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Liberty Blake 98k Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Liberty Blake N.D, 2021 Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Liberty Blake E., 2021 Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Liberty Blake N.D Tape, 2021 Collage on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in England in 1968, Liberty grew up in an alternative, arts-centric environment that encouraged self-expression and creativity. She attended The Looking Glass School, a small experimental school that fostered arts and the environment. This formed the beginning of her love for art, outdoor adventure, and the natural world. 
 In 1997 she moved to Utah, with her partner and son, where she co-ran the 'Art Shack' at Sundance, teaching, exhibiting, and doing graphic design for the resort. It was during this time that she made her first wilderness-inspired abstract collages. 
 In 2007 she participated in the "337 Project" in Salt Lake City, Utah, where she created the first of many large-scale 'wall collages.' The most recent of these is the collaborative 'Work in Progress Mural Project,' a 60ft collaged mural, comprised of stencil portraits of women made by members of the community in workshops that she runs with her mother and fellow artist, Jann Haworth. 
 Liberty lives and works in Salt Lake City, Utah. Her abstract collages are a document of the wild natural places and neglected urban environments of the American West. She has shown extensively in Utah, in group and solo shows, and was previously represented by The Phillips Gallery and Modern West Gallery in Salt Lake City. Her work is housed in private collections across the United States, Europe, and Canada. Her current body of work explores the impact of wildfires, their increasing severity, and growing threat. Education Primarily self-taught Exhibitions 2021 Right Here Right Now, SUMA, UT 2017 Arrangements: A survey of Utah Collage, group show. On tour https://heritage.utah.gov/arts-and-museums/tep-arrangments 2017 The Phillips Gallery, show in the main gallery 2016 'Utah 2016 Mixed Media and Works on Paper' exhibit, SLC, UT 2016 'Don't Read This Too' Springville Museum of Art, UT 2016 'Demographics' Rio Gallery, SLC, UT 2016 "Plural and Partial: Tracing the Intergenerational Self": Jann Haworth, Annie Kennedy, Amy Jorgensen, Valerie Atkisson, Liberty Blake & Shawn Rossiter, Rio Gallery, SLC, UT A4: 2013 'Utah 2013 Mixed Media and Works on Paper' exhibit Liberty Blake and Shawn Rossiter ColLaborArt at the Utah Arts Festival, SLC, UT (works of collaboration with Shawn Rossiter) 2011 Liberty Blake: Collages, Stolen & Escaped Gallery, SLC, UT 2007 337 Project, Salt Lake City, UT 2006 Cigar Box Show, Kayo Gallery, SLC, UT 2001 Utah 2001: Works on Paper & Mixed Media, Kimball Art Center, Park City, Utah 1999 Group show, Mall Gallery, London, UK 2001 Phoenix Gallery, Park City, UT 1997-2002 The Art Shack, Sundance Resort 1992 National Portrait Gallery BP Portrait Show, London, UK 2017 'The Meadow After the Climb' purchased for the Utah State Fine Art Collection 2015 Salt Lake City Weekly, Best of Utah Arts, 'Best mixed media/sculpture exhibition' About the postcard artworks In 2019 I traveled with my youngest son from Utah to visit my family in London. He was 16 at the time and very excited to visit the streetwear stores in the West End. I always collect paper bags for collage and I amassed a good collection during this trip, thanks to my son! I used an END bag as a base for these collages, I love the printed white letters and wanted to incorporate them in small collages so they could feature prominently. I use mostly found and salvaged paper, scavenging is an important part of the process.  

Carl Melegari Favsto, 2021 Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Bristol native Carl Melegari paints in a dramatic and bold style, focused primarily on human heads. Melegari held a lecturing post at the University of Wales Trinity Saint David for many years, having graduated from the institution with a BA Hons in fine art. Carl is of Italian heritage, but born and raised in the United Kingdom. The artist tends to title his paintings with unique names reflecting his ancestry, at the same time infusing a touch of mystery as to the sitter's true identity. Melegari's unique painting process is a consideration and exploration of paint and its various behaviours when mixed and applied in different ways. His practice also involves revisiting the same portrait time and again, in some instances years after his most recent adjustments. Artist Statement   "I begin by applying an oil turpentine tonal wash to the figure. I apply various impasto layers of oil paints (I mix an alkyd medium with the oil to enable a better drying process) at times using a brush, but predominately palette knives. I occasionally scrape back layers only to reapply in the same area liberally, vigorously attacking the canvas. This is applied with bold applications of paint fused with thinned paint using either or sometimes a mixture of linseed oil and turpentine. All this allows the paint to interact with my application. I will allow the drips to run in different directions. The drying process can take weeks and quite often I will rework into the painting by peeling away and reworking the layers. I'm basically exploring the physicality of the paint and how it reacts with the surface - applying the paint generously and allowing it to drip spontaneously too."   Exhibitions 2020 Ffin y Parc Gallery - 10th anniversary exhibition. Thompson's Galleries - London Art Fair/ Aldeburgh annual exhibition.   2019 Artzu - AAF Manchester. Clifton Contemporary - solo exhibition. Courcoux Contemporary - mixed exhibition in Salisbury. Edgar Modern - AAFs in Battersea, Hampstead and Singapore. Hadfield Fine Art - Ascot Art Fair. Thompson's Galleries - London Art Fair / Aldeburgh annual exhibition / 'Small wonders' exhibition. 2018 Artzu - AAF Manchester. Edgar Modern - AAFs in Battersea, Hampstead and New York. Hadfield Fine Art - Cambridge Art Fair / Autumn exhibition. Kooywood Gallery - solo exhibition. Thompson's Galleries - London Art Fair / Aldeburgh annual exhibition / London Autumn exhibition.  

Carl Melegari Ava, 2021 Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Bristol native Carl Melegari paints in a dramatic and bold style, focused primarily on human heads. Melegari held a lecturing post at the University of Wales Trinity Saint David for many years, having graduated from the institution with a BA Hons in fine art. Carl is of Italian heritage, but born and raised in the United Kingdom. The artist tends to title his paintings with unique names reflecting his ancestry, at the same time infusing a touch of mystery as to the sitter's true identity. Melegari's unique painting process is a consideration and exploration of paint and its various behaviours when mixed and applied in different ways. His practice also involves revisiting the same portrait time and again, in some instances years after his most recent adjustments. Artist Statement   "I begin by applying an oil turpentine tonal wash to the figure. I apply various impasto layers of oil paints (I mix an alkyd medium with the oil to enable a better drying process) at times using a brush, but predominately palette knives. I occasionally scrape back layers only to reapply in the same area liberally, vigorously attacking the canvas. This is applied with bold applications of paint fused with thinned paint using either or sometimes a mixture of linseed oil and turpentine. All this allows the paint to interact with my application. I will allow the drips to run in different directions. The drying process can take weeks and quite often I will rework into the painting by peeling away and reworking the layers. I'm basically exploring the physicality of the paint and how it reacts with the surface - applying the paint generously and allowing it to drip spontaneously too."   Exhibitions 2020 Ffin y Parc Gallery - 10th anniversary exhibition. Thompson's Galleries - London Art Fair/ Aldeburgh annual exhibition.   2019 Artzu - AAF Manchester. Clifton Contemporary - solo exhibition. Courcoux Contemporary - mixed exhibition in Salisbury. Edgar Modern - AAFs in Battersea, Hampstead and Singapore. Hadfield Fine Art - Ascot Art Fair. Thompson's Galleries - London Art Fair / Aldeburgh annual exhibition / 'Small wonders' exhibition. 2018 Artzu - AAF Manchester. Edgar Modern - AAFs in Battersea, Hampstead and New York. Hadfield Fine Art - Cambridge Art Fair / Autumn exhibition. Kooywood Gallery - solo exhibition. Thompson's Galleries - London Art Fair / Aldeburgh annual exhibition / London Autumn exhibition.    

Jason Balducci Why, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Jason Balducci is a contemporary figurative painter who lives and works in Toronto, Canada. Originally from Italy, his colorful paintings immediately attract attention with their charisma, dynamism, and wit. Active colors, uneven layers, fragmental bodies, sketchy lines, and an unconventional mixture of techniques and materials are the painter's typical expressive means. Jason sees art as a way to experiment and explore the unknown: both the inner personality of his models and of his own state of mind. For him, art serves not only to depict the reality but also to subjectively rethink it, open a dialogue, express personal associations, and find new meanings.   Education He earned a Bachelor of Art from The Academy of Fine Arts in Italy and Spain.   Exhibitions Balducci's artwork has been shown in exhibitions in Europe and North America, including "Identity": The Artist Perspective".MFA Academy of fine arts Florence 2020 Bare & Essential, Blitz Gallery, Toronto, Canada Overzealous 2020, Art Space Connect Gallery, Toronto, Canada Collective Cure, New Harmony Gallery, Indiana. XPOSED - Naked and not afraid,Knox Gallery, Calgary, Canada Minerva: Harmony to Hollywood, New Harmony Gallery, Indiana. Don't touch your face, Shockboxx Gallery, Hermosa Beach, California. Drawing unlimited, Propeller Gallery, Toronto, Canada. Labour of Love, The Freedom Factory, Toronto, Canada. 2018 Vernice Contemporanea, Vicenza, Italy. 2017 Self-Portrait, with Odd Nerdrum, TIAC International, Florence Italy. 2016 "Beyond Skills" with Golucho , Galleria 360, Florence, Italy. 2015 Enegan-art, ex court-house, Florence Italy.   About the postcard artworks   Art has been my comfort and my refuge during the many moments I thought man was full of imperfections, and nothing or no one was really worthwhile. Being able to express myself through a painting, is a wonderful and unique sensation. Not only creating but also looking at art is beneficial for people's health as well. Surrounding yourself with art is an effective way of preventing and treating a variety of conditions, especially those that came up recently with this pandemic, such as depression, anxiety and paranoia. Trying to reflect states of the external world these two portraits reflects my inner state. Art as a representation of outer existence through the expression of humans inner life.  

