photographs to tell a story from the past that hopefully resonates with the present. www.alexander-johnson.com Instagram.com/alexart63
‘’ skating on the seine, 1891.’’ Alexander Johnson, oil on canvas, 2020 I work from Victorian stereoscope card photographs. This one is dated 1891 and titled 'skating on the Seine'. This is typical of my work, isolating one figure from group historical photographs to tell a story from the past that hopefully resonates with the present. www.alexander-johnson.com Instagram.com/alexart63
‘’The untouched deep’’ Alice Halfpenny, Fineliner ink pens on paper, 2020 A depiction of a coral reef in all it's original colourful glory before it became polluted and destroyed by human interference. The aim of this piece of artwork is to remind people of the natural beauty of nature and the vast variety of animals that live in and rely on one singular ecosystem. www.halfpennyink.com/ www.instagram.com/halfpennyink
‘’The untouched deep’’ Alice Halfpenny, Fineliner ink pens on paper, 2020 A depiction of a coral reef in all it's original colourful glory before it became polluted and destroyed by human interference. The aim of this piece of artwork is to remind people of the natural beauty of nature and the vast variety of animals that live in and rely on one singular ecosystem. www.halfpennyink.com/ www.instagram.com/halfpennyink
‘’For a While’’ Alice Poole, photography, 2020 This work was made during the 2020 national lockdown. A reflection upon a time where the world went indoors. This work touches upon the feelings of isolation we all experience and growing fear of a global pandemic. We are led to question what life will look life following this shift in society. alicepoole.org Instagram: alicepoole__
‘’For a While’’ Alice Poole, photography, 2020 This work was made during the 2020 national lockdown. A reflection upon a time where the world went indoors. This work touches upon the feelings of isolation we all experience and growing fear of a global pandemic. We are led to question what life will look life following this shift in society. alicepoole.org Instagram: alicepoole__
‘’Alien Jungle’’ Sherin Vincent (Thazhe Logum online), 2020, digital Painting Dimensions: 39x39cm Social media: @thazhelogum https://www.instagram.com/thazhelogum https://www.youtube.com/channel/UCQOMcp1hTi8dW0mPIs5iZSw Website: https://www.redbubble.com/people/thazhelogum/shop
‘’Alien Jungle’’ Sherin Vincent (Thazhe Logum online), 2020, digital Painting Dimensions: 39x39cm Social media: @thazhelogum https://www.instagram.com/thazhelogum https://www.youtube.com/channel/UCQOMcp1hTi8dW0mPIs5iZSw Website: https://www.redbubble.com/people/thazhelogum/shop
‘’The value of lightness’’ Ally Zlatar, acrylic, 2020 ‘’Even in ordinary language lightness is often presented as a desirable state: lightness tends to be associated with feelings of liberation, purity, and well‐being. Those with eating disorders want to feel this lightness more than anything. There is an immense longing for feeling this lightness. The best way I could convey the feeling is swimming in water. The body can float, you are not confined, feeling complete weightlessness and have full and free movement of the body. Lightness is the embodiment of wellbeing and feeling pure. If you are light, you are not weighed down by the fat on your flesh, not feeling the aching bones, but able to float and leap as freely as you want. "the value of lightness" they explore how this feeling is just a mere facade. The body is bound to its physicality. This feeling is never fully achievable. Instead, we can't breathe and drown.’’
‘’The value of lightness’’ Ally Zlatar, acrylic, 2020 ‘’Even in ordinary language lightness is often presented as a desirable state: lightness tends to be associated with feelings of liberation, purity, and well‐being. Those with eating disorders want to feel this lightness more than anything. There is an immense longing for feeling this lightness. The best way I could convey the feeling is swimming in water. The body can float, you are not confined, feeling complete weightlessness and have full and free movement of the body. Lightness is the embodiment of wellbeing and feeling pure. If you are light, you are not weighed down by the fat on your flesh, not feeling the aching bones, but able to float and leap as freely as you want. "the value of lightness" they explore how this feeling is just a mere facade. The body is bound to its physicality. This feeling is never fully achievable. Instead, we can't breathe and drown.’’
‘’Charlotte’’ Amy Jackson, Pen and Ink, 2020 This A3 portrait took over 200 hours to complete in a pointillism style with no outlines. The portrait is of Charlotte, who was nominated by Laura as part of my free NHS Portrait Series. Charlotte is a critical care ODP working at Northampton General Hospital. www.ajillustration.co.uk
‘’Charlotte’’ Amy Jackson, Pen and Ink, 2020 This A3 portrait took over 200 hours to complete in a pointillism style with no outlines. The portrait is of Charlotte, who was nominated by Laura as part of my free NHS Portrait Series. Charlotte is a critical care ODP working at Northampton General Hospital. www.ajillustration.co.uk
‘'Be on Alert Now!’' Anne-Elise Angas, 2020, hand woven tapestry made during lockdown x1 size 33cms by 24cms my social media account @anneeliseangas
‘'Be on Alert Now!’' Anne-Elise Angas, 2020, hand woven tapestry made during lockdown x1 size 33cms by 24cms my social media account @anneeliseangas
‘’A Different Light’’ Annie Kaur, photography, 2020 This work was creating during the first lockdown and I didn't go out as much unless it was to sit in my backyard. However, along the weeks of lockdown beginning, I started to become more aware of my surroundings and photograph anything that came of interest to me. Having the sun for most of the lockdown helped on this part as it created all sorts of shadows and lighting which I then knew was my main focus. This series is called 'A Different Light' since the photos are showing how I managed with the first lockdown and how I got through it. Taking these photographs actually kept me sane for majority of it and motivated me to keep taking photographs, which I did. My intention at first was just to create some photos and think nothing of it afterwards, but once I started putting them out on my social media, they gained positive attention that I wouldn't expect myself to get for being a small photographer. As a result, these images I created during the first lockdown in 2020 actually had some potential that I can look back on from time to time as a reminder of where we began. anniekaur.squarespace.com Instagram: @photosby_annie Twitter: photosbyannie_
‘’A Different Light’’ Annie Kaur, photography, 2020 This work was creating during the first lockdown and I didn't go out as much unless it was to sit in my backyard. However, along the weeks of lockdown beginning, I started to become more aware of my surroundings and photograph anything that came of interest to me. Having the sun for most of the lockdown helped on this part as it created all sorts of shadows and lighting which I then knew was my main focus. This series is called 'A Different Light' since the photos are showing how I managed with the first lockdown and how I got through it. Taking these photographs actually kept me sane for majority of it and motivated me to keep taking photographs, which I did. My intention at first was just to create some photos and think nothing of it afterwards, but once I started putting them out on my social media, they gained positive attention that I wouldn't expect myself to get for being a small photographer. As a result, these images I created during the first lockdown in 2020 actually had some potential that I can look back on from time to time as a reminder of where we began. anniekaur.squarespace.com Instagram: @photosby_annie Twitter: photosbyannie_
‘’Dialogues with the digital’’ April Lannigan, 2020, the tallest frame is 1mx 1m Dialogues with the digital is a series of work I began around the beginning of the first UK lockdown. Our coevolution alongside new technologies appears ever expanding, particularly in a time of isolation. I became fascinated after reading a book by American Futurist Kevin Kelly-“12 Technological forces that will shape our future”. Studying at Art school, somehow this environment has disolved into a digital format. A studio based course placed under digital restrictions! I have been working through these ideas by producing a series of drawings, paintings and using three dimensional processes. @___april____
‘’Dialogues with the digital’’ April Lannigan, 2020, the tallest frame is 1mx 1m Dialogues with the digital is a series of work I began around the beginning of the first UK lockdown. Our coevolution alongside new technologies appears ever expanding, particularly in a time of isolation. I became fascinated after reading a book by American Futurist Kevin Kelly-“12 Technological forces that will shape our future”. Studying at Art school, somehow this environment has disolved into a digital format. A studio based course placed under digital restrictions! I have been working through these ideas by producing a series of drawings, paintings and using three dimensional processes. @___april____
‘’Mouse Muse’’ Aran Illingworth, textile, 2020 Applique and handstitched aran-i.com
‘’Mouse Muse’’ Aran Illingworth, textile, 2020 Applique and handstitched aran-i.com
‘’Who is looking at you?’’ Ariel Chavarro Avila, Graphite on Wooden Panel, 2020 ‘’During all these months of lock down I have been working in the Mona Lisa Project. Leonardo Da Vinci created her the last years of his life and died in the arms of Francis I King of France who took care of probably the most famous painting in the world which is French Patrimony because this king gave her to the French people. I have been captivated and attracted by this picture since I was a little child. She has been surviving over 500 years of pollution, two brutal attacks one with acid and the other one with a rock. She has been in isolation for a long time and she is wearing perhaps the thickest mask on Earth called security glass.’’
‘’Who is looking at you?’’ Ariel Chavarro Avila, Graphite on Wooden Panel, 2020 ‘’During all these months of lock down I have been working in the Mona Lisa Project. Leonardo Da Vinci created her the last years of his life and died in the arms of Francis I King of France who took care of probably the most famous painting in the world which is French Patrimony because this king gave her to the French people. I have been captivated and attracted by this picture since I was a little child. She has been surviving over 500 years of pollution, two brutal attacks one with acid and the other one with a rock. She has been in isolation for a long time and she is wearing perhaps the thickest mask on Earth called security glass.’’
‘’They Are Judging You And You Can't Complain’’ Arimathea Warren, 2020, Acrylic Painted Carpet Samples, Wallpaper, Oil Pastels, Googly Eyes, Bee and Candle Wax, Reinforced With Chicken Wire. Dimensions: 31cm x 93cm Website and instagram: www.arimatheawarren.co.uk @arimatheawarren https://www.instagram.com/arimatheawarren/?hl=en
‘’They Are Judging You And You Can't Complain’’ Arimathea Warren, 2020, Acrylic Painted Carpet Samples, Wallpaper, Oil Pastels, Googly Eyes, Bee and Candle Wax, Reinforced With Chicken Wire. Dimensions: 31cm x 93cm Website and instagram: www.arimatheawarren.co.uk @arimatheawarren https://www.instagram.com/arimatheawarren/?hl=en
'Imagination' , Beatrice Gelletley, Ceramic Sculpture, 12 x 23 x 23 cm, 12 x 23 x 20 cm, 14.5 x 19.5 x 26 cm, 77 x 36 x 60 cm, 2020 @galletley_art
'Imagination' , Beatrice Gelletley, Ceramic Sculpture, 12 x 23 x 23 cm, 12 x 23 x 20 cm, 14.5 x 19.5 x 26 cm, 77 x 36 x 60 cm, 2020 @galletley_art
‘’Soften Soothe Allow’’ Bibi Senthi, digital artwork, 2020 “This was created after a mindful self compassion practice during the first few weeks of lockdown. The meditation is about noticing and soothing feelings and being kind to yourself. Often I think in images rather than words when meditating.” Instagram @goodnewsfrombad
‘’Soften Soothe Allow’’ Bibi Senthi, digital artwork, 2020 “This was created after a mindful self compassion practice during the first few weeks of lockdown. The meditation is about noticing and soothing feelings and being kind to yourself. Often I think in images rather than words when meditating.” Instagram @goodnewsfrombad
‘’Untitled’’ Boutzie R, digital illustration, 2020 The art piece was created during an IG live. Was experimenting with connecting with everyone via an IG live and wanted to see how would that affect my artwork that was being created at that time. To my surprise, it came out amazing and it challenges me to be more outgoing in creating in my space but sometimes allowing people to see me in my element. rebelliousrebel.com @boutziee @boutzieee @rrebeIIl
‘’Untitled’’ Boutzie R, digital illustration, 2020 The art piece was created during an IG live. Was experimenting with connecting with everyone via an IG live and wanted to see how would that affect my artwork that was being created at that time. To my surprise, it came out amazing and it challenges me to be more outgoing in creating in my space but sometimes allowing people to see me in my element. rebelliousrebel.com @boutziee @boutzieee @rrebeIIl
‘’Untitled III (Otherworlds)’’ Caitlin Alexandra, Photography, 2020 ‘’This work is a part of an ongoing series created during lockdown as a form of escapism. As an artist who grew up in the english countryside, now living in the middle of a city, the idea of exploring other strange and natural environments much bigger than myself is a comforting thought. I have been creating miniature landscapes out of mainly natural materials in order to in some way at least, live out this desire to get lost somewhere new, away from man made buildings and crowds.’’ More of Alexandra’s work can be viewed here: www.caitlinalexandra.com Instagram @_caitlinalexandra_
‘’Untitled III (Otherworlds)’’ Caitlin Alexandra, Photography, 2020 ‘’This work is a part of an ongoing series created during lockdown as a form of escapism. As an artist who grew up in the english countryside, now living in the middle of a city, the idea of exploring other strange and natural environments much bigger than myself is a comforting thought. I have been creating miniature landscapes out of mainly natural materials in order to in some way at least, live out this desire to get lost somewhere new, away from man made buildings and crowds.’’ More of Alexandra’s work can be viewed here: www.caitlinalexandra.com Instagram @_caitlinalexandra_
‘’House on the hill’’ Cal Nurse, acrylic on canvas, 2020 ‘’An autumn landscape at sunrise. Inspired by the light and atmosphere of landscape works by Jolomo and Joan Eardley among others. House on the Hill, Acrylic on canvas, 75cmx60cm (24"x30")’’ www.arty-cal.com @artycally
‘’House on the hill’’ Cal Nurse, acrylic on canvas, 2020 ‘’An autumn landscape at sunrise. Inspired by the light and atmosphere of landscape works by Jolomo and Joan Eardley among others. House on the Hill, Acrylic on canvas, 75cmx60cm (24"x30")’’ www.arty-cal.com @artycally
‘’Slow river’’ Caroline Casswell, paper cut, recycled collage, 2020 ‘’With limited materials, Caroline has turned to using recycled paper, cutting it and making a collage image, each has a unique look’’ www.carolinecasswell.co.uk @carolinecasswell
‘’Slow river’’ Caroline Casswell, paper cut, recycled collage, 2020 ‘’With limited materials, Caroline has turned to using recycled paper, cutting it and making a collage image, each has a unique look’’ www.carolinecasswell.co.uk @carolinecasswell
‘’Beauty in the Bleak’’ Catherine Corfield, oil on canvas, 2020 #catherinecorfieldartist @corfieldart
‘’Beauty in the Bleak’’ Catherine Corfield, oil on canvas, 2020 #catherinecorfieldartist @corfieldart
‘’ The Sound of the Kenwood Chef’’, Catherine Hill, textiles, 2020 ‘’My work is based around fond memories growing up in Lancashire in the 1970’s. Some people write memoirs, I make hand-stitched embroideries. Food, local dialect and the colour red (as a nod to the red rose of Lancashire) often appear in some way in my art. This piece is about Saturday mornings. One of the most memorable sounds from my childhood, was the sound of my Mum’s heavy, metal Kenwood Chef, whirring away. The smell of home baked cakes, pies and bread filled the house. Saturday mornings was the highlight of the week. Me, my three sisters and two brothers, waited patiently until Mum said we could eat the first batch of warm Victoria Scones. Size: 21 cm x 21 cm’’
‘’ The Sound of the Kenwood Chef’’, Catherine Hill, textiles, 2020 ‘’My work is based around fond memories growing up in Lancashire in the 1970’s. Some people write memoirs, I make hand-stitched embroideries. Food, local dialect and the colour red (as a nod to the red rose of Lancashire) often appear in some way in my art. This piece is about Saturday mornings. One of the most memorable sounds from my childhood, was the sound of my Mum’s heavy, metal Kenwood Chef, whirring away. The smell of home baked cakes, pies and bread filled the house. Saturday mornings was the highlight of the week. Me, my three sisters and two brothers, waited patiently until Mum said we could eat the first batch of warm Victoria Scones. Size: 21 cm x 21 cm’’
‘’Unstoppable Force’’, Catherine Sweet, acrylic on canvas board, 2020 ‘’ This work was inspired by the volcanic coastline of Hawaii.’’ www.catsweet.co.uk Instagram: @insta_cat13 Twitter: @catsweet13
‘’Unstoppable Force’’, Catherine Sweet, acrylic on canvas board, 2020 ‘’ This work was inspired by the volcanic coastline of Hawaii.’’ www.catsweet.co.uk Instagram: @insta_cat13 Twitter: @catsweet13
‘’It Won't Always Be Like This’’ Children Of Wolves, (60cm x 92cm), Acrylic on canvas, 2020 ‘’My first painting done totally during the great Covid-19 lockdown of 2020. I wanted to do something that reflected the world around us now, that would still mean something when this is all over, but that also fit in with the theme of the rest of my work (fighting an unjust establishment). And hopefully this has ticked all three boxes. When things are good, don't be complacent, always be prepared for if things change for the worse. When things are bad, do what you can to make a change. Good or bad, whatever "this" is, it won't always be like this.’’ @children_of_wolves
‘’It Won't Always Be Like This’’ Children Of Wolves, (60cm x 92cm), Acrylic on canvas, 2020 ‘’My first painting done totally during the great Covid-19 lockdown of 2020. I wanted to do something that reflected the world around us now, that would still mean something when this is all over, but that also fit in with the theme of the rest of my work (fighting an unjust establishment). And hopefully this has ticked all three boxes. When things are good, don't be complacent, always be prepared for if things change for the worse. When things are bad, do what you can to make a change. Good or bad, whatever "this" is, it won't always be like this.’’ @children_of_wolves
‘’Brick’’ Christian Alexander Bailey. Ink and pen, 2020 ‘’Covid has had such a blunt and violent effect on any number of our social and intellectual constructs. As if someone had thrown a brick at it all and then absconded leaving the mess for us all to deal with.’’
