WINNER OF 2022 EXHIBITION
ANDREW SALES

“Stiletto” Andrew Sales, 2021/22
Oil on board, 120 x 90 cm
​​​​​​​
My subject matter is flexible but my style utilises the figurative and representational forms in painting. I draw a lot of my ideas from historical painting mixed in with my own experiences as I add specific personal thoughts and invented myths to the image. I like my paintings to work individually, or as a limited  series of paintings that communicate their own unique message or conceptual thread.  My practice seeks to play with the traditional norms of landscape and figurative painting and use it as a vessel to convey ideas and thoughts, from both direct observation and my own personal interpretation and imagination. I want to take representational  painting away from its regularities and use it in a more conceptually abstract and philosophical way, to communicate ideas of any scale through experimentation and the subversion of traditional associated imagery and preconceived expectations.  Instead of concentrating my subject matter to a narrow lens I am always keen to change its discourse, concept  or theme, keeping my practice in constant development. Each painting is made to communicate its own associated idea or message with the viewer and to do this in the most moving and potentially serendipitous way possible. I aim for the paintings to have a direct and engaging concept yet paradoxically  try to balance this with ambiguity and unease in order to allow a viewer to bring their own experience to the work. I think the audience’s search for meaning in the picture will open doors into their own thoughts and personal visual library, that in turn, may provide some emotional experience for them due to seeing the work. I always look to achieve a harmony between colour, composition and concept with each painting. Going so far as to making the shape and dimensions of the wooden panels I use and the type of frame relate to the concept and themes of that particular painting. I don't want to throw in ideas together but to let every part of the image relate to and amplify the cryptic message or narrative I am using as a concept. In the early stages this means allowing certain symbols and metaphors associated with the central idea to be discovered and harmonised as the final painting is planned out. Much of my work is intended to be allegorical, as I create archetypal characters and imagined landscapes that interact with each other, expressing an alternate narrative disguised within a set of imagined rules and aesthetic pictorial judgments. I observe very few physical objects or spaces to create paintings but appropriate digital reproductions of historic painting and images offered by film and literature. My painting process both reflects and utilizes  the media saturated world we live in today to  make handmade, concentrated images that are ironically, the material antithesis of the media that inspired them. My studio practice consists of using traditional academic oil painting methods with respect but also subverting and playing with them. Prioritising  the harmony of the composition and colour with the associated themes and message of the painting. I try to be adventurous in my methods and constantly look to improve my process from the conceptual and developmental stages of each painting, through to the execution and final polished piece. I'm very interested in the materiality of paint through my application to the surface and its fluidity, experimenting with various textures, layers and glazes as appropriate to achieve the maximum effects. My technique requires strong under drawing, the use of glazes, scumbles and altering fluidity through thick and thin layers as appropriate to the object I am painting. I'm well aware of historic painting techniques and see my own method as an appropriation of academic painting mixed with various other influences in brushwork and colour from both contemporary and historic painters.  
Stiletto originally came from the murder of Phillip Brierley in 2001 in Sale, Trafford. This was organized by his wife Tracey Seward who had, over years, built up an alter ego on hardcore pornographic websites, named as 'Stiletto'. Seward engaged in filming very particular fetish videos of herself wearing ladies’ shoes and using them to crush small invertebrates and animals, before she eventually manipulated some of her die-hard online fans to commit murder on her behalf. This painting is a meditation around those themes and ideas, investigating what they mean for us all as a much and more virtual/online society. My work tends to combine historic painting with recent social occurrences to create thought and dialogue around these issues.
www.Andrewsales.net/
“Am I Identical to my skin?”, 2022
Graphite on paper, 29.7 x 42 cm
2022 RUNNER UP
JEZZELLE KELLAM
In my work, I represent the body. Making conscious decisions in removing heads and parts of a body
is where my practice has led me. I have used this compositional decision as a vehicle for my ongoing
oeuvre that articulates my way of thinking.