Jason Balducci Possibilities, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Jason Balducci is a contemporary figurative painter who lives and works in Toronto, Canada. Originally from Italy, his colorful paintings immediately attract attention with their charisma, dynamism, and wit. Active colors, uneven layers, fragmental bodies, sketchy lines, and an unconventional mixture of techniques and materials are the painter's typical expressive means. Jason sees art as a way to experiment and explore the unknown: both the inner personality of his models and of his own state of mind. For him, art serves not only to depict the reality but also to subjectively rethink it, open a dialogue, express personal associations, and find new meanings.   Education He earned a Bachelor of Art from The Academy of Fine Arts in Italy and Spain.   Exhibitions Balducci's artwork has been shown in exhibitions in Europe and North America, including "Identity": The Artist Perspective".MFA Academy of fine arts Florence 2020 Bare & Essential, Blitz Gallery, Toronto, Canada Overzealous 2020, Art Space Connect Gallery, Toronto, Canada Collective Cure, New Harmony Gallery, Indiana. XPOSED - Naked and not afraid,Knox Gallery, Calgary, Canada Minerva: Harmony to Hollywood, New Harmony Gallery, Indiana. Don't touch your face, Shockboxx Gallery, Hermosa Beach, California. Drawing unlimited, Propeller Gallery, Toronto, Canada. Labour of Love, The Freedom Factory, Toronto, Canada. 2018 Vernice Contemporanea, Vicenza, Italy. 2017 Self-Portrait, with Odd Nerdrum, TIAC International, Florence Italy. 2016 "Beyond Skills" with Golucho , Galleria 360, Florence, Italy. 2015 Enegan-art, ex court-house, Florence Italy.   About the postcard artworks   Art has been my comfort and my refuge during the many moments I thought man was full of imperfections, and nothing or no one was really worthwhile. Being able to express myself through a painting, is a wonderful and unique sensation. Not only creating but also looking at art is beneficial for people's health as well. Surrounding yourself with art is an effective way of preventing and treating a variety of conditions, especially those that came up recently with this pandemic, such as depression, anxiety and paranoia. Trying to reflect states of the external world these two portraits reflects my inner state. Art as a representation of outer existence through the expression of humans inner life.  

Jason Balducci Inner Child, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Jason Balducci is a contemporary figurative painter who lives and works in Toronto, Canada. Originally from Italy, his colorful paintings immediately attract attention with their charisma, dynamism, and wit. Active colors, uneven layers, fragmental bodies, sketchy lines, and an unconventional mixture of techniques and materials are the painter's typical expressive means. Jason sees art as a way to experiment and explore the unknown: both the inner personality of his models and of his own state of mind. For him, art serves not only to depict the reality but also to subjectively rethink it, open a dialogue, express personal associations, and find new meanings.   Education He earned a Bachelor of Art from The Academy of Fine Arts in Italy and Spain.   Exhibitions Balducci's artwork has been shown in exhibitions in Europe and North America, including "Identity": The Artist Perspective".MFA Academy of fine arts Florence 2020 Bare & Essential, Blitz Gallery, Toronto, Canada Overzealous 2020, Art Space Connect Gallery, Toronto, Canada Collective Cure, New Harmony Gallery, Indiana. XPOSED - Naked and not afraid,Knox Gallery, Calgary, Canada Minerva: Harmony to Hollywood, New Harmony Gallery, Indiana. Don't touch your face, Shockboxx Gallery, Hermosa Beach, California. Drawing unlimited, Propeller Gallery, Toronto, Canada. Labour of Love, The Freedom Factory, Toronto, Canada. 2018 Vernice Contemporanea, Vicenza, Italy. 2017 Self-Portrait, with Odd Nerdrum, TIAC International, Florence Italy. 2016 "Beyond Skills" with Golucho , Galleria 360, Florence, Italy. 2015 Enegan-art, ex court-house, Florence Italy.   About the postcard artworks   Art has been my comfort and my refuge during the many moments I thought man was full of imperfections, and nothing or no one was really worthwhile. Being able to express myself through a painting, is a wonderful and unique sensation. Not only creating but also looking at art is beneficial for people's health as well. Surrounding yourself with art is an effective way of preventing and treating a variety of conditions, especially those that came up recently with this pandemic, such as depression, anxiety and paranoia. Trying to reflect states of the external world these two portraits reflects my inner state. Art as a representation of outer existence through the expression of humans inner life.  

Jason Balducci Square 1, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Jason Balducci is a contemporary figurative painter who lives and works in Toronto, Canada. Originally from Italy, his colorful paintings immediately attract attention with their charisma, dynamism, and wit. Active colors, uneven layers, fragmental bodies, sketchy lines, and an unconventional mixture of techniques and materials are the painter's typical expressive means. Jason sees art as a way to experiment and explore the unknown: both the inner personality of his models and of his own state of mind. For him, art serves not only to depict the reality but also to subjectively rethink it, open a dialogue, express personal associations, and find new meanings.   Education He earned a Bachelor of Art from The Academy of Fine Arts in Italy and Spain.   Exhibitions Balducci's artwork has been shown in exhibitions in Europe and North America, including "Identity": The Artist Perspective".MFA Academy of fine arts Florence 2020 Bare & Essential, Blitz Gallery, Toronto, Canada Overzealous 2020, Art Space Connect Gallery, Toronto, Canada Collective Cure, New Harmony Gallery, Indiana. XPOSED - Naked and not afraid,Knox Gallery, Calgary, Canada Minerva: Harmony to Hollywood, New Harmony Gallery, Indiana. Don't touch your face, Shockboxx Gallery, Hermosa Beach, California. Drawing unlimited, Propeller Gallery, Toronto, Canada. Labour of Love, The Freedom Factory, Toronto, Canada. 2018 Vernice Contemporanea, Vicenza, Italy. 2017 Self-Portrait, with Odd Nerdrum, TIAC International, Florence Italy. 2016 "Beyond Skills" with Golucho , Galleria 360, Florence, Italy. 2015 Enegan-art, ex court-house, Florence Italy.   About the postcard artworks   Art has been my comfort and my refuge during the many moments I thought man was full of imperfections, and nothing or no one was really worthwhile. Being able to express myself through a painting, is a wonderful and unique sensation. Not only creating but also looking at art is beneficial for people's health as well. Surrounding yourself with art is an effective way of preventing and treating a variety of conditions, especially those that came up recently with this pandemic, such as depression, anxiety and paranoia. Trying to reflect states of the external world these two portraits reflects my inner state. Art as a representation of outer existence through the expression of humans inner life.  

Marina Adams Art on a Postcard for Hep C, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Marina Adams is a painter based in NYC, Bridgehampton, NY and Parma Italy. She earned degrees from Tyler School of Art, Temple University, Philadelphia, PA and Columbia University, New York, NY. Upcoming solo exhibitions include Wild Is Its Own Way, Stephen Friedman Gallery, London; Deep Breathing, Von Bartha, S-Chanf, Switzerland; and Works on Paper (2016-2021), Stephen Friedman Gallery. Recent solo exhibitions include The Journal Gallery, New York, NY; FOCUS: Marina Adams, The Modern Art Museum, Fort Worth, TX; Anemones at Salon 94 Bowery, NYC, which was accompanied by her monograph; and The Secret of Greek Grammar at Larsen Warner Gallery in Stockholm, Sweden. Adams has collaborated with poets generating Actualities with Norma Cole (Litmus Press, 2015); Portrait and a Dream with a poem by Charles Bernstein; Taormina with Vincent Katz (Kayrock, 2012); The Tango with Leslie Scalapino (Granary Books, 2001); and Vue sur Mer with Christian Prigent (Gervais Jassaud, 2010). Education Tyler School of Art, Temple University, Philadelphia, PA Columbia University, New York, NY Exhibitions Marina Adams: Works on Paper (2016-2021) at Stephen Friedman Gallery, London, UK, June 4 - July 10, 2021 Marina Adams, Deep Breathing, Von Bartha, S-chanf, Switzerland, July 8 - August 28, 2021 Marina Adams, Wild Is Its Own Way, Stephen Friedman Gallery, London UK, September 17 - October 23, 2021 Current group shows are: Affinities for Abstraction: Artists on Eastern Long Island 1950 to 2020, Parrish Art Museum, Water Mill, NY, May 2 - July 18, 2021 Shapes, Alexander Berggruen, New York, NY, April 21 - May 27, 2021 She is a 2016 recipient of the John Simon Guggenheim Memorial Fellowship, and received the 2018 Award of Merit Medal for Painting from the American Academy of Arts and Letters.   Gallery Representation Salon 94, New York and Stephen Friedman Gallery, London, UK.  

Kate McCrickard Coffee Drinker, 2021 Mixed Media on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) After completing the dual discipline Fine Art degree at Edinburgh University in 1998, my professional life remained bifurcated - split between a disciplined studio practice in painting and printmaking and writing about art making. In 2011, Tate Publishing, London, invited me to write a monograph on South African artist, William Kentridge for the Tate Modern Artists series. I was a regular contributor to the American journal, Art in Print. I have exhibited my work internationally; works are held in major museum collections including The British Museum, London, Davison Arts Centre, Wesleyan University, Connecticut, USA, Los Angeles County Museum, California, The Metropolitan Museum of Art, New York, The New York Public Library and The Royal Scottish Academy, Edinburgh. I now have more time to devote to my painting as my three children grow older. They were once the focus of the work as I looked after them at home alongside the paint, battling against Cyril Connolly's infamous quote, "There is no more somber enemy of good art than the pram in the hall." Drawing the human figure and its activities remain at the heart of the work, however, though the reach has become wider, moving out from the home, to local betting bars in the Belleville quartier of Paris where I live, swimming pools and football fields; the ménagerie at Paris' Jardin des Plantes - crowded spaces where we rubbed up against each other, at ease pre-Covid 19. Education MA Honours Degree in Fine Art (History of Art and Painting), First Class Honours, 1998, University of Edinburgh, Scotland Bradford College of Art, Foundation Course, BA Diploma, 1997   Exhibitions 2021 John Kinross 40th Anniversary Exhibition, Royal Scottish Academy, Edinburgh; London Original Print Fair, Austin Desmond Gallery, London; A Small Good Thing, online exhibition, curated by artist Sam Luke Heath; The Woolwich Print Fair. 2020 Summer Exhibition, Royal Academy, London, print room; London Art Fair, Art First Gallery, Islington Arts Centre. 2019, Points of Contact: Printmaking in Britain 1949-2019, Austin/ Desmond Gallery; London, curated by Julian Page; London Original Print Fair, Royal Academy, London; Print week New York, C.G. Boerner Gallery. 2018 Perfectly Small, The Foundry Gallery, London, Julian Page and Joanna Bryant Fine Art. 2017, The Little Cocktail Hour, group show, C.G. Boerner Gallery, New York. 2016, Creative Fury, group show curated by Julian Page and Joanna Bryant, Clerkenwell Green, London; Belleville, Art First London, Gallery 2, solo show. 2015, IPCNY, New York, True Monotypes, curated by Janice Oresman; This is my Proper Ground, David Krut Projects, New York. 2014, Open the Box, Art First, London; September 2013, Forét Intérieure, Alexandra Grant in collaboration with Héléne Cixous, Mains d'Oeuvres Art Centre, Paris. 2013 Sampler, Small Works by 30 Artists, curated by Bill Scott, The Cerulean Gallery, Philadelphia. March 2013, Kid, David Krut Projects, New York Recipient of the Royal Scottish Academy Maclaine Watters Medal for painting, 1998; Royal Scottish Academy John Kinross scholarship, 1998; The Richard Ford Award, 1998Art First, London Julian Page Fine Art, London David Krut Projects, New York/ Johannesburg.   About the postcard artworks   These little works derive from larger paintings and ongoing themes that preoccupy me. Now largely drawn from memory, here are characters from the local betting bars in the Belleville neighbourhood of Paris where I live, and animals drawn in the Jardin des Plantes ménagerie, transformed into characters back in the studio; the ménagerie studies playing with ideas of self-portrait as monkey going back to Chardin. I like working back and forth between paper and canvas, using the inceptive drawings as a prompt for longer painted works, and then creating further drawings after the canvases are completed as is the case with the bar drinkers here. The drawings and prints often serve as correctors to the slower medium of paint.  