‘’Brick’’ Christian Alexander Bailey. Ink and pen, 2020 ‘’Covid has had such a blunt and violent effect on any number of our social and intellectual constructs. As if someone had thrown a brick at it all and then absconded leaving the mess for us all to deal with.’’
‘’ Mount Lico’’ Claire Cooper-Walsh, Textiles- weaving, embroidery, crochet, 2020 ‘’This is a 3 D tapestry weaving with added crochet and embroidery. It was inspired by a rainforest on top of Mount Lico in Mozambique- it was discovered in 2012 on Google Earth, and was undisturbed by humans due to its inaccessibility. I have used tapestry weaving to create the rock face of the mountain and added some embroidery stitch and crochet to create the foliage clinging to the rocks and larger freestyle crochet to create the trees on top of the mountain. I have bent the weaving around chicken wire to capture a small slice of the vast edifice.’’ @ccooperwalsh
‘’ Mount Lico’’ Claire Cooper-Walsh, Textiles- weaving, embroidery, crochet, 2020 ‘’This is a 3 D tapestry weaving with added crochet and embroidery. It was inspired by a rainforest on top of Mount Lico in Mozambique- it was discovered in 2012 on Google Earth, and was undisturbed by humans due to its inaccessibility. I have used tapestry weaving to create the rock face of the mountain and added some embroidery stitch and crochet to create the foliage clinging to the rocks and larger freestyle crochet to create the trees on top of the mountain. I have bent the weaving around chicken wire to capture a small slice of the vast edifice.’’ @ccooperwalsh
‘’Isolation Portrait’’ CLO, digital art, 2020 As contact between us has diminished over lockdown, it became more difficult to find people to draw. To make up for this, I looked up the streets around mine on Google maps and drew the individuals whose blurry faces graced my neighbourhood. This is the result. @Clareartuk
‘’Isolation Portrait’’ CLO, digital art, 2020 As contact between us has diminished over lockdown, it became more difficult to find people to draw. To make up for this, I looked up the streets around mine on Google maps and drew the individuals whose blurry faces graced my neighbourhood. This is the result. @Clareartuk
‘’Contagious’’ Ella Shepard, Oil on canvas, 2020 Within my artistic practice I've been looking in to archived photography and historical documentation. It's fascinating looking at photos from before our time as they feel so distant but familiar at the same time. A lot of people have been considering these Covid-19 times as reminiscent of war times, the unsettling overshadowing of something very ominous with an indefinite end date. This painting has taken inspiration from a photo taken in 1937 and depicts a film kiss on set in Hollywood during the Flu epidemic. You may have already seen this being used, but when I found this photo a few months ago it felt like a lot of the themes in my practice simultaneously came together. Old photography re-imagined in a distorted reality and using this blur across time, this merge of abstraction and realism, in the medium of paint. (Also, friends and family have recently mentioned that being in isolation is very much like existing in a blur, where you have lost track of time and feel disoriented). I have never really tied my artwork to society issues or politics or fixed it so to speak in our specific time, but I feel that this is something that can't be ignored, this photo felt uncannily real, with such a underlining darkness expressed with a fragility to the situation. @ellashepardart (Instagram & Facebook)) https://www.facebook.com/EllaShepardArt https://www.instagram.com/ellashepardart/
‘’Contagious’’ Ella Shepard, Oil on canvas, 2020 Within my artistic practice I've been looking in to archived photography and historical documentation. It's fascinating looking at photos from before our time as they feel so distant but familiar at the same time. A lot of people have been considering these Covid-19 times as reminiscent of war times, the unsettling overshadowing of something very ominous with an indefinite end date. This painting has taken inspiration from a photo taken in 1937 and depicts a film kiss on set in Hollywood during the Flu epidemic. You may have already seen this being used, but when I found this photo a few months ago it felt like a lot of the themes in my practice simultaneously came together. Old photography re-imagined in a distorted reality and using this blur across time, this merge of abstraction and realism, in the medium of paint. (Also, friends and family have recently mentioned that being in isolation is very much like existing in a blur, where you have lost track of time and feel disoriented). I have never really tied my artwork to society issues or politics or fixed it so to speak in our specific time, but I feel that this is something that can't be ignored, this photo felt uncannily real, with such a underlining darkness expressed with a fragility to the situation. @ellashepardart (Instagram & Facebook)) https://www.facebook.com/EllaShepardArt https://www.instagram.com/ellashepardart/
‘’Cutlery Kingfisher’’ Edward Cartwright, recycled steel cutlery, 2020 ‘’These small birds are made from recycled cutlery. I have made numerous large pieces in cutlery in the past and during lockdown I took the opportunity to create a number of smaller more affordable pieces for sale online including Kingfishers, robins and dragon flies. By using everyday objects in unexpected ways to make art I aim to celebrate the mundane and transform the functional into the ornamental.’’ www.artbyedward.co.uk instagram ; @edwardcartwrightart www.facebook.com/edwardcartwrightartist twitter.com/edwardcartwrig2 www.etsy.com/uk/shop/cartwrightsculpture www.artfinder.com/edward-cartwright
‘’Cutlery Kingfisher’’ Edward Cartwright, recycled steel cutlery, 2020 ‘’These small birds are made from recycled cutlery. I have made numerous large pieces in cutlery in the past and during lockdown I took the opportunity to create a number of smaller more affordable pieces for sale online including Kingfishers, robins and dragon flies. By using everyday objects in unexpected ways to make art I aim to celebrate the mundane and transform the functional into the ornamental.’’ www.artbyedward.co.uk instagram ; @edwardcartwrightart www.facebook.com/edwardcartwrightartist twitter.com/edwardcartwrig2 www.etsy.com/uk/shop/cartwrightsculpture www.artfinder.com/edward-cartwright
‘’ Window Works’’ Edwin Miles, film, 2020 ‘’Window Works is a project borne out of a dislocation between person and place. Using a living room window as a gateway to rumination, the film follows a filmmaker around a block of flats, gradually accompanied by the memory of his parents. Window Works was completed in the throes of the Covid crisis; its empty corridors and streets highlight a time of stasis, a breeding ground for involuntary cerebration. Shot using Mini DV, it taps into ideas of memory, home, and family. Vimeo link (password: London): https://vimeo.com/408606120 ‘’ More of Miles’ work can be viewed here: Instagram: @eajmiles Twitter: @eajmiles
‘’ Window Works’’ Edwin Miles, film, 2020 ‘’Window Works is a project borne out of a dislocation between person and place. Using a living room window as a gateway to rumination, the film follows a filmmaker around a block of flats, gradually accompanied by the memory of his parents. Window Works was completed in the throes of the Covid crisis; its empty corridors and streets highlight a time of stasis, a breeding ground for involuntary cerebration. Shot using Mini DV, it taps into ideas of memory, home, and family. Vimeo link (password: London): https://vimeo.com/408606120 ‘’ More of Miles’ work can be viewed here: Instagram: @eajmiles Twitter: @eajmiles
‘’Branded Trash’’ Enrico Policardo, photography, 2020 ‘’Branded trash is not just simple trash. It's not just an environmental disaster. Branded trash is also advertising; unpaid for by the brand- insidious and everywhere; a point of focus for our busy brains and eyes; endless product placement in the movies of our lives.’’ @cardopoli
‘’Branded Trash’’ Enrico Policardo, photography, 2020 ‘’Branded trash is not just simple trash. It's not just an environmental disaster. Branded trash is also advertising; unpaid for by the brand- insidious and everywhere; a point of focus for our busy brains and eyes; endless product placement in the movies of our lives.’’ @cardopoli
‘’Rainbow Meadow’’ Estelle Woolley, Photography and wildflowers, 2020 ‘’Through her practice Estelle Woolley often explores ways that we work with or against nature; how we react and intervene, and how nature responds back at a domestic level and beyond. Through a minimal and poetic use of materials, which are often very fragile, she questions possible narratives and layers of meaning. By subtle manipulation, she hopes to renew a sense of curiosity, while always highlighting the beauty inherent in the forms used. Over lockdown, she has produced a series of photographic self portraits wearing facemasks composed of delicate and ephemeral natural materials. These have been collected from her daily walks, where she has been homing in on her immediate surroundings, paying close attention to the plant life as it comes in and out of season. Spending lockdown in the Cheshire countryside on her family’s farm, Estelle has been immersed in the changing seasons. Rainbow Meadow was created in late Spring, when many different coloured wild flowers and grasses began to emerge in the hedgerows, such as pink campions, buttercups, bluebells and forget me nots. As one of her earlier masks in the series, Rainbow Meadow was made during a time when every Thursday evening the country went outside to clap and show their support for the NHS. The rainbow became a symbol of this support, which inspired the thinking behind the mixed colour palette. Other masks in the series have been made from materials such as dandelion clocks, nettles, thistles, lavender, wild chamomile, honeysuckle, chive flowers, oak leaves, robin’s pincushions, forget me nots, clover leaves, moss, sycamore leaves, foxgloves, bees, butterflies, and even a wasp nest! Each with their individual narratives.’’
‘’Rainbow Meadow’’ Estelle Woolley, Photography and wildflowers, 2020 ‘’Through her practice Estelle Woolley often explores ways that we work with or against nature; how we react and intervene, and how nature responds back at a domestic level and beyond. Through a minimal and poetic use of materials, which are often very fragile, she questions possible narratives and layers of meaning. By subtle manipulation, she hopes to renew a sense of curiosity, while always highlighting the beauty inherent in the forms used. Over lockdown, she has produced a series of photographic self portraits wearing facemasks composed of delicate and ephemeral natural materials. These have been collected from her daily walks, where she has been homing in on her immediate surroundings, paying close attention to the plant life as it comes in and out of season. Spending lockdown in the Cheshire countryside on her family’s farm, Estelle has been immersed in the changing seasons. Rainbow Meadow was created in late Spring, when many different coloured wild flowers and grasses began to emerge in the hedgerows, such as pink campions, buttercups, bluebells and forget me nots. As one of her earlier masks in the series, Rainbow Meadow was made during a time when every Thursday evening the country went outside to clap and show their support for the NHS. The rainbow became a symbol of this support, which inspired the thinking behind the mixed colour palette. Other masks in the series have been made from materials such as dandelion clocks, nettles, thistles, lavender, wild chamomile, honeysuckle, chive flowers, oak leaves, robin’s pincushions, forget me nots, clover leaves, moss, sycamore leaves, foxgloves, bees, butterflies, and even a wasp nest! Each with their individual narratives.’’