By breaking down the form to how I see it, I attempt to encapsulate the physical, psychological, and
physiological properties of what it is like to inhabit a form, a human body. By bridging a gap between
the body and mind, my art and life are inextricably enmeshed.
Jezzelle H R Kellam (b 1999) is a graphite realistic illustrator, based in Newcastle-Upon-Tyne. In her work, she represents the body. Making conscious decisions in removing heads and parts of a body is where her practice has led her. She has used this compositional decision as a vehicle for her ongoing oeuvre that articulates her way of thinking. “By breaking down the form to how I see it, I attempt to encapsulate the physical, psychological, and physiological properties of what it is like to inhabit a form, a human body. By bridging a gap between the body and mind. My art and life are inextricably enmeshed.”
Jezzelle’s work has been selected for the ING Discerning Eye exhibition 2021 and the open submission for the Baltic Centre for Contemporary Arts. She has had her work in numerous publications online such as Heroine Journal, The Art of Being Queer and Art From Heart: The Divine Feminine virtual exhibition and in multiple magazines such as Mad Womxn Magazine: Motherland and Spilt Milk Zine.  
https://jezzellekellam.bigcartel.com/
“… [and] with finger trace [tender: unbound]” … grafik 2.1, 2022 Silkscreen print, Image: 40 x 40cm. Paper: 56 x 58cm.
“… [and] with finger trace [tender: unbound]” … grafik 2.1, 2022 Silkscreen print, Image: 40 x 40cm. Paper: 56 x 58cm.
“Tidal” Alice Mary Mathilda, Acrylic on Canvas, 100 x 100 cm, 2022 Tidal replicates the tranquillity of the ocean, bringing calm to busy day-to-day life
“Tidal” Alice Mary Mathilda, Acrylic on Canvas, 100 x 100 cm, 2022 Tidal replicates the tranquillity of the ocean, bringing calm to busy day-to-day life
“Artisan Apron” Alison McHale, 2022 Textile, 102 cm (L)
“Artisan Apron” Alison McHale, 2022 Textile, 102 cm (L)
“People Watched but Could Not See”, Ally Zlatar, 2022 Acrylic, 6 x 4
“People Watched but Could Not See”, Ally Zlatar, 2022 Acrylic, 6 x 4
“Am I Identical to my skin?”, Jezzelle Kellam, 2022 Graphite on paper, 29.7 x 42 cm
“Am I Identical to my skin?”, Jezzelle Kellam, 2022 Graphite on paper, 29.7 x 42 cm
“Inside” Andrew Daly, 2022  Oil on MDF board, 45 x 45 cm
“Inside” Andrew Daly, 2022 Oil on MDF board, 45 x 45 cm
“Stiletto” Andrew Sales, 2021/22 Oil on board, 120 x 90 cm
“Stiletto” Andrew Sales, 2021/22 Oil on board, 120 x 90 cm
“Self portrait in dramatic light, looking down”, Andy Sylvester, 2021  Acrylic on board, 30 x 30 cm
“Self portrait in dramatic light, looking down”, Andy Sylvester, 2021 Acrylic on board, 30 x 30 cm
“These City Walls” Angela Hogan, 2022 Acrylic & mixed media on cradled wood panel, 30 x 30 x 2 cm