Kate McCrickard Owl, 2021 Conté Coloured Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) After completing the dual discipline Fine Art degree at Edinburgh University in 1998, my professional life remained bifurcated - split between a disciplined studio practice in painting and printmaking and writing about art making. In 2011, Tate Publishing, London, invited me to write a monograph on South African artist, William Kentridge for the Tate Modern Artists series. I was a regular contributor to the American journal, Art in Print. I have exhibited my work internationally; works are held in major museum collections including The British Museum, London, Davison Arts Centre, Wesleyan University, Connecticut, USA, Los Angeles County Museum, California, The Metropolitan Museum of Art, New York, The New York Public Library and The Royal Scottish Academy, Edinburgh. I now have more time to devote to my painting as my three children grow older. They were once the focus of the work as I looked after them at home alongside the paint, battling against Cyril Connolly's infamous quote, "There is no more somber enemy of good art than the pram in the hall." Drawing the human figure and its activities remain at the heart of the work, however, though the reach has become wider, moving out from the home, to local betting bars in the Belleville quartier of Paris where I live, swimming pools and football fields; the ménagerie at Paris' Jardin des Plantes - crowded spaces where we rubbed up against each other, at ease pre-Covid 19. Education MA Honours Degree in Fine Art (History of Art and Painting), First Class Honours, 1998, University of Edinburgh, Scotland Bradford College of Art, Foundation Course, BA Diploma, 1997   Exhibitions 2021 John Kinross 40th Anniversary Exhibition, Royal Scottish Academy, Edinburgh; London Original Print Fair, Austin Desmond Gallery, London; A Small Good Thing, online exhibition, curated by artist Sam Luke Heath; The Woolwich Print Fair. 2020 Summer Exhibition, Royal Academy, London, print room; London Art Fair, Art First Gallery, Islington Arts Centre. 2019, Points of Contact: Printmaking in Britain 1949-2019, Austin/ Desmond Gallery; London, curated by Julian Page; London Original Print Fair, Royal Academy, London; Print week New York, C.G. Boerner Gallery. 2018 Perfectly Small, The Foundry Gallery, London, Julian Page and Joanna Bryant Fine Art. 2017, The Little Cocktail Hour, group show, C.G. Boerner Gallery, New York. 2016, Creative Fury, group show curated by Julian Page and Joanna Bryant, Clerkenwell Green, London; Belleville, Art First London, Gallery 2, solo show. 2015, IPCNY, New York, True Monotypes, curated by Janice Oresman; This is my Proper Ground, David Krut Projects, New York. 2014, Open the Box, Art First, London; September 2013, Forét Intérieure, Alexandra Grant in collaboration with Héléne Cixous, Mains d'Oeuvres Art Centre, Paris. 2013 Sampler, Small Works by 30 Artists, curated by Bill Scott, The Cerulean Gallery, Philadelphia. March 2013, Kid, David Krut Projects, New York Recipient of the Royal Scottish Academy Maclaine Watters Medal for painting, 1998; Royal Scottish Academy John Kinross scholarship, 1998; The Richard Ford Award, 1998Art First, London Julian Page Fine Art, London David Krut Projects, New York/ Johannesburg.   About the postcard artworks   These little works derive from larger paintings and ongoing themes that preoccupy me. Now largely drawn from memory, here are characters from the local betting bars in the Belleville neighbourhood of Paris where I live, and animals drawn in the Jardin des Plantes ménagerie, transformed into characters back in the studio; the ménagerie studies playing with ideas of self-portrait as monkey going back to Chardin. I like working back and forth between paper and canvas, using the inceptive drawings as a prompt for longer painted works, and then creating further drawings after the canvases are completed as is the case with the bar drinkers here. The drawings and prints often serve as correctors to the slower medium of paint.  

Kate McCrickard Artist at Work, 2021 Conté Coloured Pencil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) After completing the dual discipline Fine Art degree at Edinburgh University in 1998, my professional life remained bifurcated - split between a disciplined studio practice in painting and printmaking and writing about art making. In 2011, Tate Publishing, London, invited me to write a monograph on South African artist, William Kentridge for the Tate Modern Artists series. I was a regular contributor to the American journal, Art in Print. I have exhibited my work internationally; works are held in major museum collections including The British Museum, London, Davison Arts Centre, Wesleyan University, Connecticut, USA, Los Angeles County Museum, California, The Metropolitan Museum of Art, New York, The New York Public Library and The Royal Scottish Academy, Edinburgh. I now have more time to devote to my painting as my three children grow older. They were once the focus of the work as I looked after them at home alongside the paint, battling against Cyril Connolly's infamous quote, "There is no more somber enemy of good art than the pram in the hall." Drawing the human figure and its activities remain at the heart of the work, however, though the reach has become wider, moving out from the home, to local betting bars in the Belleville quartier of Paris where I live, swimming pools and football fields; the ménagerie at Paris' Jardin des Plantes - crowded spaces where we rubbed up against each other, at ease pre-Covid 19. Education MA Honours Degree in Fine Art (History of Art and Painting), First Class Honours, 1998, University of Edinburgh, Scotland Bradford College of Art, Foundation Course, BA Diploma, 1997   Exhibitions 2021 John Kinross 40th Anniversary Exhibition, Royal Scottish Academy, Edinburgh; London Original Print Fair, Austin Desmond Gallery, London; A Small Good Thing, online exhibition, curated by artist Sam Luke Heath; The Woolwich Print Fair. 2020 Summer Exhibition, Royal Academy, London, print room; London Art Fair, Art First Gallery, Islington Arts Centre. 2019, Points of Contact: Printmaking in Britain 1949-2019, Austin/ Desmond Gallery; London, curated by Julian Page; London Original Print Fair, Royal Academy, London; Print week New York, C.G. Boerner Gallery. 2018 Perfectly Small, The Foundry Gallery, London, Julian Page and Joanna Bryant Fine Art. 2017, The Little Cocktail Hour, group show, C.G. Boerner Gallery, New York. 2016, Creative Fury, group show curated by Julian Page and Joanna Bryant, Clerkenwell Green, London; Belleville, Art First London, Gallery 2, solo show. 2015, IPCNY, New York, True Monotypes, curated by Janice Oresman; This is my Proper Ground, David Krut Projects, New York. 2014, Open the Box, Art First, London; September 2013, Forét Intérieure, Alexandra Grant in collaboration with Héléne Cixous, Mains d'Oeuvres Art Centre, Paris. 2013 Sampler, Small Works by 30 Artists, curated by Bill Scott, The Cerulean Gallery, Philadelphia. March 2013, Kid, David Krut Projects, New York Recipient of the Royal Scottish Academy Maclaine Watters Medal for painting, 1998; Royal Scottish Academy John Kinross scholarship, 1998; The Richard Ford Award, 1998Art First, London Julian Page Fine Art, London David Krut Projects, New York/ Johannesburg.   About the postcard artworks   These little works derive from larger paintings and ongoing themes that preoccupy me. Now largely drawn from memory, here are characters from the local betting bars in the Belleville neighbourhood of Paris where I live, and animals drawn in the Jardin des Plantes ménagerie, transformed into characters back in the studio; the ménagerie studies playing with ideas of self-portrait as monkey going back to Chardin. I like working back and forth between paper and canvas, using the inceptive drawings as a prompt for longer painted works, and then creating further drawings after the canvases are completed as is the case with the bar drinkers here. The drawings and prints often serve as correctors to the slower medium of paint.  

Paul Hodgson Portrait of E, 2021 Pencil and Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paul Hodgson creates hybrid works that incorporate photography, digital print and paint, and that defy neat categorization. His work is indebted to the history of Western painting, and certain of his earlier works reference the colours, lighting, and figurative poses of iconic art historical works, but they are manipulated and restructured to bring to the fore a contemporary reading of the image. Subsequent works have seen Hodgson concentrate on historical epochs of expansion and transition, using the conventions of portraiture and figure painting to construct large-scale tableaux vivant - alongside intimate studio portraits - to explore moments of great change, but also of ambiguous merit. In recent works, he has chosen to use a relatively confined space in which to construct each scene. Working with a set of simple objects, his focus has been the placement and positioning of objects and figures in space (and in front of a camera) as a means to explore notions of gesture and intentionality within the process of image making. These works operate in an area between painting and photography, both in terms of the language that they employ and the process through which they have been made. Paul Hodgson was born in Shrewsbury in 1972 and lives and works in London.   1998 - 2000 M.A. Printmaking. Royal College of Art, London 1991 - 1995 B.A. (Hons) Fine Art. Newcastle University 1990 - 1991 Foundation Art and Design. Shrewsbury College of Art & Technology Selected Group Exhibitions 2020Summer Exhibition, Royal Academy of Arts, London 2016 Discerning Eye, the Mall Galleries, London. Invited by Michael Glover 2014 Beauty by Design: Fashioning the Renaissance, Scottish National Portrait Gallery 2013 Image Search: Photography from the Collection, Pérez Art Museum Miami 2011 Unbounded, Proje4L, Elgiz Museum of Contemporary Art, Istanbul Selected Solo Exhibitions 2010 Paul Hodgson: Art in the Entrance Hall, Cambridge University Library 2008 Rise + Fall, RISE Berlin, Berlin 2007Sovereign Rights, Marlborough Fine Art, London Awards 2010 Director's Visitor, Institute for Advanced Study, Princeton Over the past twenty years I have been represented by Marlborough Fine Art, London, Feigen Contemporary, New York, and Houldsworth, London. I am currently working with an independent dealer in London.   About the Postcards I often make works on paper as a way to reconsider motifs that have featured in larger painted and printed works, and to introduce new elements to my art practice. I like the immediacy and fluidity that working on paper can offer - the unexpected results that can occur when you use various media together, or the simplicity of limiting yourself to a few simple materials. These two portraits were made partly from observation and partly from photographs. They might appear as stages in a process - from concise and pared down, to layered and complex. They are indicative of the 'push and pull' that often happens when I'm making images in the studio.  