‘’Material Play’’ Ffion Evans, textiles and craft, 2020 “Material Play is a collection of objects created during 2020 which revolve around tactility, playfulness and wellbeing, focusing on benefiting people suffering from mental health issues through textiles. A mixture of second hand and biodegradable materials are used through knit and traditional craft methods to create the collection of objects. The Stick and Tear Square is one of the items made which combines texture and playful interaction together to create a stress relieving object.” @ffionevanstextiles
‘’Material Play’’ Ffion Evans, textiles and craft, 2020 “Material Play is a collection of objects created during 2020 which revolve around tactility, playfulness and wellbeing, focusing on benefiting people suffering from mental health issues through textiles. A mixture of second hand and biodegradable materials are used through knit and traditional craft methods to create the collection of objects. The Stick and Tear Square is one of the items made which combines texture and playful interaction together to create a stress relieving object.” @ffionevanstextiles
‘’Finding the Gold’’ Amanda Jane Ogden, oil paints and gold acrylic paint on canvas panel, 2020 This piece is about finding a seam of gold, deep in the rock, even under a dark sky. (30 x 30cm/27¾ x 27¾") @amanda_jane_textiles
‘’Finding the Gold’’ Amanda Jane Ogden, oil paints and gold acrylic paint on canvas panel, 2020 This piece is about finding a seam of gold, deep in the rock, even under a dark sky. (30 x 30cm/27¾ x 27¾") @amanda_jane_textiles
‘’ Archiopoiesis’’ Frances Ann Norton, watercolour painting, 2020 ‘’square painting’’
‘’ Archiopoiesis’’ Frances Ann Norton, watercolour painting, 2020 ‘’square painting’’
‘’Escaping the Pull’’ Frances Willoughby, sculpture, 2020 Catastrophic thinking is a behaviour I find myself doing more often than I would like to admit. It is a habit I subconsciously slip into and pull away from, especially now, when there is so much time to contemplate. As the anxiety rises, my insides become entangled, until I recollect my thoughts and reconsider the likelihood of this idea becoming reality. franceswilloughby.com Instagram: @frances.willoughby.art
‘’Escaping the Pull’’ Frances Willoughby, sculpture, 2020 Catastrophic thinking is a behaviour I find myself doing more often than I would like to admit. It is a habit I subconsciously slip into and pull away from, especially now, when there is so much time to contemplate. As the anxiety rises, my insides become entangled, until I recollect my thoughts and reconsider the likelihood of this idea becoming reality. franceswilloughby.com Instagram: @frances.willoughby.art
‘'Light Painting Triptych'’ Francesca Edwards, 2020, Acrylic & Spray Paint on Canvas (91.4 x 121.9cm) x3 June 2020 @francescaedwardsfineart
‘'Light Painting Triptych'’ Francesca Edwards, 2020, Acrylic & Spray Paint on Canvas (91.4 x 121.9cm) x3 June 2020 @francescaedwardsfineart
‘’Test in a bubble’’ Freya Ryder, Mixed media (acrylic on cricket bat), 2020 ‘’Cricket behind closed doors: England vs West Indies Test Match at Emirates Old Trafford, 16-20th July 2020. Acrylic on cricket bat. Size: 85cm (including handle) Bat face width: 11.5cm.’’ www.freyayder.com Instagram: @freyaryder Twitter: @freya_ryder
‘’Test in a bubble’’ Freya Ryder, Mixed media (acrylic on cricket bat), 2020 ‘’Cricket behind closed doors: England vs West Indies Test Match at Emirates Old Trafford, 16-20th July 2020. Acrylic on cricket bat. Size: 85cm (including handle) Bat face width: 11.5cm.’’ www.freyayder.com Instagram: @freyaryder Twitter: @freya_ryder
‘’The unbearable lightness of being a man #9’’ Gaizka Saracibar, digital, 2020 "the unbearable lightness " is an ongoing work that explores issues of identity and mental health. Instagram.com/tulobam
‘’The unbearable lightness of being a man #9’’ Gaizka Saracibar, digital, 2020 "the unbearable lightness " is an ongoing work that explores issues of identity and mental health. Instagram.com/tulobam
'Fede', Gareth Hughes, oils on canvas, 2020 'Fede' - portrait of one of the heroic workers on a Covid ward in Edinburgh, at the height of the first lockdown. Size of canvas - A1 scale. www.garethhughesart.com IG - @garethhughesart
'Fede', Gareth Hughes, oils on canvas, 2020 'Fede' - portrait of one of the heroic workers on a Covid ward in Edinburgh, at the height of the first lockdown. Size of canvas - A1 scale. www.garethhughesart.com IG - @garethhughesart
‘’Yare Palette’’ Georgia Green, digital print on Somerset paper, 2020 A digital print on Somerset Velvet, 210mm x 297mm. This print was created during and in response to the UK wide lockdown in the spring of 2020.
‘’Yare Palette’’ Georgia Green, digital print on Somerset paper, 2020 A digital print on Somerset Velvet, 210mm x 297mm. This print was created during and in response to the UK wide lockdown in the spring of 2020.
‘’Change of Habitat‘’ Georgina Fay, etching, 2020 ‘’This layered etching began as a single dead tree, now entangled in a web created by humans: trappings of a world dominated by technology and power. Birds flee from the oncoming darkness which has started to engulf the image, making it visible only through three circular lenses - the viewfinders of a changing landscape almost beyond repair.’’ More of Fay’s work can be viewed here: www.georgiefay.com Instagram - @faygeorgie
‘’Change of Habitat‘’ Georgina Fay, etching, 2020 ‘’This layered etching began as a single dead tree, now entangled in a web created by humans: trappings of a world dominated by technology and power. Birds flee from the oncoming darkness which has started to engulf the image, making it visible only through three circular lenses - the viewfinders of a changing landscape almost beyond repair.’’ More of Fay’s work can be viewed here: www.georgiefay.com Instagram - @faygeorgie
‘’#2 Eat a carrot and if it gives you hiccups then you are expecting a girl.’’, Georgie White, Photograph, C-Type Fuji Matt print, edition of 10, 2020 ‘’This series is a tongue in cheek look at Old Wives’ Tales and when I became pregnant the second time I decided I wanted to play with the idea of myths. Often regarded as irrational, illogical and absurd stories that over the passing of time have become more of a fanciful saying than anything of truth. The Oxford dictionary understands the term Old Wives’ Tale as ‘an old idea or belief that people now know is not correct’, but are we too quick to write off the term as foolish stories told by senile women? Interestingly, and perhaps unsurprisingly, what I discovered with the traditional Old Wives’ Tales was the ingrained prejudice against women. The outlook of the myths hint at the desire to bear a cherished baby boy and not another ghastly girl. The traits to carry a boy are kinder to the mother's figure and fatigue, whereas there is abrasive contempt in birthing a little girl who will give you a hideous shaped bump, cover you with spots, greasy hair or baldness and even riddle you with indigestion. Playing with the theme I created my own pregnancy Old Wives’ Tales which emphasise the inequality in the result.’’
‘’#2 Eat a carrot and if it gives you hiccups then you are expecting a girl.’’, Georgie White, Photograph, C-Type Fuji Matt print, edition of 10, 2020 ‘’This series is a tongue in cheek look at Old Wives’ Tales and when I became pregnant the second time I decided I wanted to play with the idea of myths. Often regarded as irrational, illogical and absurd stories that over the passing of time have become more of a fanciful saying than anything of truth. The Oxford dictionary understands the term Old Wives’ Tale as ‘an old idea or belief that people now know is not correct’, but are we too quick to write off the term as foolish stories told by senile women? Interestingly, and perhaps unsurprisingly, what I discovered with the traditional Old Wives’ Tales was the ingrained prejudice against women. The outlook of the myths hint at the desire to bear a cherished baby boy and not another ghastly girl. The traits to carry a boy are kinder to the mother's figure and fatigue, whereas there is abrasive contempt in birthing a little girl who will give you a hideous shaped bump, cover you with spots, greasy hair or baldness and even riddle you with indigestion. Playing with the theme I created my own pregnancy Old Wives’ Tales which emphasise the inequality in the result.’’
‘’Voice portrait of Italian poet Ungaretti’’ GIOVANNA IORIO, canvas, 2020 I am an artist based in Hertford. I turn voices of poets into voice portraits. I turn voices into images to make the beauty of each voice visible.
‘’Voice portrait of Italian poet Ungaretti’’ GIOVANNA IORIO, canvas, 2020 I am an artist based in Hertford. I turn voices of poets into voice portraits. I turn voices into images to make the beauty of each voice visible.
"Graphite Fist" Kirsty Turner, 2020, 7x7 inches “My Instagram is @kirstyleeturner and my website is kirstyturner.art”
"Graphite Fist" Kirsty Turner, 2020, 7x7 inches “My Instagram is @kirstyleeturner and my website is kirstyturner.art”
‘’Simons Hand’’ Hannah Mallaby, fine liner, 2020 ‘’Simons hand An injury An accident An already broken mirror... Unlucky. A4 FINELINER UNIPIN 0.05 0.03 0.2’’ @Northern.cave
‘’Simons Hand’’ Hannah Mallaby, fine liner, 2020 ‘’Simons hand An injury An accident An already broken mirror... Unlucky. A4 FINELINER UNIPIN 0.05 0.03 0.2’’ @Northern.cave
‘’Untitled’’ Hazel Soper, collage, 2020 This work explores the pressures on the female body in contemporary culture. It intertwines Julia Kristeva's notion of the abject with the idea of self-branding: how we market our lives, emotions and bodies as perfect products on social media. By juxtaposing visceral imagery with the glossy visual language of advertising and print media I strive to question the idealised, airbrushed representation of femininity, the performative nature of gender, and its relationship to the act of consuming. Women are taught a complicated and unsustainable relationship with food, what foods are 'good' and 'bad' to cause us guilt, obsession, self loathing. It's a means of control for many women, but ultimately the patriarchy. www.hazelsoper.com www.instagram.com/hazelsoper/ https://twitter.com/HazelSoper
‘’Untitled’’ Hazel Soper, collage, 2020 This work explores the pressures on the female body in contemporary culture. It intertwines Julia Kristeva's notion of the abject with the idea of self-branding: how we market our lives, emotions and bodies as perfect products on social media. By juxtaposing visceral imagery with the glossy visual language of advertising and print media I strive to question the idealised, airbrushed representation of femininity, the performative nature of gender, and its relationship to the act of consuming. Women are taught a complicated and unsustainable relationship with food, what foods are 'good' and 'bad' to cause us guilt, obsession, self loathing. It's a means of control for many women, but ultimately the patriarchy. www.hazelsoper.com www.instagram.com/hazelsoper/ https://twitter.com/HazelSoper
‘’ The Haunting Thoughts Upon My Bedroom Wall’’ Izzy Malanczuk, oil, 2020 “I am a contemporary abstract-expressionist approach to still life challenging the effectiveness of the subject, during lockdown I have spent an unfathomable amount of time staring mindlessly into the walls of my house, analyzing the space and watching thoughts spill out of every gap.” @izzymalanczuk
‘’ The Haunting Thoughts Upon My Bedroom Wall’’ Izzy Malanczuk, oil, 2020 “I am a contemporary abstract-expressionist approach to still life challenging the effectiveness of the subject, during lockdown I have spent an unfathomable amount of time staring mindlessly into the walls of my house, analyzing the space and watching thoughts spill out of every gap.” @izzymalanczuk
‘’ 25/04/1992’’ Jack Hughes, oil on canvas, 2020 This year has been a very trying year for everyone, but for me the one thing I can take away from it is that it has given me more time to concentrate on my studio time. It has also steered my paintings into more sentimental subjects. The painting submitted is a very large scale painting worked from an old photograph of my parents' wedding. I found the figure with the leather trench coat and long wavy hair to be very interesting and mysterious.
‘’ 25/04/1992’’ Jack Hughes, oil on canvas, 2020 This year has been a very trying year for everyone, but for me the one thing I can take away from it is that it has given me more time to concentrate on my studio time. It has also steered my paintings into more sentimental subjects. The painting submitted is a very large scale painting worked from an old photograph of my parents' wedding. I found the figure with the leather trench coat and long wavy hair to be very interesting and mysterious.
‘’Captured’’ Jack O’Connell, 2020, Photography Lobster pots in the English Riviera given the dispairing sight of the red sandy beach and surrounding colourful victorian architecture before being laid into the sea for their months at work seeing nothing but darkness.
‘’Captured’’ Jack O’Connell, 2020, Photography Lobster pots in the English Riviera given the dispairing sight of the red sandy beach and surrounding colourful victorian architecture before being laid into the sea for their months at work seeing nothing but darkness.