“These City Walls” Angela Hogan, 2022 Acrylic & mixed media on cradled wood panel, 30 x 30 x 2 cm
“That was Yesterday” Anne Bardsley  Acrylics and soft pastels on canvas, 50 x 60 cm
“That was Yesterday” Anne Bardsley Acrylics and soft pastels on canvas, 50 x 60 cm
“Sugar Lily” Anne Scott, 2022 Kiln fused glass, 30 cm Diameter
“Sugar Lily” Anne Scott, 2022 Kiln fused glass, 30 cm Diameter
“The Vessels of Life” Anum Farooq, 2022 Oil on canvas, 70 x 50cm
“The Vessels of Life” Anum Farooq, 2022 Oil on canvas, 70 x 50cm
“Inverted Matter” Anya Palamartschuk, 2022 Oil Pastel, A6
“Inverted Matter” Anya Palamartschuk, 2022 Oil Pastel, A6
“The Cottage” Baz Cantrill, 2022 Acrylic on Canvas Panel, 45 x 30 cm
“The Cottage” Baz Cantrill, 2022 Acrylic on Canvas Panel, 45 x 30 cm
“Plastic Milk Bottle Birds”, Beth Barlow, 2021 Plastic milk bottle, rescued wire and wood, 50 x 30 cm
“Plastic Milk Bottle Birds”, Beth Barlow, 2021 Plastic milk bottle, rescued wire and wood, 50 x 30 cm
“Blackthorn” Carole King, 2020 Oil on canvas, 42 x 30 x 5 cm
“Blackthorn” Carole King, 2020 Oil on canvas, 42 x 30 x 5 cm
“Woman Alone 2/2”, Caitlin Dolman, 2021 Plaster, 10 x 10 cm, 16 tiles total
“Woman Alone 2/2”, Caitlin Dolman, 2021 Plaster, 10 x 10 cm, 16 tiles total
“Peony Pussy”, Caitlin Smith, 2022  Acrylic over stretched canvas with hand-sculpted air-dry clay vulvas which have been painted with acrylic, dry brushed with clear gloss and suspended by red yarn. 90 x 90 cm
“Peony Pussy”, Caitlin Smith, 2022 Acrylic over stretched canvas with hand-sculpted air-dry clay vulvas which have been painted with acrylic, dry brushed with clear gloss and suspended by red yarn. 90 x 90 cm
“Evanescent Terrain”, Candy Frosoni, 2022 Natural Earth Pigments, Diamond Dust, 100 x 100 cm
“Evanescent Terrain”, Candy Frosoni, 2022 Natural Earth Pigments, Diamond Dust, 100 x 100 cm
“Equinox to Equinox (solargraph scan)” Celeste Drouin-Davis, 2021/22
“Equinox to Equinox (solargraph scan)” Celeste Drouin-Davis, 2021/22
“Female Gaze” Celine Lundqvist, 2022  Digital and Analogue Photography 21 x 29.7 cm
“Female Gaze” Celine Lundqvist, 2022 Digital and Analogue Photography 21 x 29.7 cm
“Absurdity”, Chanel Marbrow-Wright, 2022
“Absurdity”, Chanel Marbrow-Wright, 2022
“New Landscape”, Chao Li, 2021 Oil, 150 x 70 cm
“New Landscape”, Chao Li, 2021 Oil, 150 x 70 cm
“Dracula's Daughter "Charlotte Sailsbury, 2022 Photography, 1/15 (series)
“Dracula's Daughter "Charlotte Sailsbury, 2022 Photography, 1/15 (series)
“Dracula's Daughter "Charlotte Sailsbury, 2022 Photography, 1/15 (series)
“Dracula's Daughter "Charlotte Sailsbury, 2022 Photography, 1/15 (series)
“In Stone” Christin Sauer 2022 Ink on paper, 42 x 59.4 cm
“In Stone” Christin Sauer 2022 Ink on paper, 42 x 59.4 cm
“The Heart of Hackney” Damian Woodford, 2021 Oil, 150 x 120 cm
“The Heart of Hackney” Damian Woodford, 2021 Oil, 150 x 120 cm