Paul Hodgson Portrait of E.2, 2021 Pencil, Acrylic and Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Paul Hodgson creates hybrid works that incorporate photography, digital print and paint, and that defy neat categorization. His work is indebted to the history of Western painting, and certain of his earlier works reference the colours, lighting, and figurative poses of iconic art historical works, but they are manipulated and restructured to bring to the fore a contemporary reading of the image. Subsequent works have seen Hodgson concentrate on historical epochs of expansion and transition, using the conventions of portraiture and figure painting to construct large-scale tableaux vivant - alongside intimate studio portraits - to explore moments of great change, but also of ambiguous merit. In recent works, he has chosen to use a relatively confined space in which to construct each scene. Working with a set of simple objects, his focus has been the placement and positioning of objects and figures in space (and in front of a camera) as a means to explore notions of gesture and intentionality within the process of image making. These works operate in an area between painting and photography, both in terms of the language that they employ and the process through which they have been made. Paul Hodgson was born in Shrewsbury in 1972 and lives and works in London.   1998 - 2000 M.A. Printmaking. Royal College of Art, London 1991 - 1995 B.A. (Hons) Fine Art. Newcastle University 1990 - 1991 Foundation Art and Design. Shrewsbury College of Art & Technology Selected Group Exhibitions 2020Summer Exhibition, Royal Academy of Arts, London 2016 Discerning Eye, the Mall Galleries, London. Invited by Michael Glover 2014 Beauty by Design: Fashioning the Renaissance, Scottish National Portrait Gallery 2013 Image Search: Photography from the Collection, Pérez Art Museum Miami 2011 Unbounded, Proje4L, Elgiz Museum of Contemporary Art, Istanbul Selected Solo Exhibitions 2010 Paul Hodgson: Art in the Entrance Hall, Cambridge University Library 2008 Rise + Fall, RISE Berlin, Berlin 2007Sovereign Rights, Marlborough Fine Art, London Awards 2010 Director's Visitor, Institute for Advanced Study, Princeton Over the past twenty years I have been represented by Marlborough Fine Art, London, Feigen Contemporary, New York, and Houldsworth, London. I am currently working with an independent dealer in London.   About the Postcards I often make works on paper as a way to reconsider motifs that have featured in larger painted and printed works, and to introduce new elements to my art practice. I like the immediacy and fluidity that working on paper can offer - the unexpected results that can occur when you use various media together, or the simplicity of limiting yourself to a few simple materials. These two portraits were made partly from observation and partly from photographs. They might appear as stages in a process - from concise and pared down, to layered and complex. They are indicative of the 'push and pull' that often happens when I'm making images in the studio.    

Timothy Gatenby Fake Charizard, 2021 Oil on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Timothy Gatenby is a contemporary British figurative artist who nostalgically paints modern imagery such as motorways and pop culture with a traditional Old Master approach. Through his limited palette and a ghostly distortion of imagery a sense of foreboding lurks behind the softly executed painting surface in Gatenby's world. His work has been displayed at the National Portrait Gallery, Royal Academy of Art, Mall galleries and Birmingham Society of Artists. In recent years Gatenby's work has been selected for the Columbia Threadneedle Prize Exhibition (2018), Royal Society of British Artists (2018), the New English Art's Club (2014), BP Portrait Prize (2012) and the Royal Academy Summer Exhibition (2019, 2012) Gatenby's paintings feature nostalgic characters from 90s television, rendered with a painterly quality more associated with the esteem of Fine Art than the amusement of light entertainment. Familiar characters, usually known for being brightly colored and fun, are depicted in washed-out hues; their smooth cartoon-like surfaces represented as textured and greyed. The usually jovial characters of popular television are stripped of their bright, happy personalities and on them, something much more sinister is superimposed. There is a sense that these characters from happy childhood memories have been lost to the passage of time; that history has forgotten them, that they have been brushed aside in the wake of newer incarnations of characters for popular amusement; washed up at the banks of the mainstream of entertainment, becoming just an afterthought no longer foregrounded, except in these paintings. The same dynamic underlies Gatenby's motorway paintings, which take the often disparaged aesthetics of concrete and tarmac from some of Britain's major roads, and sets them as the atmosphere of landscape paintings that hint at the classical discipline which they reappropriate for a brutalist, modern setting. All the while, throughout the various styles and themes that Gatenby explores, small idiosyncratic moments crop up, where, as if for his own amusement as much as anybody else's, a joke or a pun is given expression through a depicted object seen out of place, or an expectation subverted by an oddity, giving the work a touch of the absurd, since the emotional thread spun on the notion of disgraced and forgotten figures of childhood television 'and the depressing vision obscured by petrol exhaust fumes on the highways and byways of life' becomes an irony. The works thereby achieve a certain circularity of meaning, by which a tragi-comic interpretation can be pursued as far as one wishes to take it. The forgotten characters are not forgotten after all, but return under a different guise.  

William Wright Open Window (Paris), 2021 Acrylic on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) William Wright is a British painter and printmaker based in South East London. He studied at Leeds Metropolitan University and has exhibited widely throughout the UK and abroad. He has been shortlisted on two occasions for the B.P Portrait Award and was a finalist in the Jerwood Drawing Prize as well as the Trinity Buoy Wharf Drawing Prize. His work is held in numerous private collections. BA (Hons) Fine Art, Leeds Metropolitan University Recent Exhibitions Include: 2021 Herbal Remedies, Lyndsey Ingram Gallery, London; 2020 Urgemment, Patiement Galerie Ariane C-Y, Paris; 2019 Painting Painting, The Eagle Gallery, London; From the Studio, The Art Stable, Dorset (Solo); The Trinity Buoy Wharf Drawing Prize, The Salisbury Museum and Tour; Œuvres sur Papier, Galerie Ariane C-Y, Paris (Solo); 2018 Studio Pictures, Galerie Ariane C-Y, Paris (Solo), ParisOpen Window, Paris is part of my ongoing 'studio pictures' project. This explores the idea of the artist's studio as a private sanctuary and home to the mercurial act of making. The image began as a tiny sketch in a notebook drawn late at night around Montparnasse. I imagined these windows opening to reveal a painter's atelier. A simple yet magical interior witness to the private, creative process.   About the Postcards My practice frequently incorporates work made on this small scale. I enjoy the challenge of making a tiny image which has the intensity of a much larger work. The muted palette and quiet atmosphere are also typical of my approach.  

Fred Coppin A Very Small Cactus, 2021 Acrylic on Paper Signed on front and verso 15 x 10cm (5¾ x 3¾ in.) Fred Coppin captures an eternal sense of optimism in his work through a distinctive combination of amplified colour and playful forms, in which he exaggerates the world into a permanently dream-like state that allows us, as viewers, to linger in a moment of utopian calm. Coppin's paintings are tied together by an uplifting impulse to dissect, exaggerate and reassemble the world around us into its most hopeful state. Light and colour play a significant role in Coppin's work. This stems from his interest in photography and, more deeply, the emotional and aesthetic power of sunlight. Light is indicative of the positivity Coppin tries to convey and the way light operates in straight lines draws back to his interest in geometric design. Coppin's calming motifs and refinement of complex images into simple shape and colour, treads a careful balance between energy and quietness. He aspires to find new ways of simplifying core elements of the world around him, creating methods and codes to transform all of the details of life; the sound, the feeling, the weather, even the conversations, into a painting. There is invariably light in Fred's paintings, both literally and metaphorically. The places he paints, while being palpable, embody a sense of the exotic, and an element of the fantastical, they are like the meeting place between fantasy and reality. Fred graduated from Oxford Brookes University School of Arts with a fine arts degree. After graduating, Fred developed a career in brand marketing before turning full-time to fine art painting. In 2018 he was selected for the Royal Institute of Oil Painters Annual Exhibition at the Mall Galleries in London, winning The Artist Magazine Award. In 2019 his self-portrait was selected for the Ruth Borchard Self-Portrait Prize exhibition at Piano Nobile Kings Place, as well as a painting shown in the 2019 artsdepot Open.  