‘’TAKE’’ Jacob Talbot, photograph of sculpture (eroded emulsion, wax, alginate, string, board.), 2020 ‘’This image belongs to a larger body of work created in and based off the first lockdown we underwent. Using an artificial embodiment of self in the sense of a dissociated fragile sculpture, that only existed in this image, allows for multiple avenues of interpretations into the state of being in these unprecedented times. The exploration of a personal journey through isolation and the fluctuating mentality that defines ones outlook on the situation at hand. A detachment from self, A detachment from emotion, A detachment from others.’’ www.jacobjtalbot.com insta: @scruffsart
‘’TAKE’’ Jacob Talbot, photograph of sculpture (eroded emulsion, wax, alginate, string, board.), 2020 ‘’This image belongs to a larger body of work created in and based off the first lockdown we underwent. Using an artificial embodiment of self in the sense of a dissociated fragile sculpture, that only existed in this image, allows for multiple avenues of interpretations into the state of being in these unprecedented times. The exploration of a personal journey through isolation and the fluctuating mentality that defines ones outlook on the situation at hand. A detachment from self, A detachment from emotion, A detachment from others.’’ www.jacobjtalbot.com insta: @scruffsart
‘’SEEDTIME x HARVEST’’ Jaz Morrison, digital collage, 2020 ‘’ This work is a commentary on cycles. History continues to repeat itself, and within histories are movements, uprisings and revolutions. But those movements are often a response to acts of injustice and oppression - where many people are harmed and lives lost. The dead are buried, and, like seeds, their legacy rises up in their name(s). Seedtime and Harvest. And the cycle repeats again. (Dimensions: 4960x3508)’’ @jazmor_ on Instagram and Twitter
‘’SEEDTIME x HARVEST’’ Jaz Morrison, digital collage, 2020 ‘’ This work is a commentary on cycles. History continues to repeat itself, and within histories are movements, uprisings and revolutions. But those movements are often a response to acts of injustice and oppression - where many people are harmed and lives lost. The dead are buried, and, like seeds, their legacy rises up in their name(s). Seedtime and Harvest. And the cycle repeats again. (Dimensions: 4960x3508)’’ @jazmor_ on Instagram and Twitter
’Gili T’’ Jemma Channing, acrylic on canvas, 2020 My work has always been focused on wellbeing and social change, hugely collaborative and based on working directly with people. When lockdown began in March my mental health took a nosedive and I found myself needing to practice what I preached. My usual processes of bringing people together was no longer viable, safe, possible or even legal. I continued to come up with ideas for future projects, but as my health deteriorated I realised I needed to do something purely for me. To practise what i preach when i talk about the transformative benefits of the arts. I spent lockdown painting giant rainbow cats. The antithesis of serious content, but it was something that was fun, silly and made me happy. It connected me with the memory of childhood - just painting for the sake of painting. No deep meaning, no serious message, nothing but fun. I painted a number of huge cats over lockdown (and continue to) the one i have shared here is called Gili T, after the island that i photographed this cat on, only a year earlier, when global pandemics were the stuff of sci fi movies and books. If nothing else I have learnt not to take life so seriously. it is wonderful to make serious, important, life changing art. But it's also important to do something just because it makes you smile. www.jemmachanning.co.uk instagram - @jemmachanning
’Gili T’’ Jemma Channing, acrylic on canvas, 2020 My work has always been focused on wellbeing and social change, hugely collaborative and based on working directly with people. When lockdown began in March my mental health took a nosedive and I found myself needing to practice what I preached. My usual processes of bringing people together was no longer viable, safe, possible or even legal. I continued to come up with ideas for future projects, but as my health deteriorated I realised I needed to do something purely for me. To practise what i preach when i talk about the transformative benefits of the arts. I spent lockdown painting giant rainbow cats. The antithesis of serious content, but it was something that was fun, silly and made me happy. It connected me with the memory of childhood - just painting for the sake of painting. No deep meaning, no serious message, nothing but fun. I painted a number of huge cats over lockdown (and continue to) the one i have shared here is called Gili T, after the island that i photographed this cat on, only a year earlier, when global pandemics were the stuff of sci fi movies and books. If nothing else I have learnt not to take life so seriously. it is wonderful to make serious, important, life changing art. But it's also important to do something just because it makes you smile. www.jemmachanning.co.uk instagram - @jemmachanning
‘’Abrade’’ Jezzelle Kellam, graphite, 2020 “Abrade' graphite drawing (A3) My subject matter represented in my work tends to question the perceptions of the world around me. The aspects of our lives we often see, but often do not discuss. My work stirs the viewer to create their own subjective narratives through the use of ambiguous compositional elements, this is important for my artwork to generate a discussion and intrigue the audience. The ambiguoity of the works encourage for discourse to roam where it needs to go, not where I intended. Ultimately creating an answer, in the moment, based on the viewers realities. Solely working in graphite, my interest lies in monochromatic work, being able to command the medium to encapsulate a body or an object through the use of applying layer upon layer, I think the layers act translucent, each scar, blemish and wrinkle on the skin can be layered upon each other, resulting in fascinating textures that appear abrasive. The technique I use is a monotonous process which suggests parallels the routines of our society. The routine which, through creating artwork, I attempt to circumnavigate.” @jezzelleswasti swastifamilycollective.bigcartel.com/products
‘’Abrade’’ Jezzelle Kellam, graphite, 2020 “Abrade' graphite drawing (A3) My subject matter represented in my work tends to question the perceptions of the world around me. The aspects of our lives we often see, but often do not discuss. My work stirs the viewer to create their own subjective narratives through the use of ambiguous compositional elements, this is important for my artwork to generate a discussion and intrigue the audience. The ambiguoity of the works encourage for discourse to roam where it needs to go, not where I intended. Ultimately creating an answer, in the moment, based on the viewers realities. Solely working in graphite, my interest lies in monochromatic work, being able to command the medium to encapsulate a body or an object through the use of applying layer upon layer, I think the layers act translucent, each scar, blemish and wrinkle on the skin can be layered upon each other, resulting in fascinating textures that appear abrasive. The technique I use is a monotonous process which suggests parallels the routines of our society. The routine which, through creating artwork, I attempt to circumnavigate.” @jezzelleswasti swastifamilycollective.bigcartel.com/products
‘’Give 2/12’’ Jing Su, HD digital video, 2020 GIVE, is a meditation about mediation, what it means to be embodied as a meaning inside a gender, through a series of moving image installation which explores the artist’s body as both a landscape and also as a site of praxis. She appears to be giving birth to a duplicate version of herself, or perhaps a new version which had been struggling to come into existence. The clean and sparse installation elegantly examines our basic binary conditions as animals with a symmetrical perceptual system, one which invariably impacts our conceptual frameworks. www.sujings.com Instagram: @jinggsu
‘’Give 2/12’’ Jing Su, HD digital video, 2020 GIVE, is a meditation about mediation, what it means to be embodied as a meaning inside a gender, through a series of moving image installation which explores the artist’s body as both a landscape and also as a site of praxis. She appears to be giving birth to a duplicate version of herself, or perhaps a new version which had been struggling to come into existence. The clean and sparse installation elegantly examines our basic binary conditions as animals with a symmetrical perceptual system, one which invariably impacts our conceptual frameworks. www.sujings.com Instagram: @jinggsu
‘’23 and Me’’ Julie Clive, Japanese watercolour, ink and water based oils, 2020 Abstract painted work, full of motifs and markmaking. Theme is Wellbeing in a process based practice. It's a painting made if 2 A6 oil boards. Jkukstudio64.weeblysite.com Instagram @juliecliveartist
‘’23 and Me’’ Julie Clive, Japanese watercolour, ink and water based oils, 2020 Abstract painted work, full of motifs and markmaking. Theme is Wellbeing in a process based practice. It's a painting made if 2 A6 oil boards. Jkukstudio64.weeblysite.com Instagram @juliecliveartist
‘’Tenor’’ Kaoru Shibuta, acrylic, ink and gouache on canvas, 2020 The world connected by sound and music links us. Kaoru Shibuta translate musical notes into images and contemporary installations. In addition, through local culture and energy of atmosphere, he create a poetic symphony composed of images, colours and harmony, which is a perfect fusion between nature, music and art. "If Mozart is the one who composes music to link the terrestrial world to the celestial world, I am the one who undertakes him to propagate it with my painting. If Beethoven composed to surpass philosophy,then I undertake to give them a shape with my paintings. J・S・Bach is the old testament Bible of the classical music." Suite No. 4 GRANDMA ～ Grave ～ Heavy and solemn Theme: Wisdom, invisible Painting "Tenor" Call "" A painting to make "Grandma" appear in the center of Wazuka in response to the soprano "Wazuka". 200 x 1040 cm
‘’Tenor’’ Kaoru Shibuta, acrylic, ink and gouache on canvas, 2020 The world connected by sound and music links us. Kaoru Shibuta translate musical notes into images and contemporary installations. In addition, through local culture and energy of atmosphere, he create a poetic symphony composed of images, colours and harmony, which is a perfect fusion between nature, music and art. "If Mozart is the one who composes music to link the terrestrial world to the celestial world, I am the one who undertakes him to propagate it with my painting. If Beethoven composed to surpass philosophy,then I undertake to give them a shape with my paintings. J・S・Bach is the old testament Bible of the classical music." Suite No. 4 GRANDMA ～ Grave ～ Heavy and solemn Theme: Wisdom, invisible Painting "Tenor" Call "" A painting to make "Grandma" appear in the center of Wazuka in response to the soprano "Wazuka". 200 x 1040 cm
‘’Broken-not broken’’ Kate Stride, Mixed media - Ceramic and jewellery, 2020 Figurative Wall Piece Facebook: Kate Stride Artist
‘’Broken-not broken’’ Kate Stride, Mixed media - Ceramic and jewellery, 2020 Figurative Wall Piece Facebook: Kate Stride Artist
‘’Numinous’’, Kay Van Blerk, digital overlay, 2020 "numinous" - having a strong religious or spiritual quaility; indicating or suggesting the presence of a divinity. This piece of work visualizes an embodied encounter that confronts specifics of place and form through exploring the relationship between paint and photography. The paint representing the meaning of the word 'numinous' and how one may feel standing before a sublime landscape. This piece was created during the first national Lockdown and was a way in which I, as an artist, could make sense of the intense landscapes and scenes found across Cornwall as I worked from home. It was made in order to channel introspective thoughts during the uncertainty we were all facing through appreciation for landscapes and the sea - my current surroundings at the time.’’ instagram: @kayvanblerk https://www.instagram.com/kayvanblerk/ #art #artist #2020exhibition #kayvanblerk
‘’Numinous’’, Kay Van Blerk, digital overlay, 2020 "numinous" - having a strong religious or spiritual quaility; indicating or suggesting the presence of a divinity. This piece of work visualizes an embodied encounter that confronts specifics of place and form through exploring the relationship between paint and photography. The paint representing the meaning of the word 'numinous' and how one may feel standing before a sublime landscape. This piece was created during the first national Lockdown and was a way in which I, as an artist, could make sense of the intense landscapes and scenes found across Cornwall as I worked from home. It was made in order to channel introspective thoughts during the uncertainty we were all facing through appreciation for landscapes and the sea - my current surroundings at the time.’’ instagram: @kayvanblerk https://www.instagram.com/kayvanblerk/ #art #artist #2020exhibition #kayvanblerk
‘’Art Action’’ Kevin Boardman, paper, mix media, participatory, 2020 Is there a way of making art that feels good in its making? Taking control of and destroying negative bullying comments or making a fresh start or even the opportunity for anyone to make a space for play. Here I covered a space entirely in paper for young people to release their frustrations through drawing, painting and writing. Created in the The horsfall Gallery 42nd Street in Manchester, In a time of uncertainty and isolation, people need the space and time to express emotions. Here the space was used for 2 weeks including Drmming sessions and workshops and also created for other artists and creatives to use the space to support their own creative practices
‘’Art Action’’ Kevin Boardman, paper, mix media, participatory, 2020 Is there a way of making art that feels good in its making? Taking control of and destroying negative bullying comments or making a fresh start or even the opportunity for anyone to make a space for play. Here I covered a space entirely in paper for young people to release their frustrations through drawing, painting and writing. Created in the The horsfall Gallery 42nd Street in Manchester, In a time of uncertainty and isolation, people need the space and time to express emotions. Here the space was used for 2 weeks including Drmming sessions and workshops and also created for other artists and creatives to use the space to support their own creative practices
‘’Adoration of the Magi’’ Klaire Doyle, Wood, Card, Fine Liner, String and Metal. 2020 I exhibited a solo exhibition at Astley Hall Coach House Gallery inspired by the oil painting ‘Adoration of the Magi’ (Peter Paul Rubens c1700), found in Astley Hall archives in January 2020. This particular piece was a performance recorded in a frame. It documents the distance I travelled between 6/12/2019 - 6/1/2020 via foot and modern transport. This came to 806.1 miles total. This performance intended to experience the distance travelled by the Magi (The Three Kings) to baby Jesus over the Epiphany, which was believed to be 600-800 miles via foot and camel. The 6th January is the feast of the Epiphany which celebrates the visit of The Three Kings, also known as The Three Wise Men or The Magi, to baby Jesus where they endowed him with gifts of Gold, Frankincense and Myrrh. Doyle investigated this Holy Scripture and the male gaze within the Epiphany and the journey of the Magi via contemporary print, craft and research. www.klairedoyle.com @klairedoyleart
‘’Adoration of the Magi’’ Klaire Doyle, Wood, Card, Fine Liner, String and Metal. 2020 I exhibited a solo exhibition at Astley Hall Coach House Gallery inspired by the oil painting ‘Adoration of the Magi’ (Peter Paul Rubens c1700), found in Astley Hall archives in January 2020. This particular piece was a performance recorded in a frame. It documents the distance I travelled between 6/12/2019 - 6/1/2020 via foot and modern transport. This came to 806.1 miles total. This performance intended to experience the distance travelled by the Magi (The Three Kings) to baby Jesus over the Epiphany, which was believed to be 600-800 miles via foot and camel. The 6th January is the feast of the Epiphany which celebrates the visit of The Three Kings, also known as The Three Wise Men or The Magi, to baby Jesus where they endowed him with gifts of Gold, Frankincense and Myrrh. Doyle investigated this Holy Scripture and the male gaze within the Epiphany and the journey of the Magi via contemporary print, craft and research. www.klairedoyle.com @klairedoyleart
‘’ The Clearing’’ Larain Briggs, Acrylic, 2020 Created as part of collaborative work with Jamie Limond who will be working with this painting to add another dimension. The composition was created through photographs and discussion to illustrate the theme of Heidegger's 'concept of Aletheia and the nature of 'transience'. When possible the whole work will become part of an exhibition/installation.
‘’ The Clearing’’ Larain Briggs, Acrylic, 2020 Created as part of collaborative work with Jamie Limond who will be working with this painting to add another dimension. The composition was created through photographs and discussion to illustrate the theme of Heidegger's 'concept of Aletheia and the nature of 'transience'. When possible the whole work will become part of an exhibition/installation.