“Long Term Tenancy” Edan, 2021-22 Acrylic and emulsions, 83 x 7.5 cm
“Long Term Tenancy” Edan, 2021-22 Acrylic and emulsions, 83 x 7.5 cm
“To Solitude”, Emilia Chubb, 2022 Acrylic on canvas, 100 x 80 cm
“To Solitude”, Emilia Chubb, 2022 Acrylic on canvas, 100 x 80 cm
“Leila and The Endangered Green Peacock” Emma Eden, 2022
“Leila and The Endangered Green Peacock” Emma Eden, 2022
“Untitled 2” Emma Faulkner, 2022 Oil, 29.7 x 42 cm
“Untitled 2” Emma Faulkner, 2022 Oil, 29.7 x 42 cm
“By the River” Emy Spinks, 2022 Mixed media collage and paint on canvas, 16” x 12”
“By the River” Emy Spinks, 2022 Mixed media collage and paint on canvas, 16” x 12”
“GARDEN’S Heart : indispensable #4” Fazar Roma Agugn Wibisono, 2022 Acrylic on skateboard deck seconds, 70 x 20 cm
“GARDEN’S Heart : indispensable #4” Fazar Roma Agugn Wibisono, 2022 Acrylic on skateboard deck seconds, 70 x 20 cm
“Untitled” Flavia Casella, 2021 Digital Photography, 50 x 33 cm
“Untitled” Flavia Casella, 2021 Digital Photography, 50 x 33 cm
“Changing Minds”, Fred Fabre, 2021 Oil, 100 x 70 cm
“Changing Minds”, Fred Fabre, 2021 Oil, 100 x 70 cm
“Wild Spirits” Greta Vilidaite, 2022 Oil, 40 x 60 cm
“Wild Spirits” Greta Vilidaite, 2022 Oil, 40 x 60 cm
“Pink Roses” Jackie Burns, 2022 Acrylic on stretched canvas, 50.8 x 50.8 cm
“Pink Roses” Jackie Burns, 2022 Acrylic on stretched canvas, 50.8 x 50.8 cm
“Covid Head” Jacqui James, 2020 Ceramic, 66 x 31 cm
“Covid Head” Jacqui James, 2020 Ceramic, 66 x 31 cm
“Front Room” Jade Connolly, 2022
“Front Room” Jade Connolly, 2022
“The Schism” James Mellor, 2020/21
“The Schism” James Mellor, 2020/21
“Hostage to Domesticity”, Jane Gibson 2021 Photomontage, embroidery thread and dolls house chairs, 10 x 5 cm
“Hostage to Domesticity”, Jane Gibson 2021 Photomontage, embroidery thread and dolls house chairs, 10 x 5 cm
“Cat Gets the Crown” Jemma Channing, 2022 Acrylic and oil on canvas, 100 x 100 cm
“Cat Gets the Crown” Jemma Channing, 2022 Acrylic and oil on canvas, 100 x 100 cm
“Sending All My Love (Linear)”, Jenette Coldrick Morrell, 2022
“Sending All My Love (Linear)”, Jenette Coldrick Morrell, 2022
“Ascend2”, Jo Brown, 2021
“Ascend2”, Jo Brown, 2021
“Astarte” Jura, 2020 Oil on Canvas, 182 x 152 cm
“Astarte” Jura, 2020 Oil on Canvas, 182 x 152 cm
“Protection” Kathryn Stevens, 2022 Ceramic Sculpture, 16 x 16 x 25 cm
“Protection” Kathryn Stevens, 2022 Ceramic Sculpture, 16 x 16 x 25 cm
“Knot in my Stomach, Gummy Worm round my Neck”, Milly Aburrow, 2022
“Knot in my Stomach, Gummy Worm round my Neck”, Milly Aburrow, 2022
“CHAINED”, Lee Steele, 2022 Clay, oxide. 16.14 x 25.2 x 10.63 in 40 cm x 63cm x 27cm
“CHAINED”, Lee Steele, 2022 Clay, oxide. 16.14 x 25.2 x 10.63 in 40 cm x 63cm x 27cm
“Mixed media” Lenka Pavuk, 2022 Mixed media, 60 cm
“Mixed media” Lenka Pavuk, 2022 Mixed media, 60 cm