Kate Dunn Don Dada, 2021 Spray Paint and Oil Bar on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Kate Dunn makes work pulling on themes of renaissance, rave, light and sacred space, to create varying environments of worship. Since 2018 she has used structures reminiscent of the altar to discuss the internal archive one experiences when faced with such a shape. Recently she moved into multi-sensory experience as a means to address her concern with the potential to be passive in the age of information overload. Kate uses sight-specific installation and UV reactive materials to manipulate the display of her paintings and create a confrontation with the viewer. In June 2021 she has a solo show, THE TABERNACLE at TJ Boulting and a two-person show, FUGUE with Robert Cooper at The Tub, London. Kate Dunn (Edgware, UK, 1993) is a London based artist. She has studied at Central Saint Martins School of Art and Design, The Florence Academy of Art and City & Guilds of London Art School, where she is now a tutor.   2021 THE TABERNACLE, welcome to pharmakon (solo), TJ Boulting, UK 2021 FUGUE: Robert Cooper x Kate Dunn, The Tub, UK 2020SKIN OF LIGHT (solo), SET Alscot Rd, UK 2020when shit hits the fan, GUTS Gallery, Online 2020The House We Built, London, UK 2019The Discerning Eye Exhibition, Mall Galleries, UK 2019Seen or Seeing, Bethnal Green Railway Arches, UK 2018 Contemporary British Painting Prize, Huddersfield Art Gallery, & Menier Gallery, UK 2018 Great Women Artists x Palazzo Monti Residency, Italy 2018 MA Fine Art Show, City and Guilds of London Art School, UK 2018Interim, City and Guilds of London Art School, UK 2017The Great Women Artists Exhibition, Mother London, UK 2017 The Ruth Borchard Self-Portrait Prize, Piano Nobile Kings Place, UK 2016 The Summer Exhibition, Royal Academy of Arts, UKN/A   About the Postcards Through drawing I have been looking into the aesthetics of digital intimacy and digital touch over the past year. What does it feel like to exist intimately in a digital state, how do colour and expression equate through such a medium, and what does this look like when returned to the physicality of the studio. The colours steal from the oversaturation of the screen. The marks imitate those left by our fingers after a session of scrolling. The works question how relationships manifest spatially in this realm; how close or communicative can we be within the formally constructed programs of the digital age. When plugged in how do we burst, scream, hum or do we simply sit static. The works draw their titles from the music listened to around the time of making; they are a continuation of the conversation that began during the creation of FUGUE, a two-person show opening in June with Robert Cooper at The Tub, London.  

Kate Dunn Passion - Naked Mix, 2021 Spray Paint and Oil Bar on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Kate Dunn makes work pulling on themes of renaissance, rave, light and sacred space, to create varying environments of worship. Since 2018 she has used structures reminiscent of the altar to discuss the internal archive one experiences when faced with such a shape. Recently she moved into multi-sensory experience as a means to address her concern with the potential to be passive in the age of information overload. Kate uses sight-specific installation and UV reactive materials to manipulate the display of her paintings and create a confrontation with the viewer. In June 2021 she has a solo show, THE TABERNACLE at TJ Boulting and a two-person show, FUGUE with Robert Cooper at The Tub, London. Kate Dunn (Edgware, UK, 1993) is a London based artist. She has studied at Central Saint Martins School of Art and Design, The Florence Academy of Art and City & Guilds of London Art School, where she is now a tutor.   2021 THE TABERNACLE, welcome to pharmakon (solo), TJ Boulting, UK 2021 FUGUE: Robert Cooper x Kate Dunn, The Tub, UK 2020SKIN OF LIGHT (solo), SET Alscot Rd, UK 2020when shit hits the fan, GUTS Gallery, Online 2020The House We Built, London, UK 2019The Discerning Eye Exhibition, Mall Galleries, UK 2019Seen or Seeing, Bethnal Green Railway Arches, UK 2018 Contemporary British Painting Prize, Huddersfield Art Gallery, & Menier Gallery, UK 2018 Great Women Artists x Palazzo Monti Residency, Italy 2018 MA Fine Art Show, City and Guilds of London Art School, UK 2018Interim, City and Guilds of London Art School, UK 2017The Great Women Artists Exhibition, Mother London, UK 2017 The Ruth Borchard Self-Portrait Prize, Piano Nobile Kings Place, UK 2016 The Summer Exhibition, Royal Academy of Arts, UKN/A   About the Postcards Through drawing I have been looking into the aesthetics of digital intimacy and digital touch over the past year. What does it feel like to exist intimately in a digital state, how do colour and expression equate through such a medium, and what does this look like when returned to the physicality of the studio. The colours steal from the oversaturation of the screen. The marks imitate those left by our fingers after a session of scrolling. The works question how relationships manifest spatially in this realm; how close or communicative can we be within the formally constructed programs of the digital age. When plugged in how do we burst, scream, hum or do we simply sit static. The works draw their titles from the music listened to around the time of making; they are a continuation of the conversation that began during the creation of FUGUE, a two-person show opening in June with Robert Cooper at The Tub, London.  

Kate Dunn Baby's on Fire, 2021 Spray Paint and Oil Bar on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Kate Dunn makes work pulling on themes of renaissance, rave, light and sacred space, to create varying environments of worship. Since 2018 she has used structures reminiscent of the altar to discuss the internal archive one experiences when faced with such a shape. Recently she moved into multi-sensory experience as a means to address her concern with the potential to be passive in the age of information overload. Kate uses sight-specific installation and UV reactive materials to manipulate the display of her paintings and create a confrontation with the viewer. In June 2021 she has a solo show, THE TABERNACLE at TJ Boulting and a two-person show, FUGUE with Robert Cooper at The Tub, London. Kate Dunn (Edgware, UK, 1993) is a London based artist. She has studied at Central Saint Martins School of Art and Design, The Florence Academy of Art and City & Guilds of London Art School, where she is now a tutor.   2021 THE TABERNACLE, welcome to pharmakon (solo), TJ Boulting, UK 2021 FUGUE: Robert Cooper x Kate Dunn, The Tub, UK 2020SKIN OF LIGHT (solo), SET Alscot Rd, UK 2020when shit hits the fan, GUTS Gallery, Online 2020The House We Built, London, UK 2019The Discerning Eye Exhibition, Mall Galleries, UK 2019Seen or Seeing, Bethnal Green Railway Arches, UK 2018 Contemporary British Painting Prize, Huddersfield Art Gallery, & Menier Gallery, UK 2018 Great Women Artists x Palazzo Monti Residency, Italy 2018 MA Fine Art Show, City and Guilds of London Art School, UK 2018Interim, City and Guilds of London Art School, UK 2017The Great Women Artists Exhibition, Mother London, UK 2017 The Ruth Borchard Self-Portrait Prize, Piano Nobile Kings Place, UK 2016 The Summer Exhibition, Royal Academy of Arts, UKN/A   About the Postcards Through drawing I have been looking into the aesthetics of digital intimacy and digital touch over the past year. What does it feel like to exist intimately in a digital state, how do colour and expression equate through such a medium, and what does this look like when returned to the physicality of the studio. The colours steal from the oversaturation of the screen. The marks imitate those left by our fingers after a session of scrolling. The works question how relationships manifest spatially in this realm; how close or communicative can we be within the formally constructed programs of the digital age. When plugged in how do we burst, scream, hum or do we simply sit static. The works draw their titles from the music listened to around the time of making; they are a continuation of the conversation that began during the creation of FUGUE, a two-person show opening in June with Robert Cooper at The Tub, London.  

Ben Edge Avebury, 2021 Oil on Canvas Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Ben Edge is a visual artist and songwriter who lives and works in North London. He grew up in Southborough, Kent, spending weekends visiting his Dad in Shoreditch, London, where he developed a passion for local history, storytelling, and folklore. Ben studied fine art at London Metropolitan University and since graduating in 2008, has exhibited in numerous group shows, including: BP Portrait Award at the National Portrait Gallery and National Gallery of Scotland, where his portrait of his grandfather, 'The Animal Handler' was shortlisted for the prize. Since his debut solo show at Hix Gallery in 2017, Ben has embarked on the 'Frontline Folklore' project, exploring the folk customs, traditions and ritual practices of the British Isles, and producing a series of twenty paintings and a full-length documentary film in response to his research, that will be going display in collaboration with the Museum of British Folklore throughout June 2021 at the Crypt Gallery, St Pancras New Church, London. Ben has also created artwork and art-directed music videos for the Fat White Family and Raf Rundell, and released his own debut solo album on Glass Modern Records, New Tradition, written simultaneously with his 'Frontline Folklore' series.   London Metropolitan University, (2005 - 2008), BA Fine Art West Kent College, (2002 - 2005), ND fine art - Foundation in Fine ArtSelected Exhibitions: UPCOMING! June 4th - July 4th 2021. 'Ritual Britain', Ben Edge and the Museum of British Folklore, Curated by Simon Costin, The Crypt Gallery, St Pancras New Church, London. 2021: Group Show, 'Queer as Folklore', Curated by Duo-Vision Arts, Gallery 46, London 2020: Group Show, 'Silent Slips', James Freeman Gallery, London 2019 - 2020: Group Show, 'A Horse's Head in the Frost', Chepstow Museum, Chepstow, Wales 2019: Art On A Postcard (Curated by Dougie Wallace & Ben Eine) Old Spitalfields market, London 2019: Solo Show + Artists talk, (Curated by David Harrison) Cubitt Studios, London 2018: Group Show, 'Lore of the land' (Curated by David Harrison) Churchgate Gallery, Somerset 2017: Group Show, Mayfair Art Weekend, Browns Hotel, London 2017: Solo Show, 'Folk Renaissance', HIX ART (Formerly CNB Gallery) London 2015: The Ruth Borchard Self-Portrait Prize, Piano Nobile, Kings place, London 2015: Two man show (with Ben Westley Clarke), 'Contemporary folklore', Leyden Gallery, London 2014: Group show, 'Nuance outcasts', Angus Hughes Gallery, London 2012: Group Show, 'Black Xmas', Signal Gallery, London 2011: Group show, 'Punk and Beyond', Signal Gallery, London 2010: BP Portrait award, National Gallery of Scotland, Edinburgh 2009: BP Portrait award, Southampton City Art Gallery, Southampton 2009: BP Portrait award, National Portrait Gallery, London   About the Postcards In these works I have painted three Neolithic monuments, Avebury, Silbury hill and Men-an-Tol, all of which I have visited in person. The theme is continuation of my ongoing interest with British Folklore.  