‘’ Branches’’ Laura Carey, oil on canvas, 2020 “Whilst out walking in Hampstead Heath in January, I became very aware of the bare trees and the subdued blue/ grey sky. An interest in representation of emotions and feelings through nature has become quite prominent in my work in recent years. I find connections between the environment and the ‘human condition’ fascinating, and that moment when we observe something and connect to a feeling, thought or memory within us. This tree sparked a sense a longing for me. The silhouette of the tree against the lighter sky background I thought showed the conflict of wanting something; that darkness against the light, with the branches representing the way we grapple to get at what we want.” @lcareyart
‘’ Branches’’ Laura Carey, oil on canvas, 2020 “Whilst out walking in Hampstead Heath in January, I became very aware of the bare trees and the subdued blue/ grey sky. An interest in representation of emotions and feelings through nature has become quite prominent in my work in recent years. I find connections between the environment and the ‘human condition’ fascinating, and that moment when we observe something and connect to a feeling, thought or memory within us. This tree sparked a sense a longing for me. The silhouette of the tree against the lighter sky background I thought showed the conflict of wanting something; that darkness against the light, with the branches representing the way we grapple to get at what we want.” @lcareyart
‘’Life cycle’’ Laura Charlotte Bates, Photography, glass, kiln work, T-shirt soaked in red wine, 2020 ‘’ Depicting the isolation felt during lockdown and turning to alcohol to get through it for better or worse. Alcohol sales rised by 67% during the first 3 months. The beach, more importantly the sand repersent time, time has slowed down for us all and we all wonder how much we have got left. Articulating the inner complexity of feeling trapped, not only literal in the bottle, but in our own human experiences.’’ @theory_of_a_dead_angel
‘’Life cycle’’ Laura Charlotte Bates, Photography, glass, kiln work, T-shirt soaked in red wine, 2020 ‘’ Depicting the isolation felt during lockdown and turning to alcohol to get through it for better or worse. Alcohol sales rised by 67% during the first 3 months. The beach, more importantly the sand repersent time, time has slowed down for us all and we all wonder how much we have got left. Articulating the inner complexity of feeling trapped, not only literal in the bottle, but in our own human experiences.’’ @theory_of_a_dead_angel
‘’Rebirth’’ Laura Greenway, Black ink hand stamped on Fabriano paper with nude body (photograph), 2020 Rebirth is an exploration of mental illness and mental health management through medication. Surrounded by 2682 hand stamped pills, the artist’s naked body lays in the fetal position, a symbolism for the rebirth and growth that she experienced from starting life saving psychiatric medication. This piece was made during the Coronavirus pandemic, with the artist spending many days of lockdown hand stamping each pill onto the paper one by one. The use of this repetitive media creates draws a comparison to the ritualistic Obsessive Compulsive Disorder that the artist suffers, a condition that has been incredibly difficult to manage during a pandemic that is literally her worst fear. Website: www.lauragreenwayart.com Instagram: https://www.instagram.com/lauragreenwayartist/ Facebook: https://www.facebook.com/lauragreenwayartonline Twitter: https://twitter.com/laurag_artist
‘’Rebirth’’ Laura Greenway, Black ink hand stamped on Fabriano paper with nude body (photograph), 2020 Rebirth is an exploration of mental illness and mental health management through medication. Surrounded by 2682 hand stamped pills, the artist’s naked body lays in the fetal position, a symbolism for the rebirth and growth that she experienced from starting life saving psychiatric medication. This piece was made during the Coronavirus pandemic, with the artist spending many days of lockdown hand stamping each pill onto the paper one by one. The use of this repetitive media creates draws a comparison to the ritualistic Obsessive Compulsive Disorder that the artist suffers, a condition that has been incredibly difficult to manage during a pandemic that is literally her worst fear. Website: www.lauragreenwayart.com Instagram: https://www.instagram.com/lauragreenwayartist/ Facebook: https://www.facebook.com/lauragreenwayartonline Twitter: https://twitter.com/laurag_artist
‘’Cascade’’ Laura Parker, Acrylic on canvas, 2020 ‘’ “Cascade” combines a feeling of reality with that of abstraction. The viewer is drawn in by the receding blues, but there is a feeling of slight disorientation created by the ungrounded trees. I gave the work the sense of depth and recession that you feel as you view a landscape, but the world I have created is not a place you would recognise as ‘natural’. I used a relatively narrow palette of acrylic colours for this painting, and built the background up slowly, merging and blending the blues, purples and blacks. The focal ‘horizon’, where the lightest and brightest colours meet, is balanced by subtle diagonals that move your eye around the painted surface. My aim as a painter is to express the hidden beauty I find in objects and scenes, offering the viewer a personal interpretation of the world where our individual sensibilities might meet. This landscape painting embraces a sense of spirituality, and a love of colour as well as a passion for paint itself. Although nature remains fundamental to my practice, this work shows a personal perspective and vision.’’ Instagram & Twitter: @lauraparker_uk Facebook: @laura.parker.artist LinkedIn: https://www.linkedin.com/in/lauraparkerart/
‘’Cascade’’ Laura Parker, Acrylic on canvas, 2020 ‘’ “Cascade” combines a feeling of reality with that of abstraction. The viewer is drawn in by the receding blues, but there is a feeling of slight disorientation created by the ungrounded trees. I gave the work the sense of depth and recession that you feel as you view a landscape, but the world I have created is not a place you would recognise as ‘natural’. I used a relatively narrow palette of acrylic colours for this painting, and built the background up slowly, merging and blending the blues, purples and blacks. The focal ‘horizon’, where the lightest and brightest colours meet, is balanced by subtle diagonals that move your eye around the painted surface. My aim as a painter is to express the hidden beauty I find in objects and scenes, offering the viewer a personal interpretation of the world where our individual sensibilities might meet. This landscape painting embraces a sense of spirituality, and a love of colour as well as a passion for paint itself. Although nature remains fundamental to my practice, this work shows a personal perspective and vision.’’ Instagram & Twitter: @lauraparker_uk Facebook: @laura.parker.artist LinkedIn: https://www.linkedin.com/in/lauraparkerart/
‘’Untitled’’ Lauren Ciara McCullough, Ink, Oil and Acrylic on Canvas, 2020 “This piece was birthed from lockdown, it is an image forged from fragments of a day. My mind collects subtle moments and motifs into a single image. The image I collage together tends to draw reference from only the natural, the organic scape and creation. I see blue, purple, river, and branch. I find a sense of somnolence there, where anxiety cannot consume and there is breath. This image prayerfully and reflectively forged depicts the place of the balance of living and majesty were serenity, purpose and self-awareness can be found. This image during lockdown was my focus, this image embodies the sublime.” @laurenciara_art www.laurenciarafineart.com
‘’Untitled’’ Lauren Ciara McCullough, Ink, Oil and Acrylic on Canvas, 2020 “This piece was birthed from lockdown, it is an image forged from fragments of a day. My mind collects subtle moments and motifs into a single image. The image I collage together tends to draw reference from only the natural, the organic scape and creation. I see blue, purple, river, and branch. I find a sense of somnolence there, where anxiety cannot consume and there is breath. This image prayerfully and reflectively forged depicts the place of the balance of living and majesty were serenity, purpose and self-awareness can be found. This image during lockdown was my focus, this image embodies the sublime.” @laurenciara_art www.laurenciarafineart.com
'The Progressive Decline of the Frozen World #1'., Lewis Andrews, melted ice and ink on watercolour paper, 2020 ‘’A Reflection on the fate of our frozen environments due to climate change through the action of melting ice making the drawing. Unless action is taken the planet will suffer the same unfortunate fate of losing all its ice. Habitats and wildlife lost. Our home which Carl Sagan referred to as a Pale Blue Dot in the cosmos, is melting. Dying.’’ www.lewisandrewsartwork.com Instagram - @lewis_andrews_art
'The Progressive Decline of the Frozen World #1'., Lewis Andrews, melted ice and ink on watercolour paper, 2020 ‘’A Reflection on the fate of our frozen environments due to climate change through the action of melting ice making the drawing. Unless action is taken the planet will suffer the same unfortunate fate of losing all its ice. Habitats and wildlife lost. Our home which Carl Sagan referred to as a Pale Blue Dot in the cosmos, is melting. Dying.’’ www.lewisandrewsartwork.com Instagram - @lewis_andrews_art
‘’Communication is Key’’ Lewis, Digital Black & White photography, 2020 "Communication is key" I shot this in B&W as I did most of my work during Lockdown as I wanted it to have an older but yet timeless feel. I was interested in the antiquated tech of the traditional phone box in this time that we have been using up to date tech to "survive" on a day to day basis however like most I am sure I am finding that just the act of talking to people is all that is really required. I had to shoot at the right time of day so that the light would be coming right through the box (as I do not like to enhance or digitally change my images) so there would be contrast between the light and shadows. Which shows that where there is dark or dark times you can always find light.
‘’Communication is Key’’ Lewis, Digital Black & White photography, 2020 "Communication is key" I shot this in B&W as I did most of my work during Lockdown as I wanted it to have an older but yet timeless feel. I was interested in the antiquated tech of the traditional phone box in this time that we have been using up to date tech to "survive" on a day to day basis however like most I am sure I am finding that just the act of talking to people is all that is really required. I had to shoot at the right time of day so that the light would be coming right through the box (as I do not like to enhance or digitally change my images) so there would be contrast between the light and shadows. Which shows that where there is dark or dark times you can always find light.
‘’ Microscopic Life’’ Li An Lee, photography, 2020 This image is a selfportrait. My hair, my skin, my blood, my paint, my photography. This year has caused me to reflect and look at my life. It has provided me with time to evaluate what I want, how I want my children to be, where I want my future to be. To prioritise my life for me and not for others. www.lianlee.co.uk lianleeart
‘’ Microscopic Life’’ Li An Lee, photography, 2020 This image is a selfportrait. My hair, my skin, my blood, my paint, my photography. This year has caused me to reflect and look at my life. It has provided me with time to evaluate what I want, how I want my children to be, where I want my future to be. To prioritise my life for me and not for others. www.lianlee.co.uk lianleeart
‘’Untitled1108’’ Le Liu, video, oil, 2020 “this work just made 2 weeks ago, it's a self reflect.”
‘’Untitled1108’’ Le Liu, video, oil, 2020 “this work just made 2 weeks ago, it's a self reflect.”
‘’Under the Fading Light’’ Pale Blue Dot Collective-Louise Beer + John Hooper, moving image, 2020 “This film depicts Louise’s two long term views of the night sky, from the South Island of Aotearoa New Zealand and from central London. Earth's rotation creates day and night cycles, and it’s orbital motion and tilt of its axis causes seasonal changes which are used by flora and fauna for ecological processes. Artificial lighting is devastating these natural rhythms. It is easily forgotten that we are on a planet that is a single, fragile, ecosystem when looking through this haze to a starless sky.' @louise.beer @John_h00per @pale.blue.dot.collective
‘’Under the Fading Light’’ Pale Blue Dot Collective-Louise Beer + John Hooper, moving image, 2020 “This film depicts Louise’s two long term views of the night sky, from the South Island of Aotearoa New Zealand and from central London. Earth's rotation creates day and night cycles, and it’s orbital motion and tilt of its axis causes seasonal changes which are used by flora and fauna for ecological processes. Artificial lighting is devastating these natural rhythms. It is easily forgotten that we are on a planet that is a single, fragile, ecosystem when looking through this haze to a starless sky.' @louise.beer @John_h00per @pale.blue.dot.collective
‘’ Art Hat no 1’’, Lynne Chapman, sculptural textiles, 2020 ‘’I began working with plastic waste in 2019, when I realise that most of what we think we are recycling, still gets either incinerated or dumped in the developing world. The artwork serves as a statement against single-use plastics, but also, the act of collecting materials to work with, raises my own awareness about the volume of waste I produce. I work a lot with plastic carrier bags, transforming these and other dull or ugly, everyday items into ambiguous and beautiful forms, 'locking' the waste into the artwork. In October this year, I began creating 'art hats'. They are created by stitching plastic on to a wire frame. This one made from plastic carrier bags and plastic veg sacks, secured with embroidery threads.’’ www.lynnechapmantextiles.co.uk
‘’ Art Hat no 1’’, Lynne Chapman, sculptural textiles, 2020 ‘’I began working with plastic waste in 2019, when I realise that most of what we think we are recycling, still gets either incinerated or dumped in the developing world. The artwork serves as a statement against single-use plastics, but also, the act of collecting materials to work with, raises my own awareness about the volume of waste I produce. I work a lot with plastic carrier bags, transforming these and other dull or ugly, everyday items into ambiguous and beautiful forms, 'locking' the waste into the artwork. In October this year, I began creating 'art hats'. They are created by stitching plastic on to a wire frame. This one made from plastic carrier bags and plastic veg sacks, secured with embroidery threads.’’ www.lynnechapmantextiles.co.uk
‘’Philosophy for the Aimless’’ Maddie Exton, film, 2020 ‘’ Philosophy For The Aimless is a video essay exploring the negative connotations that come with the label "Aimless" especially as a graduate, a millenial and in COVID times. Giving an insight into Maddie's research, the film touches upon psychology, mindfulness, burnout and compares how Eastern and western philosophy view laziness.’’ www.maddieextonart.tumblr.com @maddie.ea on instagram
‘’Philosophy for the Aimless’’ Maddie Exton, film, 2020 ‘’ Philosophy For The Aimless is a video essay exploring the negative connotations that come with the label "Aimless" especially as a graduate, a millenial and in COVID times. Giving an insight into Maddie's research, the film touches upon psychology, mindfulness, burnout and compares how Eastern and western philosophy view laziness.’’ www.maddieextonart.tumblr.com @maddie.ea on instagram
‘’That charming fixation with being an angel and wearing the stars dress’’ Marcel Garbi, Ink, Watercolor on Paper. Ink and Watercolours on Kitakata washi -Japanese traditional paper, 2020 70 cm x 46 cm approx. wet mounted onto Kosuke paper. More of Garbi’s work can be viewed here: www.marcelgarbi.com
‘’That charming fixation with being an angel and wearing the stars dress’’ Marcel Garbi, Ink, Watercolor on Paper. Ink and Watercolours on Kitakata washi -Japanese traditional paper, 2020 70 cm x 46 cm approx. wet mounted onto Kosuke paper. More of Garbi’s work can be viewed here: www.marcelgarbi.com
‘’The Lockdown Walks’’ Martin Holden, digital photograph, 2020 The Lockdown Walks is an image that represents the feelings that I have had during my daily walks around the village during the periods of lockdown, the views over the fields, and the storms overhead. www.martinholdenimages.co.uk
‘’The Lockdown Walks’’ Martin Holden, digital photograph, 2020 The Lockdown Walks is an image that represents the feelings that I have had during my daily walks around the village during the periods of lockdown, the views over the fields, and the storms overhead. www.martinholdenimages.co.uk
‘’Past and Present’’ Mary Rouncefield, acrylic on canvas, 2020 ‘’Painting created in the first spring-time lock down in acrylic paint on canvas. Entitled 'Past and Present' it shows a woman in the past, carefree, without her mask, and in the present, wearing one. Dimensions 60cm wide x 76 cm long.’’ More of Rouncefield’s can be viewed here: www.maryrouncefield.co.uk facebook : @maryrouncefield
‘’Past and Present’’ Mary Rouncefield, acrylic on canvas, 2020 ‘’Painting created in the first spring-time lock down in acrylic paint on canvas. Entitled 'Past and Present' it shows a woman in the past, carefree, without her mask, and in the present, wearing one. Dimensions 60cm wide x 76 cm long.’’ More of Rouncefield’s can be viewed here: www.maryrouncefield.co.uk facebook : @maryrouncefield
‘’ Natural VS Synthetic’’ Megan Carson, ink, acrylic, oil pastel, collage, 2020 This is a mixed media piece that has developed from a series of observational drawings exploring how the manufacture of man made solutions is abating the prominence of the natural world in today's society.
‘’ Natural VS Synthetic’’ Megan Carson, ink, acrylic, oil pastel, collage, 2020 This is a mixed media piece that has developed from a series of observational drawings exploring how the manufacture of man made solutions is abating the prominence of the natural world in today's society.