“Jeepers Creepers Where Did You Get Those Peepers?” Lesley O’Neill, 2022
“Jeepers Creepers Where Did You Get Those Peepers?” Lesley O’Neill, 2022
“Colours of the Life There Once Was” Letizia Kutscher, 2022
“Colours of the Life There Once Was” Letizia Kutscher, 2022
“Wanderer V” Lewis Andrews, 2021 Photograph, 420 x 594 mm
“Wanderer V” Lewis Andrews, 2021 Photograph, 420 x 594 mm
“Pink moon gonna get you all” Lila Chatfield, 2022 Textiles (cotton, silk, wool, clay, rabbit fur, unknown synthetic fibres, copper wire), 112 x 101 cm
“Pink moon gonna get you all” Lila Chatfield, 2022 Textiles (cotton, silk, wool, clay, rabbit fur, unknown synthetic fibres, copper wire), 112 x 101 cm
“Touch” Loane Bobillier, 2022
“Touch” Loane Bobillier, 2022
“Summer Love” Lorraine Thorpe 2022 Acrylic Painting, 60 cm Square
“Summer Love” Lorraine Thorpe 2022 Acrylic Painting, 60 cm Square
“Untitled” Louise Wiseman, 2022 Solar plate etching, 29 x 21 cm
“Untitled” Louise Wiseman, 2022 Solar plate etching, 29 x 21 cm
“Mind the Nap“, Luna Phelan, 2021
“Mind the Nap“, Luna Phelan, 2021
“Thinking Things Through” Lynne Chapman, 2020 Acrylic on canvas, 60 x 60 x 30 cm
“Thinking Things Through” Lynne Chapman, 2020 Acrylic on canvas, 60 x 60 x 30 cm
“Midnight Soul” Mara Girone, 2022
“Midnight Soul” Mara Girone, 2022
“Up in the Air” Mari Honma 2021 Mixed media, 61 x 30.5 x 2 cm
“Up in the Air” Mari Honma 2021 Mixed media, 61 x 30.5 x 2 cm
“Dead girl with the most-kissed lips in history” Marina Ghevondjan, 2022
“Dead girl with the most-kissed lips in history” Marina Ghevondjan, 2022
“Critters” Mick Flaherty, 2021 Acrylic, ink and pastel, 42 x 59.4 cm
“Critters” Mick Flaherty, 2021 Acrylic, ink and pastel, 42 x 59.4 cm
“Somethings Wrong” Mimi Cullen, Ni Studios, 2021
“Somethings Wrong” Mimi Cullen, Ni Studios, 2021
“At the water well” Monika Lorincova, 2022 Acrylic on paper, 59 x 42 cm
“At the water well” Monika Lorincova, 2022 Acrylic on paper, 59 x 42 cm
“Hare paradise” Natalie Aleksejeva, 2020 Oil on canvas, 20” Diameter
“Hare paradise” Natalie Aleksejeva, 2020 Oil on canvas, 20” Diameter
“Meditation” Nigel Proud, 2022 Charcoal and Black/White pastel pencil, 28 cm x 35.5 cm
“Meditation” Nigel Proud, 2022 Charcoal and Black/White pastel pencil, 28 cm x 35.5 cm
“Moment; Extended” Niki Gandy, 2021 Graphite-glazed photography on aluminium, 40 x 40 cm
“Moment; Extended” Niki Gandy, 2021 Graphite-glazed photography on aluminium, 40 x 40 cm
“Yellow” Nina Milivojevic, 2021 Acrylic on canvas, 152 x 122 cm
“Yellow” Nina Milivojevic, 2021 Acrylic on canvas, 152 x 122 cm
“Equinox to Equinox (solargraph scan)” Celeste Drouin-Davis, 2021/22
“Equinox to Equinox (solargraph scan)” Celeste Drouin-Davis, 2021/22
“These Birds Are Gone Now “, Patricia McCormack, 2021
“These Birds Are Gone Now “, Patricia McCormack, 2021