Ben Edge Mên-an-Tol, 2021 Oil on Canvas Paper Signed on verso 10 x 15cm (3¾ x 5¾ in.) Ben Edge is a visual artist and songwriter who lives and works in North London. He grew up in Southborough, Kent, spending weekends visiting his Dad in Shoreditch, London, where he developed a passion for local history, storytelling, and folklore. Ben studied fine art at London Metropolitan University and since graduating in 2008, has exhibited in numerous group shows, including: BP Portrait Award at the National Portrait Gallery and National Gallery of Scotland, where his portrait of his grandfather, 'The Animal Handler' was shortlisted for the prize. Since his debut solo show at Hix Gallery in 2017, Ben has embarked on the 'Frontline Folklore' project, exploring the folk customs, traditions and ritual practices of the British Isles, and producing a series of twenty paintings and a full-length documentary film in response to his research, that will be going display in collaboration with the Museum of British Folklore throughout June 2021 at the Crypt Gallery, St Pancras New Church, London. Ben has also created artwork and art-directed music videos for the Fat White Family and Raf Rundell, and released his own debut solo album on Glass Modern Records, New Tradition, written simultaneously with his 'Frontline Folklore' series.   London Metropolitan University, (2005 - 2008), BA Fine Art West Kent College, (2002 - 2005), ND fine art - Foundation in Fine ArtSelected Exhibitions: UPCOMING! June 4th - July 4th 2021. 'Ritual Britain', Ben Edge and the Museum of British Folklore, Curated by Simon Costin, The Crypt Gallery, St Pancras New Church, London. 2021: Group Show, 'Queer as Folklore', Curated by Duo-Vision Arts, Gallery 46, London 2020: Group Show, 'Silent Slips', James Freeman Gallery, London 2019 - 2020: Group Show, 'A Horse's Head in the Frost', Chepstow Museum, Chepstow, Wales 2019: Art On A Postcard (Curated by Dougie Wallace & Ben Eine) Old Spitalfields market, London 2019: Solo Show + Artists talk, (Curated by David Harrison) Cubitt Studios, London 2018: Group Show, 'Lore of the land' (Curated by David Harrison) Churchgate Gallery, Somerset 2017: Group Show, Mayfair Art Weekend, Browns Hotel, London 2017: Solo Show, 'Folk Renaissance', HIX ART (Formerly CNB Gallery) London 2015: The Ruth Borchard Self-Portrait Prize, Piano Nobile, Kings place, London 2015: Two man show (with Ben Westley Clarke), 'Contemporary folklore', Leyden Gallery, London 2014: Group show, 'Nuance outcasts', Angus Hughes Gallery, London 2012: Group Show, 'Black Xmas', Signal Gallery, London 2011: Group show, 'Punk and Beyond', Signal Gallery, London 2010: BP Portrait award, National Gallery of Scotland, Edinburgh 2009: BP Portrait award, Southampton City Art Gallery, Southampton 2009: BP Portrait award, National Portrait Gallery, London   About the Postcards In these works I have painted three Neolithic monuments, Avebury, Silbury hill and Men-an-Tol, all of which I have visited in person. The theme is continuation of my ongoing interest with British Folklore.  

Ben Edge Silbury Hill, 2021 Oil on Canvas Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Ben Edge is a visual artist and songwriter who lives and works in North London. He grew up in Southborough, Kent, spending weekends visiting his Dad in Shoreditch, London, where he developed a passion for local history, storytelling, and folklore. Ben studied fine art at London Metropolitan University and since graduating in 2008, has exhibited in numerous group shows, including: BP Portrait Award at the National Portrait Gallery and National Gallery of Scotland, where his portrait of his grandfather, 'The Animal Handler' was shortlisted for the prize. Since his debut solo show at Hix Gallery in 2017, Ben has embarked on the 'Frontline Folklore' project, exploring the folk customs, traditions and ritual practices of the British Isles, and producing a series of twenty paintings and a full-length documentary film in response to his research, that will be going display in collaboration with the Museum of British Folklore throughout June 2021 at the Crypt Gallery, St Pancras New Church, London. Ben has also created artwork and art-directed music videos for the Fat White Family and Raf Rundell, and released his own debut solo album on Glass Modern Records, New Tradition, written simultaneously with his 'Frontline Folklore' series.   London Metropolitan University, (2005 - 2008), BA Fine Art West Kent College, (2002 - 2005), ND fine art - Foundation in Fine ArtSelected Exhibitions: UPCOMING! June 4th - July 4th 2021. 'Ritual Britain', Ben Edge and the Museum of British Folklore, Curated by Simon Costin, The Crypt Gallery, St Pancras New Church, London. 2021: Group Show, 'Queer as Folklore', Curated by Duo-Vision Arts, Gallery 46, London 2020: Group Show, 'Silent Slips', James Freeman Gallery, London 2019 - 2020: Group Show, 'A Horse's Head in the Frost', Chepstow Museum, Chepstow, Wales 2019: Art On A Postcard (Curated by Dougie Wallace & Ben Eine) Old Spitalfields market, London 2019: Solo Show + Artists talk, (Curated by David Harrison) Cubitt Studios, London 2018: Group Show, 'Lore of the land' (Curated by David Harrison) Churchgate Gallery, Somerset 2017: Group Show, Mayfair Art Weekend, Browns Hotel, London 2017: Solo Show, 'Folk Renaissance', HIX ART (Formerly CNB Gallery) London 2015: The Ruth Borchard Self-Portrait Prize, Piano Nobile, Kings place, London 2015: Two man show (with Ben Westley Clarke), 'Contemporary folklore', Leyden Gallery, London 2014: Group show, 'Nuance outcasts', Angus Hughes Gallery, London 2012: Group Show, 'Black Xmas', Signal Gallery, London 2011: Group show, 'Punk and Beyond', Signal Gallery, London 2010: BP Portrait award, National Gallery of Scotland, Edinburgh 2009: BP Portrait award, Southampton City Art Gallery, Southampton 2009: BP Portrait award, National Portrait Gallery, London   About the Postcards In these works I have painted three Neolithic monuments, Avebury, Silbury hill and Men-an-Tol, all of which I have visited in person. The theme is continuation of my ongoing interest with British Folklore.  

Sherry Kerlin Little Girl Holding Doll's Head, 2021 Ink on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) I am an exhibiting artist who lives and works in New York City.   Education   Chicago Art Institute and a BFA in Painting and Printmaking from the Kansas City Art Institute   Exhibitions   New York Foundation for the Arts (award in Drawing)   Gallery Representation   Van Rensberg Gallery (Australia) and Louisa Warfield Art Consultancy (UK)   About the postcard artwork   The postcard is an ink drawing on acid free paper; it is a portrait of a little girl holding a doll's head  

Rana Begum WP536, 2021 Spray Paint on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in Bangladesh in 1977, Rana Begum lives and works in London. The work of London-based artist Rana Begum distills spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Her works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial. Begum was also recently elected an RA (2020)   EDUCATION 2002 Slade School of Fine Art, London - MFA in Painting 1999 Chelsea College of Art and Design, London - BA (Hons) Fine Art Degree (Painting) 1996 University of Hertfordshire, Hatfield, Hertfordshire - BTEC Diploma in Foundation Studies in Art and Design.     SELECTED SOLO EXHIBITIONS 2021Solo show, Kate Macgarry, London 2019 Solo show, Jhaveri Contemporary, Mumbai Perception and Reflection, Third Line Gallery, Dubai 2018 Solo show, Christian Lethert, Cologne Space Light Color, Djanogly Art Gallery, University of Nottingham Conversation with Light and Colour, Gallery 10, TATE St Ives 2017 The Abraaj Group Art Prize 2017, Dubai Light Space Colour, Sainsbury Centre for Visual Arts, Norwich 2016 The Space Between, Parasol Unit, London 2015 Towards an Infinite Geometry, Jhaveri Contemporary, Mumbai Solo Show, Touchstone, Rochdale SELECTED AWARDS/ COMMISSION/ RESIDENCIES 2021, The Plot, Folkestone Triennial, UK 2021 Infinite Geometry, Wanas Konst, Sweden 2019 Istanbul Modern, Istanbul 2018 Bella Artes Project, Manila, Philippines 2017 No.724 Reflectors, Westgate, Oxford 2016 No.688, Cleveland Clinic, Ohio No.700 Refelctors, Kings Cross 2015 No.510, HLC, Kiran Nadar, Delhi SELECTED GROUP EXHIBITIONS 2020 Breaking the Mould, Longside Gallery, Yorkshire Sculpture Park Hard Painting x2, Phoenix Art Space, Brighton Guests: Artists and Craftspeople, Istanbul Modern, Istanbul Dhaka Art Summit, Bangladesh Eccentric Objects, Carsten Höller & Rana Begum 2019 Is This Tomorrow? Whitechapel Gallery + Alserkal Arts Foundation, Dubai The Interaction of Colour Cristea Roberts Gallery, London Is This Tomorrow? Whitechapel Gallery, London 2018 Frieze Sculpture Park, London Heavy Metal: Women to Watch, NMWA, Washington RA Summer Show, London Actions, Kettle's Yard, Cambridge Fold, Marta Herford, Germany 2017 Metal: Women to Watch, curated Caroline Douglas, Philips, London Occasional Geometries, Yorkshire Sculpture Park Things that Soak You, Kate MacGarry, London 31 Women, Bresslittle, London The Order of Things, The Wilson, Cheltenham Art Gallery & Museum, Cheltenham 2016 Tribute to Sol LeWitt, Gemeente Museum, Den Haag 11th Gwangju Biennale, Curated by Maria Lind, Korea Cause the Grass Don't Grow and the Sky Ain't Blue, Praz Delavallade Flatland/Narrative Abstractions, MRAC, Serignan New Visions, Curated by Maria Lind, Tensta Konsthall, Stockholm Into Boundless Space I Leap, Kettle's Yard / Maxwell Centre, Cambridge 2015 The Shapes We're In, London Triplicity, Athr, Jeddah Future Light, Museum Angewandte Kunst, Vienna Geometries of Difference, Dorsky Museum, New York Linear Abstraction, Gutstein Gallery, SCAD, Savanah The Great Festival of Creativity, Long Museum, Shanghai Working Space, KNMA, Delhi   SELECTED REVIEWS AND ARTICLES 2019 The Art Newspaper, Number 313, June 2019 2018 Elle India, June 6, 2018 Between The Lines The Telegraph, July 4, 2018 Arab News, May 31, 2018 Harpers Bazaar, July 9, 2018 2017 Emel + Aris, 2018 Artist Rana Begum on her life in colour New York Times, March 22, 2017 Financial Times, March 17, 2017 Ocula, March 2017 2016 Wallpaper* Magazine, July 2016 This is tomorrow, August 2016 ArtAsiaPacific, Review by Cleo Roberts, July 2016 Harpers Bazaar, July 2016 AD Magazine, November-December 2016 2015 Artsy Editorial Oct 27th, 25 Must-See Shows This November The Metropolist, Artist's Portrait, by Rachel Holmes Bazaar, Issue #200, Interview by Deepa Pant Saturation Point, Interview by Patrick Morrisey Verve Magazine, India, Framed, Text by Huzan Tata  