‘’Clown’’ Merrill Rauch, sculpture, 2020 ‘’ I work with found objects...wood/metal and years of collecting the odd..’’ Www.merrillrauch.com
‘’Clown’’ Merrill Rauch, sculpture, 2020 ‘’ I work with found objects...wood/metal and years of collecting the odd..’’ Www.merrillrauch.com
‘’The Piano Lesson’’ Michael Alan-Kidd, acrylic, 2020 ‘’painting in the artist's 'geometric' style’’ www.michaelalankidd.co.uk
‘’The Piano Lesson’’ Michael Alan-Kidd, acrylic, 2020 ‘’painting in the artist's 'geometric' style’’ www.michaelalankidd.co.uk
‘’Autumn chestnut and Spring buds.’’, Nichola Bartlett, Pencil, acrylic on paper., 2020 ‘’Pencil drawing of chestnut leaves and new buds. Painted.’’ @n.bartlett.art n.bartlett.art@instagram.com
‘’Autumn chestnut and Spring buds.’’, Nichola Bartlett, Pencil, acrylic on paper., 2020 ‘’Pencil drawing of chestnut leaves and new buds. Painted.’’ @n.bartlett.art n.bartlett.art@instagram.com
‘Fallen Tree’ from series DARK PEAK, Nikki Culley, Photograph, hand printed on semi matt fiber paper, 2020 FALLEN TREE from series DARK PEAK Hand Printed Photograph In lockdown my photography project plans were wiped. I was forced to look for inspiration close to home to continue my practice and stay creative, so I went into the dark peak, deep into the ravines in the snake woodlands. These woodlands are so thick that the air is cold and doesn’t move - even on a hot day. It’s like time stands still in there and the trees are so incredibly tall and magnificent and also so ravaged by the rawness of the climate and the harsh winters they endure. The vast expanse of time at home in the pandemic left lots of space for experiments in the dark room and this was my favourite hand print from the images I made during that time. (This is the best quality digital version of the print I can make. The original print is 16” x 20”) www.nikkiculley.com @nikkiculleyphoto
‘Fallen Tree’ from series DARK PEAK, Nikki Culley, Photograph, hand printed on semi matt fiber paper, 2020 FALLEN TREE from series DARK PEAK Hand Printed Photograph In lockdown my photography project plans were wiped. I was forced to look for inspiration close to home to continue my practice and stay creative, so I went into the dark peak, deep into the ravines in the snake woodlands. These woodlands are so thick that the air is cold and doesn’t move - even on a hot day. It’s like time stands still in there and the trees are so incredibly tall and magnificent and also so ravaged by the rawness of the climate and the harsh winters they endure. The vast expanse of time at home in the pandemic left lots of space for experiments in the dark room and this was my favourite hand print from the images I made during that time. (This is the best quality digital version of the print I can make. The original print is 16” x 20”) www.nikkiculley.com @nikkiculleyphoto
‘’Playing Snake’’ Noah Wing, acrylic, 2020 noahwing.com
‘’Playing Snake’’ Noah Wing, acrylic, 2020 noahwing.com
‘’Hardcore Vibes’’, Oliver Bliss, textiles, 2020 Lockdown helped me spend roughly sixty-nine days producing this piece! (averaging about 5 hours per day). I use the traditional medium of textiles to create my work. I like that textiles have historically been used to assert identity. Depending on the material, the print and the texture; a viewer will read the materials in a certain context. This can lead to a judgement about a person’s identity. This has contributed to installing binary narratives distinguishing between something that is either masculine or feminine. I enjoy using textiles within my practice to reframe these visual symbols. I enjoy subverting binary narratives to explore gender, sexuality and identity. I have used a traditional medium of textiles to illustrate a portrait of a 'contemporary hero'. This hero is celebrated by the number of followers, their wealth and successful careers. I am aiming to raise questions about contemporary values and behaviours. There are more details about this piece on my website oliverbliss.blogspot.com @olybliss
‘’Hardcore Vibes’’, Oliver Bliss, textiles, 2020 Lockdown helped me spend roughly sixty-nine days producing this piece! (averaging about 5 hours per day). I use the traditional medium of textiles to create my work. I like that textiles have historically been used to assert identity. Depending on the material, the print and the texture; a viewer will read the materials in a certain context. This can lead to a judgement about a person’s identity. This has contributed to installing binary narratives distinguishing between something that is either masculine or feminine. I enjoy using textiles within my practice to reframe these visual symbols. I enjoy subverting binary narratives to explore gender, sexuality and identity. I have used a traditional medium of textiles to illustrate a portrait of a 'contemporary hero'. This hero is celebrated by the number of followers, their wealth and successful careers. I am aiming to raise questions about contemporary values and behaviours. There are more details about this piece on my website oliverbliss.blogspot.com @olybliss
‘’ Parrot’’ Pamina Stewart, Acrylic paint, Recycled plastic packaging and Styrofoam, 2020 ‘’Wall mounted Parrot Head made from recycled styrofoam packaging and plastic food containers. 24 x 19 x 18 cm’’ More of Stewart’s work can be viewed here: paminastewart.co.uk Instagram @paminastewart Facebook PaminaStewartArtist Twitter @paminastewart
‘’ Parrot’’ Pamina Stewart, Acrylic paint, Recycled plastic packaging and Styrofoam, 2020 ‘’Wall mounted Parrot Head made from recycled styrofoam packaging and plastic food containers. 24 x 19 x 18 cm’’ More of Stewart’s work can be viewed here: paminastewart.co.uk Instagram @paminastewart Facebook PaminaStewartArtist Twitter @paminastewart
‘’Adjacent II’’, Paulette Bansal, Mono-print with Collage, 2020 I am currently developing the use of collage as an addition to monoprint. This work is part of a series and the colour inspiration originally came from a place called 'Panjim' in India on a trip I did before lockdown, so has stayed with me. Size: 32 x 24 cm Medium: Mono-print with Collage Edition: 1/1 www.paulettebansal.com I- paulette_bansalprints T- @paulettebansal
‘’Adjacent II’’, Paulette Bansal, Mono-print with Collage, 2020 I am currently developing the use of collage as an addition to monoprint. This work is part of a series and the colour inspiration originally came from a place called 'Panjim' in India on a trip I did before lockdown, so has stayed with me. Size: 32 x 24 cm Medium: Mono-print with Collage Edition: 1/1 www.paulettebansal.com I- paulette_bansalprints T- @paulettebansal
‘’April 4’’ Pennie Elfick, acrylic, 2020 Acrylic paint on Tulip ply panel 100 x 50cm www.pennieelfick.co.uk #pennieelfick @lopie40
‘’April 4’’ Pennie Elfick, acrylic, 2020 Acrylic paint on Tulip ply panel 100 x 50cm www.pennieelfick.co.uk #pennieelfick @lopie40
’Expectations’’ Pete Donnelly, sculpture, 2020 I am a Yorkshire based sculptor and work in a variety of different mediums including resin cast, mixed media and ceramic art. I have been developing various sculptures around the themes of social perceptions around mental health which have been inspired further by the impact of lock down which has served as both a difficult time for many and an opportunity for reflection. Both the ceramic method and the process of casting in resin are fairly long procedures which rely upon patience and an attention to detail. I have expanded upon an interest in traditional figurative sculpture and developed forms in order to represent reflections on the theme of mental health, confidence and the many associated contradictions present with the human psyche. My work is generally based around the human form, however I often manipulate this image in order to serve modern themes, most prominently mental health and the complexity of the human condition. My aim is to communicate fragments of this complex picture in a way which prompt the viewer to reflect upon their own thoughts and opinions on the subject. This piece is called “Expectations” it stands at 270mm and is a combined resin sculpture and body cast using two separate moulding techniques. The child’s face serves as an expression of vulnerability and apprehension on the body of a bird which reflects the potential for freedom and independence. The hand serves as a presence of authority, firmly directing the subject towards the expected pathway. www.peterdonnelly.co.uk Instagram: @titanic_pete Facebook: https://www.facebook.com/titanicpete
’Expectations’’ Pete Donnelly, sculpture, 2020 I am a Yorkshire based sculptor and work in a variety of different mediums including resin cast, mixed media and ceramic art. I have been developing various sculptures around the themes of social perceptions around mental health which have been inspired further by the impact of lock down which has served as both a difficult time for many and an opportunity for reflection. Both the ceramic method and the process of casting in resin are fairly long procedures which rely upon patience and an attention to detail. I have expanded upon an interest in traditional figurative sculpture and developed forms in order to represent reflections on the theme of mental health, confidence and the many associated contradictions present with the human psyche. My work is generally based around the human form, however I often manipulate this image in order to serve modern themes, most prominently mental health and the complexity of the human condition. My aim is to communicate fragments of this complex picture in a way which prompt the viewer to reflect upon their own thoughts and opinions on the subject. This piece is called “Expectations” it stands at 270mm and is a combined resin sculpture and body cast using two separate moulding techniques. The child’s face serves as an expression of vulnerability and apprehension on the body of a bird which reflects the potential for freedom and independence. The hand serves as a presence of authority, firmly directing the subject towards the expected pathway. www.peterdonnelly.co.uk Instagram: @titanic_pete Facebook: https://www.facebook.com/titanicpete
‘’1 5 3’’ Poppy Cowan, paper collage, 2020 1 5 3 is a collage piece featuring a combination of words and images which have been taken from various contexts, they have been melded together so the audience can form their own personal meaning. The subtle colour scheme and warming message seek to expose the delicate side of human nature which is often lost amongst the hustle of modern life. This piece was created to allow the audience to take a moment to sit with that warm yellow feeling of adoration. @pjacowan_art
‘’1 5 3’’ Poppy Cowan, paper collage, 2020 1 5 3 is a collage piece featuring a combination of words and images which have been taken from various contexts, they have been melded together so the audience can form their own personal meaning. The subtle colour scheme and warming message seek to expose the delicate side of human nature which is often lost amongst the hustle of modern life. This piece was created to allow the audience to take a moment to sit with that warm yellow feeling of adoration. @pjacowan_art
‘’Chloe’’ Rhys Wilson, 2020, pencil on A3 paper, 2020 @suffolkart_rhys
‘’Chloe’’ Rhys Wilson, 2020, pencil on A3 paper, 2020 @suffolkart_rhys
‘’I know about the Horses’’ Richard Hyde, photography, 2020 This project investigates the breakdown of a relationship based on remembered phrases from a series of letters. I'm fascinated in how language twists and turns over time as well as how memories become layered with new interpretations as we come to terms with our history. In my work I enjoy giving the viewer just enough free play to create their own narrative but leaving some questions unanswered and lurking in the fog.
‘’I know about the Horses’’ Richard Hyde, photography, 2020 This project investigates the breakdown of a relationship based on remembered phrases from a series of letters. I'm fascinated in how language twists and turns over time as well as how memories become layered with new interpretations as we come to terms with our history. In my work I enjoy giving the viewer just enough free play to create their own narrative but leaving some questions unanswered and lurking in the fog.
‘’Streaming Down Landscape’’ Richard James Benbow, acrylic on cradled wood panel, 2020 ‘’Abstract/landscape painting’’ www.richardjamesbenbow @richard__j__benbow
‘’Streaming Down Landscape’’ Richard James Benbow, acrylic on cradled wood panel, 2020 ‘’Abstract/landscape painting’’ www.richardjamesbenbow @richard__j__benbow
‘’The Pink Cottage’’ Rosie Lawrence, Video installation. 2020 This body of work has come about from finding a hidden archive of photographs at a property that belongs to my parents. This Archive of photographs is like reimagining the history from someone else’s life and this peaks the curiosity of the viewer to want to learn more. Why would someone not cherish these photographs if they are personal, why would they leave them behind buried instead of burnt? Instagram: r_lawrence_photography Facebook: Rosie Lawrence Photography
‘’The Pink Cottage’’ Rosie Lawrence, Video installation. 2020 This body of work has come about from finding a hidden archive of photographs at a property that belongs to my parents. This Archive of photographs is like reimagining the history from someone else’s life and this peaks the curiosity of the viewer to want to learn more. Why would someone not cherish these photographs if they are personal, why would they leave them behind buried instead of burnt? Instagram: r_lawrence_photography Facebook: Rosie Lawrence Photography
‘’TreeMe’’ Ruth Elizabeth Hamblett, pastels, 2020 ‘’Pastel drawing of female me incorprated into a tree a moment of stilness with the environment around us during lockdown. The hair and arms become branches, body becomes tree trunk, legs and feet become roots fixed into the ground, hair becomes leaves that hang above the ground.’’ https://www.facebook.com/RuthElizabethHamblett/
‘’TreeMe’’ Ruth Elizabeth Hamblett, pastels, 2020 ‘’Pastel drawing of female me incorprated into a tree a moment of stilness with the environment around us during lockdown. The hair and arms become branches, body becomes tree trunk, legs and feet become roots fixed into the ground, hair becomes leaves that hang above the ground.’’ https://www.facebook.com/RuthElizabethHamblett/
‘’drawing on drawing’’, Ruth Redgrave, film projection and mixed media drawing with collage on A1 paper, 2020 ‘’It is a recording of a film being projected onto a drawing. The film is of me drawing onto that drawing in the making. I have also included a still of the installation’’ Instagram: @ruth_redgrave_art
‘’drawing on drawing’’, Ruth Redgrave, film projection and mixed media drawing with collage on A1 paper, 2020 ‘’It is a recording of a film being projected onto a drawing. The film is of me drawing onto that drawing in the making. I have also included a still of the installation’’ Instagram: @ruth_redgrave_art
‘’ in the back garden’’, Sally Parkin, lino, 2020 ‘’ in the back garden’’ @sallyparkinart
‘’ in the back garden’’, Sally Parkin, lino, 2020 ‘’ in the back garden’’ @sallyparkinart
‘’Limitation’’ Sanna Soensteboe, video, 2020 ‘’As this is the final year of my Bachelor in Fine art, I have found it challenging to create work without real access to the studio. In 2020, my work has become about creating videos that are about our subjective way of experiencing the world. In 'Limitations', I describe just this, making the spectator aware of the skewed way we engage with the world as individuals.’’ @sa.snart
‘’Limitation’’ Sanna Soensteboe, video, 2020 ‘’As this is the final year of my Bachelor in Fine art, I have found it challenging to create work without real access to the studio. In 2020, my work has become about creating videos that are about our subjective way of experiencing the world. In 'Limitations', I describe just this, making the spectator aware of the skewed way we engage with the world as individuals.’’ @sa.snart
‘’Murmur’’ Sara Ulfsparre, crocheted yarn and acrylic paint on canvas, 2020 The current theme in my work is a focus on minimalism, repetition, texture and layers, lines and grids, as a way of achieving inner stillness and meditation, as a counterpoint to outer turmoil and uncertainty. The repetitious process of making the crocheted chain stitches calms my anxiety. I then arrange the yarn on a surface, in a pattern, and paint on top of it, creating layers of white on white. The whole process is meditative and healing, and I hope the experience for the viewer is the same. www.saraulfsparre.com @saraulfsparre on IG
‘’Murmur’’ Sara Ulfsparre, crocheted yarn and acrylic paint on canvas, 2020 The current theme in my work is a focus on minimalism, repetition, texture and layers, lines and grids, as a way of achieving inner stillness and meditation, as a counterpoint to outer turmoil and uncertainty. The repetitious process of making the crocheted chain stitches calms my anxiety. I then arrange the yarn on a surface, in a pattern, and paint on top of it, creating layers of white on white. The whole process is meditative and healing, and I hope the experience for the viewer is the same. www.saraulfsparre.com @saraulfsparre on IG
‘’Unnamed’’ Sarah Francis, mix media wood and paint, 2020 ‘’The body structure and its relation to function. The fascination of patterns, shapes and lines within our bodies which we can not see. Breaking down the bones, vessel and joint into shapes, and ideas which are reworked with wood and found materials. The almost person-like abstract they start to form which echoes the frustrations with the stationary point of time caused by the pandemic. Moving parts become still, alone, and isolated from the bigger picture. An item designed to move separated from its function, a picture of within and a mark made towards a whole that feels incomplete.’’ @sarahfrancis.art
‘’Unnamed’’ Sarah Francis, mix media wood and paint, 2020 ‘’The body structure and its relation to function. The fascination of patterns, shapes and lines within our bodies which we can not see. Breaking down the bones, vessel and joint into shapes, and ideas which are reworked with wood and found materials. The almost person-like abstract they start to form which echoes the frustrations with the stationary point of time caused by the pandemic. Moving parts become still, alone, and isolated from the bigger picture. An item designed to move separated from its function, a picture of within and a mark made towards a whole that feels incomplete.’’ @sarahfrancis.art
‘’Grayson’’ Scott Lee Freeland, screenprint, 2020 ‘’A screenprint of Grayson Perry, part of my series 'Don't Judge Me' . 38cm x 56cm on Somerset paper. Illustrator drawings corrupted using inkjet printer faults and scanning before preparing as a CMYK Screenprint. It connects to my overall theme of disconnection that relates to how young people in particular often view the world third hand and attach to fake gods and idols. Grayson, is an anomaly in many ways like a glitch in the system while being a strong believer in how art and crafts can enhance lives - also shown through his work during the pandemic.’’