“gamma#112” Paul Blenkhorn, 2020 Acrylic on canvas, 11” x 24”
“gamma#112” Paul Blenkhorn, 2020 Acrylic on canvas, 11” x 24”
“The Alpine Garden, Vienna” Paul Tranter, 2022 Screenprint, wax pastel, talc and acrylic on paper, Image size 25cm x25cm, paper size 31cm x 31 cm
“The Alpine Garden, Vienna” Paul Tranter, 2022 Screenprint, wax pastel, talc and acrylic on paper, Image size 25cm x25cm, paper size 31cm x 31 cm
“Detours”, Peter Finch, 2022 Mixed media, 55 X 55 cm
“Detours”, Peter Finch, 2022 Mixed media, 55 X 55 cm
“On the Edge of a Dream” Phil McCumskey, 2022
“On the Edge of a Dream” Phil McCumskey, 2022
“I Am Loved, Thank you” Qing, 2022 Acrylic painting, 100 x 100 cm
“I Am Loved, Thank you” Qing, 2022 Acrylic painting, 100 x 100 cm
“Deer in Flowers” Rochelle Asquith, 2021 Fine Liner on Paper, 21 x 29.7 cm (A4)
“Deer in Flowers” Rochelle Asquith, 2021 Fine Liner on Paper, 21 x 29.7 cm (A4)
“The Soup of the Unconscious is Eaten by the Woman I Desire”, Rosalynd Byass, 2022
“The Soup of the Unconscious is Eaten by the Woman I Desire”, Rosalynd Byass, 2022
“Where an arty apple rocks, pull up those fishy socks.” RW Taylor, 2022
“Where an arty apple rocks, pull up those fishy socks.” RW Taylor, 2022
“Umbrella Plant” Sandra Haney, 2021
“Umbrella Plant” Sandra Haney, 2021
“Queen of Kew” Sarah Mcqueen, 2022
“Queen of Kew” Sarah Mcqueen, 2022
“.(Period Piece)” Scarlett Hope-Gates, 2021 106 x 45 x 120 cm
“.(Period Piece)” Scarlett Hope-Gates, 2021 106 x 45 x 120 cm
“Blue Pool, Treyarnon” Sharon Bruster, 2022 Acrylic paint, ink and plaster on board, 45 x 45 cm
“Blue Pool, Treyarnon” Sharon Bruster, 2022 Acrylic paint, ink and plaster on board, 45 x 45 cm
“Red/Green Horizon” Sue Lynn, 2021 Oil paint, 50 x 50 cm
“Red/Green Horizon” Sue Lynn, 2021 Oil paint, 50 x 50 cm
“The Great Outdoors” Susan Plover, 2021 Water colour painting, 10 x 15
“The Great Outdoors” Susan Plover, 2021 Water colour painting, 10 x 15
“APOCALYPTIC IMAGERY” Uchenna Odukwe, 2021
“APOCALYPTIC IMAGERY” Uchenna Odukwe, 2021
“Green and Gold” Val Lawson, 2022 Acrylic mixed media, 50 x 40 cm
“Green and Gold” Val Lawson, 2022 Acrylic mixed media, 50 x 40 cm
“ASCETISM.3” Victoria Rotaru, 2022 Manipulated photography, 60 x 60 cm
“ASCETISM.3” Victoria Rotaru, 2022 Manipulated photography, 60 x 60 cm
“Skinny” Victoria Vimbet, 2022 Inkjet on canvas 90 x 120 x 2 cm
“Skinny” Victoria Vimbet, 2022 Inkjet on canvas 90 x 120 x 2 cm
“As I look In the Mirror I See You” Will Kendrick, 2022 Video, 4K
“As I look In the Mirror I See You” Will Kendrick, 2022 Video, 4K
“Disappearing Giants” Zara Browne-Gilbert, 2022
“Disappearing Giants” Zara Browne-Gilbert, 2022
“Window (II)” Leanna Moran, 2022 Watercolour marker & gouache on board, 35 x 35 cm
“Window (II)” Leanna Moran, 2022 Watercolour marker & gouache on board, 35 x 35 cm

You may also like

Back to Top