Rana Begum WP537, 2021 Spray Paint on Paper Signed on verso 15 x 10cm (5¾ x 3¾ in.) Born in Bangladesh in 1977, Rana Begum lives and works in London. The work of London-based artist Rana Begum distills spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Her works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial. Begum was also recently elected an RA (2020)   EDUCATION 2002 Slade School of Fine Art, London - MFA in Painting 1999 Chelsea College of Art and Design, London - BA (Hons) Fine Art Degree (Painting) 1996 University of Hertfordshire, Hatfield, Hertfordshire - BTEC Diploma in Foundation Studies in Art and Design.     SELECTED SOLO EXHIBITIONS 2021Solo show, Kate Macgarry, London 2019 Solo show, Jhaveri Contemporary, Mumbai Perception and Reflection, Third Line Gallery, Dubai 2018 Solo show, Christian Lethert, Cologne Space Light Color, Djanogly Art Gallery, University of Nottingham Conversation with Light and Colour, Gallery 10, TATE St Ives 2017 The Abraaj Group Art Prize 2017, Dubai Light Space Colour, Sainsbury Centre for Visual Arts, Norwich 2016 The Space Between, Parasol Unit, London 2015 Towards an Infinite Geometry, Jhaveri Contemporary, Mumbai Solo Show, Touchstone, Rochdale SELECTED AWARDS/ COMMISSION/ RESIDENCIES 2021, The Plot, Folkestone Triennial, UK 2021 Infinite Geometry, Wanas Konst, Sweden 2019 Istanbul Modern, Istanbul 2018 Bella Artes Project, Manila, Philippines 2017 No.724 Reflectors, Westgate, Oxford 2016 No.688, Cleveland Clinic, Ohio No.700 Refelctors, Kings Cross 2015 No.510, HLC, Kiran Nadar, Delhi SELECTED GROUP EXHIBITIONS 2020 Breaking the Mould, Longside Gallery, Yorkshire Sculpture Park Hard Painting x2, Phoenix Art Space, Brighton Guests: Artists and Craftspeople, Istanbul Modern, Istanbul Dhaka Art Summit, Bangladesh Eccentric Objects, Carsten Höller & Rana Begum 2019 Is This Tomorrow? Whitechapel Gallery + Alserkal Arts Foundation, Dubai The Interaction of Colour Cristea Roberts Gallery, London Is This Tomorrow? Whitechapel Gallery, London 2018 Frieze Sculpture Park, London Heavy Metal: Women to Watch, NMWA, Washington RA Summer Show, London Actions, Kettle's Yard, Cambridge Fold, Marta Herford, Germany 2017 Metal: Women to Watch, curated Caroline Douglas, Philips, London Occasional Geometries, Yorkshire Sculpture Park Things that Soak You, Kate MacGarry, London 31 Women, Bresslittle, London The Order of Things, The Wilson, Cheltenham Art Gallery & Museum, Cheltenham 2016 Tribute to Sol LeWitt, Gemeente Museum, Den Haag 11th Gwangju Biennale, Curated by Maria Lind, Korea Cause the Grass Don't Grow and the Sky Ain't Blue, Praz Delavallade Flatland/Narrative Abstractions, MRAC, Serignan New Visions, Curated by Maria Lind, Tensta Konsthall, Stockholm Into Boundless Space I Leap, Kettle's Yard / Maxwell Centre, Cambridge 2015 The Shapes We're In, London Triplicity, Athr, Jeddah Future Light, Museum Angewandte Kunst, Vienna Geometries of Difference, Dorsky Museum, New York Linear Abstraction, Gutstein Gallery, SCAD, Savanah The Great Festival of Creativity, Long Museum, Shanghai Working Space, KNMA, Delhi   SELECTED REVIEWS AND ARTICLES 2019 The Art Newspaper, Number 313, June 2019 2018 Elle India, June 6, 2018 Between The Lines The Telegraph, July 4, 2018 Arab News, May 31, 2018 Harpers Bazaar, July 9, 2018 2017 Emel + Aris, 2018 Artist Rana Begum on her life in colour New York Times, March 22, 2017 Financial Times, March 17, 2017 Ocula, March 2017 2016 Wallpaper* Magazine, July 2016 This is tomorrow, August 2016 ArtAsiaPacific, Review by Cleo Roberts, July 2016 Harpers Bazaar, July 2016 AD Magazine, November-December 2016 2015 Artsy Editorial Oct 27th, 25 Must-See Shows This November The Metropolist, Artist's Portrait, by Rachel Holmes Bazaar, Issue #200, Interview by Deepa Pant Saturation Point, Interview by Patrick Morrisey Verve Magazine, India, Framed, Text by Huzan Tata  

E. Elcott? (19th century): Pencil drawing of Madonna, signed indistinctly, together with 17th/18th century portrait sketch of a bearded man on blue laid paper and 6 other pen and pencil drawings, max 23cm x 19cm (8)

Belgian School (20th Century): Portrait of a countryman, pastel, signed indistinctly 45cm x 34cm

British School (19th Century): Portrait of John Gill Esquire, pastel unsigned, titled verso 24cm x 19cm

English School (19th Century): Portrait of a Naval Officer, oil on board unsigned 11cm x 8cm

British School (18th/19th century): Portrait of a British Officer, oil on panel unsigned 26cm x 21cm

Follower of Louis L�opold Boilly (French 1761-1845): Collection four miniatures from the series "Les Grimaces et Caract�res", watercolour on ivory signed L. Boilly, together with a miniature lithograph after the artist, a silhouette, 19th century portrait and a portrait print, max 16cm x 13cm (8)

Royalty.- Edward VIII.- Cotton coronation handkerchief souvenir produced prior to his abdication, portrait surmounted by a crown and surrounded by flags, 245 x 245mm., 1937; and a small quantity of royal ephemera, including: a signed postcard from Queen Mary, "... grateful thanks for your charming presents..."; Princess Margaret's copies of 2 typescript notebooks of the play The Sleeping Beauty (Princess Margaret played The Good Fairy and Princess Elizabeth Prince Salvador); a copy of the Royal Performance..., 1948, in faded velvet covers etc., v.s., v.d. (sm. qty).

NO RESERVE Hockney (David ) Cut signature of the author, mounted below colour portrait photograph of the artist, together 260 x 155mm., framed and glazed, n.d..

NO RESERVE Jonson (Ben) The Workes..., [vol.1 only (of 3)], 2 parts in 1 vol., engraved portrait by Robert Vaughan and architectural title by William Hole, woodcut head-pieces and initials, portrait and title soiled and rather crudely partly coloured with red crayon, both laid down (portrait trimmed, title torn and missing small portion from lower margin), damp-stained causing fraying to fore-margins (most leaves reinforced), some spotting towards end, ex-library copy with a few ink stamps, modern calf ruled in blind, new endpapers preserving engraved armorial bookplate of George Stanhope D.D., Dean of Canterbury, [Greg 1073; STC 14753], folio, Richard Bishop [and Robert Young], and are to be sold by Andrew Crooke, 1640; sold not subject to return⁂ The first volume of Jonson's works, first published in 1616; the second and third volumes followed later in 1641.

NO RESERVE B[ulwer] (J[ohn]) Anthropometamorphosis: Man Transform'd: or, the Artificiall Changling, second edition, lacking engraved frontispiece (?A1), plate with 2 full-page woodcuts, 5*1 preliminary leaf (?portrait) and signatures 2G, 2H, 2K, 2M, 2O, 2S & 2Y from text, and 4F & 4G at end (Table), with numerous woodcuts throughout text, cropped affecting head-lines and catchwords, a little soiled and stained, rust-hole to 4*1-3 of preliminaries, old stained vellum, rubbed, split to lower joint, [Wing B5461], small 4to, William Hunt, 1653; sold not subject to return⁂ Sadly incomplete copy of this strange work on the practices of treating the human body around the world.

NO RESERVE World.- Montagu (Irving) Wonderings of a War Artist, first edition, half-title, portrait frontispiece, plates, spotting, original pictorial cloth, gilt, rubbed, ink and gilt stamps of Manchester Artillery Officers' Library, W.H. Allen & Co., 1889 § Muston (Rev. Dr. Alexis) The Israel of the Alps: A History of the Persecutions of the Waldenses, translated by William Hazlitt, wood-engraved frontispiece, additional vignette title, plates and vignettes, occasional spotting, original blind-stamped cloth, spine gilt, spine faded, 1852; and 5 others, Travel, including a French edition of Shackleton in original pictorial cloth (defective), v.s. (7)

NO RESERVE Judaica.- Josephus (Flavius) The Whole Genuine and Complete Works..., edited by George Henry Maynard, double-column, engraved frontispiece and plates, engraved map hand-coloured in outline, 4pp. list of subscribers at end (one leaf defective), some soiling and staining, frontispiece frayed at edges (laid down), some other marginal tears and defects, modern calf with border tooled in blind, spine with old red roan label, a little rubbed, spine faded, for C.Cooke, [?1795] § Buxtorf (Johannes) Lexicon Chaldaicum, Talmudicum et Rabbinicum, with additional engraved architectural title dated 1639 but without portrait (as often), double-column, contemporary ink inscription to title, lightly browned, contemporary vellum, rubbed and soiled, lacking ties, spine torn at head, Basle, Ludwig König, 1639-40, folio; sold not subject to return (2)

Broadside.- The Premature Canvass, extracted from Say's Sunday Reporter, March 18, 1804, 308 x 188mm., small wood-engraved portrait at head, folds, a couple of small splits to folds, causing minor loss to portrait and part of the odd letter, without loss of sense, little staining, creased, R. Bassam, St. John's Street, [1804].⁂ Unrecorded.

NO RESERVE Shakespeare (William).- Boaden (James) An Inquiry into the Authenticity of various Pictures and Prints ... offered to the public as Portraits of Shakespeare, mezzotint portrait frontispiece, 4 engraved plates, half-title misbound after title, occasional spotting, bookplate, contemporary calf, gilt, 8vo, 1824.

De Quincey (Thomas) [The Works], 16 vol. including supplement, second edition, several with portrait frontispieces, contemporary red half calf, gilt, lightly rubbed, still overall an attractive set, 8vo, Edinburgh, Adam and Charles Black, 1862-71.

NO RESERVE Economics.- Brown (Richard) A History of Accounting and Accountants, number 36 of 250 deluxe copies signed by the author, portrait frontispiece, plates, original morocco-backed cloth, splitting to upper joint, light wear to extremities, t.e.g., others uncut, 4to, Edinburgh, 1905.