‘’Grayson’’ Scott Lee Freeland, screenprint, 2020 ‘’A screenprint of Grayson Perry, part of my series 'Don't Judge Me' . 38cm x 56cm on Somerset paper. Illustrator drawings corrupted using inkjet printer faults and scanning before preparing as a CMYK Screenprint. It connects to my overall theme of disconnection that relates to how young people in particular often view the world third hand and attach to fake gods and idols. Grayson, is an anomaly in many ways like a glitch in the system while being a strong believer in how art and crafts can enhance lives - also shown through his work during the pandemic.’’
‘’ Shadows’’ Jane Gibson, 2020, India ink and needle perforations on watercolour paper Dimensions: 29.8cm x 19.5cm Instagram: @diva_jane_gibson Website: https://divajanegibson.weebly.com/
‘’ Shadows’’ Jane Gibson, 2020, India ink and needle perforations on watercolour paper Dimensions: 29.8cm x 19.5cm Instagram: @diva_jane_gibson Website: https://divajanegibson.weebly.com/
‘’Widcombe’’ Stacey Pamplin, Clay, Metal, Widcombe, 2020 ‘’An experimental sculpture that explores the integration of porcelain, reclaimed pine and pewter through the application of traditional craft. Sprigging designs are inspired by historic furniture carvings. An interesting contrast between contemporary sculpture and historical craft is presented throughout the work. Joinery techniques are the stage for dialogue between materials. Inspired by the Widcombe Cabinet in Bath's Holburne Museum. ‘’ More of Pamplin’s work can be viewed here: staceypamplin.com @staceypamplin
‘’Widcombe’’ Stacey Pamplin, Clay, Metal, Widcombe, 2020 ‘’An experimental sculpture that explores the integration of porcelain, reclaimed pine and pewter through the application of traditional craft. Sprigging designs are inspired by historic furniture carvings. An interesting contrast between contemporary sculpture and historical craft is presented throughout the work. Joinery techniques are the stage for dialogue between materials. Inspired by the Widcombe Cabinet in Bath's Holburne Museum. ‘’ More of Pamplin’s work can be viewed here: staceypamplin.com @staceypamplin
‘’I can handle this’’ Stathis Dimitriadis, ceramic sculpture, 2020 A misplaced thought, an impossible jar. www.stathis-dimitriadis.com
‘’I can handle this’’ Stathis Dimitriadis, ceramic sculpture, 2020 A misplaced thought, an impossible jar. www.stathis-dimitriadis.com
‘’Lost Worlds of the Future and Past’’ Stephen McGowan, Paint and embellishment on photo-printed canvas, 2020 Exploring time travel, A.I. and nostalgia. The idea of replicants in the distant future excavated as artefacts from a nearer future - the future's version of our disccovery of the Pyramids. @afterbeforebysjp
‘’Lost Worlds of the Future and Past’’ Stephen McGowan, Paint and embellishment on photo-printed canvas, 2020 Exploring time travel, A.I. and nostalgia. The idea of replicants in the distant future excavated as artefacts from a nearer future - the future's version of our disccovery of the Pyramids. @afterbeforebysjp
‘’Wild Waves’’ Stuart York, silkscreen print, 2020 Stuart York makes prints with bright colours and dull humour. The aim is to bring fresh air, sunshine vibes, and a splash of something slightly sinister to the paper. York gets inspired by dreaming of fantastic tropical places, by controlled urban lines and chaotic organic shapes. Bright colours, clean lines, and messy fillings. He hopes to inspire viewers to imagine their own narrative in the scenes created, a world of nostalgic colour. Whilst incarcerated indoors he dreamt of faraway places, luscious lands, and an ocean odyssey. The piece WILD WAVES was created from the driest of objects; books were slow roasted in the oven until crispy and warped, enabling York to create erratic marks full of movement, energy and fury. The image submitted is a digital plan of a silkscreen print. www.stuartyork.com @stuyork_stuyork #art #artist #2020exhibition #stuartyork
‘’Wild Waves’’ Stuart York, silkscreen print, 2020 Stuart York makes prints with bright colours and dull humour. The aim is to bring fresh air, sunshine vibes, and a splash of something slightly sinister to the paper. York gets inspired by dreaming of fantastic tropical places, by controlled urban lines and chaotic organic shapes. Bright colours, clean lines, and messy fillings. He hopes to inspire viewers to imagine their own narrative in the scenes created, a world of nostalgic colour. Whilst incarcerated indoors he dreamt of faraway places, luscious lands, and an ocean odyssey. The piece WILD WAVES was created from the driest of objects; books were slow roasted in the oven until crispy and warped, enabling York to create erratic marks full of movement, energy and fury. The image submitted is a digital plan of a silkscreen print. www.stuartyork.com @stuyork_stuyork #art #artist #2020exhibition #stuartyork
‘’Flood’’ Thomas Jon Walker, digital illustration, 2020 ‘’I’ve been going through a tough time as we all have during such an unprecedented time, I hope this Instagram post finds you well. But in all seriousness, things are strange at the moment and not everything may seem fantastic at the moment but I wanted to say that make sure you surround yourself with lovely people like your friends and family and people that are nice and if anyone is mean to you, call them a poo and run far away from them. And to quote Troy and Gabriella, “We’re all in this together!”’’ www.thomasjonwalker.com Facebook @thomasjonwalker twitter @thomasjonwalker
‘’Flood’’ Thomas Jon Walker, digital illustration, 2020 ‘’I’ve been going through a tough time as we all have during such an unprecedented time, I hope this Instagram post finds you well. But in all seriousness, things are strange at the moment and not everything may seem fantastic at the moment but I wanted to say that make sure you surround yourself with lovely people like your friends and family and people that are nice and if anyone is mean to you, call them a poo and run far away from them. And to quote Troy and Gabriella, “We’re all in this together!”’’ www.thomasjonwalker.com Facebook @thomasjonwalker twitter @thomasjonwalker
‘’Ready to harvest ‘’Tim Bos, 2020, h 500 x w 600 Oil on stretched canvas The daily walk during this restricted period. Instagram: @timbos13
‘’Ready to harvest ‘’Tim Bos, 2020, h 500 x w 600 Oil on stretched canvas The daily walk during this restricted period. Instagram: @timbos13
‘’Portrait of Alicia Keys’’ Tina Ramos Ekongo, acrylic on cardboard, 2020 ‘’Portrait of Alicia keys created during lockdown at the artist first Instagram live session which took two hours on the 2nd of April 2020. The painting uses light brown tone to get the natural look of a mixed raced woman, the character is wearing a headwear which is ambitiously unfinished, the composition is vast simple and clean, formal monochrome, utterly convincing and human, through the expression the portrait becomes emotional and sparkling and the looking penetrating and personal. The use of cardboard as technique, serves as a juxtaposition on the value of black women in Western societies. Through the technique, the artist gives a new value to a disposable material that is cardboard and highlight the exquisite beauty of the black woman in its different shades. Unframed Dimensions (cms): h: 41 w: 40 d: 1 Framed Dimensions (cms): h: 50 w: 50 d: 2’’ @tinaramosekongoart
‘’Portrait of Alicia Keys’’ Tina Ramos Ekongo, acrylic on cardboard, 2020 ‘’Portrait of Alicia keys created during lockdown at the artist first Instagram live session which took two hours on the 2nd of April 2020. The painting uses light brown tone to get the natural look of a mixed raced woman, the character is wearing a headwear which is ambitiously unfinished, the composition is vast simple and clean, formal monochrome, utterly convincing and human, through the expression the portrait becomes emotional and sparkling and the looking penetrating and personal. The use of cardboard as technique, serves as a juxtaposition on the value of black women in Western societies. Through the technique, the artist gives a new value to a disposable material that is cardboard and highlight the exquisite beauty of the black woman in its different shades. Unframed Dimensions (cms): h: 41 w: 40 d: 1 Framed Dimensions (cms): h: 50 w: 50 d: 2’’ @tinaramosekongoart
‘’Together’’ Lesley Wood, 2020, Hand embroidery on a vintage handkerchief Social media: Instagram @l.wood100 Website: www.lesleywoodtextile.art
‘’Together’’ Lesley Wood, 2020, Hand embroidery on a vintage handkerchief Social media: Instagram @l.wood100 Website: www.lesleywoodtextile.art
‘’Sully’’ Tracy Davidson, textiles, 2020 ‘’ Printed dictionary definition and hand embroidery on vintage bib. 25x23cm’’ @tracy_davidson_textile_artist
‘’Sully’’ Tracy Davidson, textiles, 2020 ‘’ Printed dictionary definition and hand embroidery on vintage bib. 25x23cm’’ @tracy_davidson_textile_artist
‘’ACAB’’ Ugloe, 2020, 50x25cm @ugloee @the_moaninglisa (more of a portfolio
‘’ACAB’’ Ugloe, 2020, 50x25cm @ugloee @the_moaninglisa (more of a portfolio
“Untitled 11/2020” Phil Cope, 2020, Sculpture “Abstract sculpture of carver soapstone and cherry wood (lime washed) on a slate base.” @philcope1 https://www.saatchiart.com/philcope
“Untitled 11/2020” Phil Cope, 2020, Sculpture “Abstract sculpture of carver soapstone and cherry wood (lime washed) on a slate base.” @philcope1 https://www.saatchiart.com/philcope
‘’Untitled’’ Tina Morris, 2020, Mixed media Painting on canvas @tinamartist Instagram Tina Morris Facebook
‘’Untitled’’ Tina Morris, 2020, Mixed media Painting on canvas @tinamartist Instagram Tina Morris Facebook
‘’ U.P.O. (A sei)’’ Lucas Bosani, Sculpture - Epoxy, spray paint, Adidas World Cup, mixed media, 2020 During COVID-19 my football boots mutated! Not sure what they became... but I have all the reasons to think that they are now very friendly and inclusive beings :) Instagram: @luca_bosani
‘’ U.P.O. (A sei)’’ Lucas Bosani, Sculpture - Epoxy, spray paint, Adidas World Cup, mixed media, 2020 During COVID-19 my football boots mutated! Not sure what they became... but I have all the reasons to think that they are now very friendly and inclusive beings :) Instagram: @luca_bosani
‘’Words & Writing’’ Hexx Inkworks, 2020,Various paint markers on paper, edited with Adobe Photoshop and finalised with Adobe InDesign Instagram: @HexxInkworks Youtube: Youtube.com/c/hexxinkworks (WIP) Website: HexxInkworks.co.uk
‘’Words & Writing’’ Hexx Inkworks, 2020,Various paint markers on paper, edited with Adobe Photoshop and finalised with Adobe InDesign Instagram: @HexxInkworks Youtube: Youtube.com/c/hexxinkworks (WIP) Website: HexxInkworks.co.uk
‘’If only we could stay in this moment forever’’, Victoria Rose Richards, textiles (embroidery) 2020 “This is a 16x16 inch embroidery landscape depicting an aerial view of oilseed rape and tulip meadows, a twisting road and deep blue lakes! French knots create lush 3D trees and satin stitch for smooth, gentle fields. The lake is complete with swans and kayakers and the green meadows with sheep! I like to think of my art style as 'optimistic', depicting idealistic scenes of the British countryside.” @victoriaroserichards
‘’If only we could stay in this moment forever’’, Victoria Rose Richards, textiles (embroidery) 2020 “This is a 16x16 inch embroidery landscape depicting an aerial view of oilseed rape and tulip meadows, a twisting road and deep blue lakes! French knots create lush 3D trees and satin stitch for smooth, gentle fields. The lake is complete with swans and kayakers and the green meadows with sheep! I like to think of my art style as 'optimistic', depicting idealistic scenes of the British countryside.” @victoriaroserichards
‘’Tracing_Pearlescent Green’’ Virginia Tozzi, mix media on canvas, 2020 Tracing_Pearlescent Green (2020) 41x41 cm - Mix Media on Canvas The forced self-isolation and the monotony of daily life during the lockdown forced me to question the relationship between myself and whoever interacts with my artworks. Accordingly, I started to explore a more appropriate process/technique to communicate emotions and thoughts from these particular days, in order to establish a more genuine relationship with the public. From here was born "The Tracing". The artworks reflect the way of how to keep the emotions with the person in front of you, understanding how he thinks, how he acts, how he uses information, speaking in the same way, breathing at the same rhythm. We are mirroring this person and therefore we are establishing the basis of the relationship. @virginiatozziart
‘’Tracing_Pearlescent Green’’ Virginia Tozzi, mix media on canvas, 2020 Tracing_Pearlescent Green (2020) 41x41 cm - Mix Media on Canvas The forced self-isolation and the monotony of daily life during the lockdown forced me to question the relationship between myself and whoever interacts with my artworks. Accordingly, I started to explore a more appropriate process/technique to communicate emotions and thoughts from these particular days, in order to establish a more genuine relationship with the public. From here was born "The Tracing". The artworks reflect the way of how to keep the emotions with the person in front of you, understanding how he thinks, how he acts, how he uses information, speaking in the same way, breathing at the same rhythm. We are mirroring this person and therefore we are establishing the basis of the relationship. @virginiatozziart
‘’Window’’, Yula Kim, installation (set of projected installation and video) 2020 ‘’As a TCK, I have lived in different cities on 4 different continents-Asia, Polynesia, Africa, and Europe. The experiences which I have gained from different cultures created a new perspective of considering life matter, as well as the deal with life in the civilized area. Globalization is the utmost important movement, as it not only creates a new kind of cultural tolerance, but also it affects individuals, or the society’s development in numerous ways from the cultural diversity to the significant matter of seeing the world. I am one of the privileged ones due to such movement, however, such movement creates a new pressure in term of living due to the restless, and rapid spin of the life sequence -trend, job, academic matters, etc- in the city area. On the other hand, I found that natures are easily be ignored in human living places despite her important contribution to every living creature. Although, my life experiences from distinctive cities in the world have created similar feelings regardless of their cultural difference or the economic matters from the place. Hence, such experiences enabled me to create a new kind of artwork that could reflect the personal aspects of the civilization, as well as related the idea, or the context from the work to numerous viewers regardless of their cultural or ethnic matters. It is also interesting that nature and the environment are often being ignored in the city despite her importance and people acknowledge. The pure form of the natural environment can be found in very limited places in the city, and most of the city areas are covered with man-made objects with few natural elements for decorating humanmade objects. Such ideas are visually great but it also impacts on the dried aura within the city. I have spent most of my life in the city area and therefore, I often felt the significance of the city and nature. Window is one of the most common objects that form the building. It is significant due to her multiple functions from the air referment to creatine the aesthetical aura. One of the actual functions of the window is to see the outer view from the inside of the building. Therefore, it could manipulate the viewers’ gaze of seeing the outer object through her shapes, size, and color matter (of the glass). In my opinion, such ideas are interesting in seeing the object, and also somehow it is like the allegory of what John Berger has referred to about the gaze matter in terms of seeing objects; ‘‘where and when we see something (that) will affect what we see.’ From this perspective, the window is, perhaps, the excellent object that could manipulate viewers' gaze of seeing outside-the world-depends on their location and the scale of it. On the other hand, I found that it also affects people’s outer gaze of the building and the perception of the building. (e.g. squared-glassy buildings are often reminding the typical office building.). My life experience in London since 2016 has shown me numerous interesting and valuable things in my life. In my gaze, London-which is one of the busiest cities in the world- is the city with ample cultural heritages, jobs/works, academic knowledge, and people from all over the world. London has numerous charming factors. While windows from central London regions have inspired me as I was amused by similar but unique shapes of windows from different buildings. The other interesting thing is that windows are everywhere in London, and reflecting almost every single element on the street and opposite side through her large glasses. Moreover, despite the unique shapes of each frame, the infinite repetition of windows in London is somehow like the allegory of the fast sequence of the contemporary lifestyle of many citizens, which are inclined to be busy, restless, and mundane. Moreover, in my opinion, everyone has a unique sequence and repeated schedule to live regardless of their cultural, economic, or other backgrounds. This sequence is different depends on their job or social status; e.g. student from the University of London has a repeated lecture and tutorial each week apart from their break and Employer from Bank also has a certain life pattern which comes from their company/work. As a person who is currently living in one of the largest cities in the world, I have felt my life in the city is quite dried and scheduled with numerous fixed schedules such as attend a student service at 18.00 at St. Helens and Wednesday’s PAL session from 13.00-14.00. Therefore, I decided to use windows to represent restlessly and repetition of the city life and to describe the dried and controlled aura within the city. The primary sources for this artwork are photos that I have taken from 2016 to 2019-London, Edinburgh, Brussel, Paris, Seoul, Roma, Florence, Vatican, and Kailua Kona (a sub-urban area in Hawaii). These photos are mainly windows from buildings in the central city regions and some sub-urban regions in different countries over the world. The secondary sources are the artists' researches, either artworks from large galleries-e.g. Tate Moderns, or books and their websites. I was mainly looking for artists who have used interesting styles to demonstrate his/her creative abilities and also was looking for artists who have used items related to windows, or square-shaped forms. I was inspired by Mondrian’s ‘Composition C (No.III) with Red, Yellow, and Blue’ (1935) since this artwork shows some sort of abstractive aesthetics. Moreover, I was looking for the artist Richard Woods paintings of doors -‘Door (2008)’ and I Never Felt So Much Alike Alike Alike (2019)’. Although, together with the aura from vivid colours, clear outlines of the doors in his artworks have emphasised the strong, and unique characteristics of each door. Such factors created an absolute new aspect of seeing the object door and has created a unique aura within the series. Also, I have made a study of video art, mainly related to sound and art. The artwork ‘The Great Animal Orchestra’ from Strand 180 has impacted my practice as I was inspired by the presentation style; the combination of the sound of the animal species with the DB graph from the recorded sound and small ponds. The large projected graph has created an overwhelmed aura within the artwork as well.’’ @robinykim (Instagram ID)
‘’Window’’, Yula Kim, installation (set of projected installation and video) 2020 ‘’As a TCK, I have lived in different cities on 4 different continents-Asia, Polynesia, Africa, and Europe. The experiences which I have gained from different cultures created a new perspective of considering life matter, as well as the deal with life in the civilized area. Globalization is the utmost important movement, as it not only creates a new kind of cultural tolerance, but also it affects individuals, or the society’s development in numerous ways from the cultural diversity to the significant matter of seeing the world. I am one of the privileged ones due to such movement, however, such movement creates a new pressure in term of living due to the restless, and rapid spin of the life sequence -trend, job, academic matters, etc- in the city area. On the other hand, I found that natures are easily be ignored in human living places despite her important contribution to every living creature. Although, my life experiences from distinctive cities in the world have created similar feelings regardless of their cultural difference or the economic matters from the place. Hence, such experiences enabled me to create a new kind of artwork that could reflect the personal aspects of the civilization, as well as related the idea, or the context from the work to numerous viewers regardless of their cultural or ethnic matters. It is also interesting that nature and the environment are often being ignored in the city despite her importance and people acknowledge. The pure form of the natural environment can be found in very limited places in the city, and most of the city areas are covered with man-made objects with few natural elements for decorating humanmade objects. Such ideas are visually great but it also impacts on the dried aura within the city. I have spent most of my life in the city area and therefore, I often felt the significance of the city and nature. Window is one of the most common objects that form the building. It is significant due to her multiple functions from the air referment to creatine the aesthetical aura. One of the actual functions of the window is to see the outer view from the inside of the building. Therefore, it could manipulate the viewers’ gaze of seeing the outer object through her shapes, size, and color matter (of the glass). In my opinion, such ideas are interesting in seeing the object, and also somehow it is like the allegory of what John Berger has referred to about the gaze matter in terms of seeing objects; ‘‘where and when we see something (that) will affect what we see.’ From this perspective, the window is, perhaps, the excellent object that could manipulate viewers' gaze of seeing outside-the world-depends on their location and the scale of it. On the other hand, I found that it also affects people’s outer gaze of the building and the perception of the building. (e.g. squared-glassy buildings are often reminding the typical office building.). My life experience in London since 2016 has shown me numerous interesting and valuable things in my life. In my gaze, London-which is one of the busiest cities in the world- is the city with ample cultural heritages, jobs/works, academic knowledge, and people from all over the world. London has numerous charming factors. While windows from central London regions have inspired me as I was amused by similar but unique shapes of windows from different buildings. The other interesting thing is that windows are everywhere in London, and reflecting almost every single element on the street and opposite side through her large glasses. Moreover, despite the unique shapes of each frame, the infinite repetition of windows in London is somehow like the allegory of the fast sequence of the contemporary lifestyle of many citizens, which are inclined to be busy, restless, and mundane. Moreover, in my opinion, everyone has a unique sequence and repeated schedule to live regardless of their cultural, economic, or other backgrounds. This sequence is different depends on their job or social status; e.g. student from the University of London has a repeated lecture and tutorial each week apart from their break and Employer from Bank also has a certain life pattern which comes from their company/work. As a person who is currently living in one of the largest cities in the world, I have felt my life in the city is quite dried and scheduled with numerous fixed schedules such as attend a student service at 18.00 at St. Helens and Wednesday’s PAL session from 13.00-14.00. Therefore, I decided to use windows to represent restlessly and repetition of the city life and to describe the dried and controlled aura within the city. The primary sources for this artwork are photos that I have taken from 2016 to 2019-London, Edinburgh, Brussel, Paris, Seoul, Roma, Florence, Vatican, and Kailua Kona (a sub-urban area in Hawaii). These photos are mainly windows from buildings in the central city regions and some sub-urban regions in different countries over the world. The secondary sources are the artists' researches, either artworks from large galleries-e.g. Tate Moderns, or books and their websites. I was mainly looking for artists who have used interesting styles to demonstrate his/her creative abilities and also was looking for artists who have used items related to windows, or square-shaped forms. I was inspired by Mondrian’s ‘Composition C (No.III) with Red, Yellow, and Blue’ (1935) since this artwork shows some sort of abstractive aesthetics. Moreover, I was looking for the artist Richard Woods paintings of doors -‘Door (2008)’ and I Never Felt So Much Alike Alike Alike (2019)’. Although, together with the aura from vivid colours, clear outlines of the doors in his artworks have emphasised the strong, and unique characteristics of each door. Such factors created an absolute new aspect of seeing the object door and has created a unique aura within the series. Also, I have made a study of video art, mainly related to sound and art. The artwork ‘The Great Animal Orchestra’ from Strand 180 has impacted my practice as I was inspired by the presentation style; the combination of the sound of the animal species with the DB graph from the recorded sound and small ponds. The large projected graph has created an overwhelmed aura within the artwork as well.’’ @robinykim (Instagram ID)
“Shifting Pattern 1” SK Bansal, Mixed Media on Board @skb.contemporaryart “Shifting Pattern is about our daily life experiences during lockdown. When you are living with someone who diagnosed with dementia and the person who is on furlough and mostly living with thoughts of what next or what if? Thoughts are shifting from one to another so the daily routine as well. Pattern of life is changing so rapidly. New concepts introduced; Normal became a New Normal within few months. In my painting you see just a random rhythm of irregular forms shows how the regular pattern of our daily life has disturbed.”
“Shifting Pattern 1” SK Bansal, Mixed Media on Board @skb.contemporaryart “Shifting Pattern is about our daily life experiences during lockdown. When you are living with someone who diagnosed with dementia and the person who is on furlough and mostly living with thoughts of what next or what if? Thoughts are shifting from one to another so the daily routine as well. Pattern of life is changing so rapidly. New concepts introduced; Normal became a New Normal within few months. In my painting you see just a random rhythm of irregular forms shows how the regular pattern of our daily life has disturbed.”
‘’Redacted Map of the North Pole.’’ Grant Lambie, Black thread sown though map. Reader Digestive, Complete Atlas of The World., 2020 As countries fight over who owns parts of the North Pole, I wanted to see what it looked liked with all the names taken away. So here is the North Pole owned by no one. 26cm x 39cm
‘’Redacted Map of the North Pole.’’ Grant Lambie, Black thread sown though map. Reader Digestive, Complete Atlas of The World., 2020 As countries fight over who owns parts of the North Pole, I wanted to see what it looked liked with all the names taken away. So here is the North Pole owned by no one. 26cm x 39cm
“Go your Own Way” Jennie Murton, (2020) 22 x 32 x 28cm Website: jenniemurton.com Instagram: @jenniemurton My interactive practice looks to heighten viewers awareness of their movements, in relation to constructed objects and installations. This maquette is an example of what my practice encompasses, and once scaled up, will allow viewers to walk through, over and under it in their own ways.
“Go your Own Way” Jennie Murton, (2020) 22 x 32 x 28cm Website: jenniemurton.com Instagram: @jenniemurton My interactive practice looks to heighten viewers awareness of their movements, in relation to constructed objects and installations. This maquette is an example of what my practice encompasses, and once scaled up, will allow viewers to walk through, over and under it in their own ways.
"Come Close Children, For I Shall Protect You" Jordan Swasti Oil on canvas, 100cm x 100cm Painted during January of 2020. Instagram: @jordanswasti
"Come Close Children, For I Shall Protect You" Jordan Swasti Oil on canvas, 100cm x 100cm Painted during January of 2020. Instagram: @jordanswasti
“Burnt Star” Fred Lankester, iron oxide unique print, 200mm x 300mm, 2020 “The star, a familiar icon of the current season. I have re-created this emblematic symbol by taking a print directly from rusting steel (no ink). Rust (Iron Ore) is a combustion reaction, a form of burning (oxidation). The star is corroded, representational of the current pandemic on humanity” @fredlankester
“Burnt Star” Fred Lankester, iron oxide unique print, 200mm x 300mm, 2020 “The star, a familiar icon of the current season. I have re-created this emblematic symbol by taking a print directly from rusting steel (no ink). Rust (Iron Ore) is a combustion reaction, a form of burning (oxidation). The star is corroded, representational of the current pandemic on humanity” @fredlankester

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