NO RESERVE Byron (Robert).- Zervos (Dr. Skevos) La Question du Dodécanèse et ses Documents Diplomatiques, first edition, text in French and Greek, original wrappers, worn, spine torn and frayed, Athens, 1926; Eikonographemene e Dodecanesos...[Illustratated History of the Dodecanese], vol.1 only, text in Greek, inscribed by the author to Robert Byron in Greek at head of title, original cloth, damp-stained, Athens, 1930 § § Daily Review of the Foreign Press issued by the General Staff, War Office. Special Greek Supplement dealing with the Régime under Constantine, one of 200 copies, double column, stapled, January 1918 § Lawson (J.C.) Tales of Aegean Intrigue, first edition, John Mavrogordato's copy with his signature in Greek, original cloth, spine slightly faded, 1920, some maps, plates and illustrations; and c.15 others, pamphlets etc., on modern Greece including a second edition of the first with loosely-inserted signed photographic portrait of the author, an offprint of an article on 'The Balkan Situation' by Byron as "Balcanicus" for The Political Quarterly 1933, and several parliamentary reports concerning Greece, particularly the revolution in October 1862 and the election of Prince William of Denmark as King of Greece, v.s. (c.20)⁂ In 1925 Byron's first travels took him to Greece, a country for which he had a passionate admiration and where, as a member of the family of Lord Byron, he was well received. He published a number of works on late Hellenism of which The Byzantine Achievement of 1920 is the most satisfying, but this group of items shows his additional interest in the modern state of Greece.Dr Skevos Zervos (1875-66) was a surgeon, a traditional free naked sponge-diver, and benefactor to Greece. The first work concerns events leading up to the transfer of sovereignty of the Dodecanese from Turkey to Italy at the Treaty of Lausanne in 1923. In 1919 Skevos had attended the Paris Peace Conference with the Greek politician Eleftherios Venizelos in an attempt to regain the Dodecanese and he was present when the United Nations officially returned the region to Greece in 1948. The third item records press reports on the Greek White Book, Venizelos's speech of August 26th 1917, and the evacuation of Roupel. The last is an account of a Naval Intelligence Officer's time in Crete with the RNVR in World War I.

NO RESERVE Suffrage movement.- Pankhurst (E. Sylvia) The Home Front: a Mirror to Life in England during the World War, first edition, half-title, portrait frontispiece, plates, ex-library with occasional ink-stamps, one or two short marginal tears, abrasion mark to front free endpaper where label removed, modern cloth, 8vo, 1932.

London.- Dugdale (Sir William) The History of St. Pauls Cathedral in London, 3 parts in 1, first edition, engraved portrait frontispiece and 14 engraved plates by Hollar, 12 folding or double-page, 2 with tears (repaired), 30 engraved illustrations (29 full-page), title in red and black, lacking A1 (blank), small stain to title, occasional off-setting and faint spotting, new endpapers, later-calf, rebacked, a little rubbed, [Wing D2482; Pforzheimer 341], folio, Tho. Warren, 1658.

Motor Racing.- Boddy (William ) The History of Brooklands Motor Course, first edition, first impression, signed by the author on half-title, portrait frontispiece, black and white plates, light foxing to half-title, title and frontispiece, otherwise clean, original cloth, dust-jacket, covers lightly soiled, spine and folds toned, 4to, 1957.

NO RESERVE Birds.- Meinertzhagen (Colonel R.) Nicoll's Birds of Egypt, 2 vol., first edition, half-titles, portrait frontispiece, 3 folding colour maps, plates and illustrations, earlier bookplate of Andrew Wauchope of Niddrie to vol. 1., original cloth, gilt, slight bumping to corners and extremities, 4to, 1930.

Botany.- [Darwin (Robert W.)] Principia Botanica: Or, a Concise and Easy Introduction to the Sexual Botany of Linnæus, third edition, ink signature to title, ex-library with occasional ink-stamps, spotting, later morocco-backed boards, library blind-stamp to upper cover, slight bumping to spine extremities, Newark, 1810 § Darwin (Erasmus) The Botanic Garden, a Poem, in Two Parts ..., engraved portrait, 9 engraved plates, chart, advertisements at beginning, ink signature to title, 1824, bound before, The Temple of Nature; or, the Origin of Society: a poem, half-title, advertisement at end, 1824, together 2 works in 1, spotting, ex-library with bookplate, contemporary morocco-backed boards, small paper label to upper cover, rubbed, small loss to spine extremities, 8vo (2)

Venice.- Vianoli (Alessandro Maria) Historia Veneta, vol.1 only (of 2, the second published in 1684), engraved title vignette, portrait of the dedicatee Luigi Contarini, and numerous oval portraits in the text, woodcut head- and tail-pieces and decorative initials, errata f. at end, occasional spotting or light staining, lightly browned, loose in contemporary vellum over boards, vellum to front cover lifting away, lightly soiled, 4to, Venice, Giovanni Giacomo Hertz, 1680.

NO RESERVE Choiseul (Étienne Francois, Duc de) Mémoires..., 2 vol. in 1, first edition, Dr.Rohan Butler's copy with his ink signature at beginning and pencil notes to rear endpapers, light foxing or soiling to first and last leaves, engraved bookplate of George Simon Earl Harcourt, contemporary half calf, red roan label, rubbed, Chanteloup and Paris, Buisson, 1790 § Maugras (Gaston) La Disgrace du Duc et de la Duchesse de Choiseul, heliogravure portrait, plates, one or two leaves becoming loose, bookplate of Hon. Hew Dalrymple, contemporary half vellum, spine gilt, Paris, 1903; and 4 others including 2 more by Maugras, 8vo (6)⁂ The Duc de Choiseul (1719-85) was a French military officer, diplomat and statesman, who was at times Foreign Minister for France and influential in rebuilding France following their defeat against the British in the Seven Years' War.

NO RESERVE Picot (Jean) Histoire de Genève, 3 vol., first edition, folding engraved map, contemporary half calf, spines gilt (vol.3 torn and repaired), slightly worn at head, Geneva, 1811 § Haussonville (Comte d') Histoire de la Réunion de la Lorraine a la France, 4 vol., notes by Dr.Rohan Butler tipped in at end of vol.4, some light browning or staining, contemporary half morocco, Paris, 1854-59 § D'Arneth (A.) & A.Geffroy, editors. Marie-Antoinette. Correspondance Secrète entre Marie-Thérèse et le Cte de Mercy-Argenteau..., 3 vol., second edition, contemporary morocco-backed boards, one spine reinforced at head, Paris, 1875 § Lescure (M. de, editor) Correspondance Complète de la Marquise du Deffand, 2 vol., engraved portrait frontispieces, modern cloth, Paris, 1865, all with signature of Dr. Rohan Butler, the last two ex-library copies with stamps, all a little rubbed; and 15 others, continental history, mostly French, 8vo (27)

English School (18th/19th century) Portrait of a seated gentleman (believed to be Arthur Wellesley, unsigned, oil on canvas.73cm x 62cm (28.75in x 24.5in)Condition report:The painting is in fair, restored condition. The painting has been re-lined. Under UV light there is evidence of repairs and overpainting. The varnish has yellowed universally and the surface appears to be dirty. There is extensive craquelure and cracking across the surface of the painting. The canvas appears slack and there are stretcher marks visible running parallel to the edges of the canvas. There is a dint in the surface of the canvas to the right of the head. The painting is ornately framed but not glazed. The frame has some knocks and losses.

Henry Wright Kerr R.S.A., R.S.W. (Scottish 1857-1936) Portrait of a gentleman, signed, watercolour.70cm x 53cm (27.5in x 20.75in)Condition report:The painting is in very good, original condition with strong colours. The painting is ornately framed and glazed. The frame has some minor knocks and losses commensurate with age.

A portrait miniature in watercolour, of oval form, within a blue enamel locket setting, in a fitted case/frame by Louis Saul Langeier, 80, Princess St, Edinburgh, length 10.5cm. With unassociated miniature locket.10.5cmCondition report: Overall condition good to fairSome wear to enamel at surmount, some wear to gold plating on back of locket, scratches in keeping with ageFitted case worn and with some losses

British School (19th/20th century) Four female portrait miniatures, all unsigned, watercolour on ivory, set in original leather case.each 5.5cm x 4.5cm (2.25in x 1.75in)Condition report:The miniatures are all in very good, original condition with no obvious faults to report. Each miniature is framed and glazed. The leather case has some minor scuffs and scratches commensurate with age.

Inscribed on original label verso, oval, miniature, watercolour on ivory.9cm x 7cm (3.5in x 2.75in)Footnote: * Sarah Biffin was born without arms or vestigial legs and was only 94 cm high. At a young age she was contracted under the service of a showman named Emmanuel Dukes, who presented her at fairs and sideshows as an attraction. Mr Dukes taught Miss Biffin how to paint, holding the paintbrush in her mouth, originally in order to increase her appeal for the public who came to watch her. However, she soon became a talented artist, and a demand grew for her work, which initially consisted of mainly landscapes and portrait miniatures. During her appearance at St. Bartholomew’s Fair in 1808, the Earl of Morton paid Miss Biffin a visit. He was so impressed with her skill at draughtsmanship that he sponsored Sarah and arranged private lessons for her by the Royal Academy painter, William Craig. Her popularity grew and she was accepted into the Royal Academy and awarded a medal by The Society of Artists in 1821. She was commissioned by the Royal Family to produce their portraits in miniature, including Queen Victoria. She was even mentioned by Charles Dickens in Nicholas Nickleby and Martin Chuzzlewit. After her patron the Earl of Morton passed away, Queen Victoria awarded her a civil pension, and she retired to Liverpool.Condition report: The miniature is in good, restored condition. There are some areas of paint loss across the miniature with some areas of overpainting on the jacket of the officer. The miniature is laid onto a backing card. The miniature is ornately framed and glazed. The frame has some knocks and losses.

A miniature portrait of a young lady in late Victorian dress, watercolour on ivory, circa 1900, diameter 7.5cms [piece missing from right hand side], along with a similar period miniature of a lady in 18th century dress, watercolour on ivory, within a dark metal ornate frame with marquisite leaves and glass gemstone groups,indistinct signature to right hand lower half, Image width 5.3cms H 6.8 cms [2 stones missing] [2]

English school, 19th century, portrait of a lady in a lace bonnet, oil on canvas, 59 x 49 cmVarious holes and repairs to the canvas, see image