Simon Laurie Bottle and Fish, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections.
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Max Renneisen Bikini No.1, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality. Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.
Max Renneisen Bikini No.2, 2020 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality. Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.
Max Renneisen Bikini No.3, 2020 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Max Renneisen is a German painter based in Berlin. It is vital to his paintings and drawings to build on the legacy of the Old Masters and to explore the painterly possibilities of the imitation of nature in the light of modern imagery. Working in a range of media and formats, from small drawings on paper to large-scale oil paintings on canvas, Max Renneisen is particularly concerned with general issues such as human relationship with nature and the relationship between idealand reality. Max Renneisen was born in Hamburg in 1977. He first studied Architecture at Bauhaus-University, Weimar, before he changed to History of Art at Humboldt-University of Berlin and concluded his studies with a Master's degree. Numerous journeys took him to the most important museums and galleries in Europe, where he studied the works of Diego Velázquez, Peter Paul Rubens, Jusepe de Ribera, Frans Hals and Joshua Reynolds as well as those of Francisco de Goya and Gustave Courbet. He lives and works with his partner visual artist Katharina Renneisen.
Amy Bessone Small Refuge 1, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?"
Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses".
 Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California,
Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). 
Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Amy Bessone Small Refuge 2, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?"
Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses".
 Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California,
Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). 
Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Amy Bessone Small Refuge 3, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?"
Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses".
 Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California,
Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). 
Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Richard Bawden Jessie at Home, 2020 Pen and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.
Amy Bessone Small Refuge 4, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) The work of American artist Amy Bessone draws on representations of the female figure throughout history. Described by Bessone as "feminine archetypes", these subjects form a central component of her paintings and sculptures, and reflect a range of sources, including ancient marble nudes, Renaissance reliefs and personal souvenirs. As the focal point of her evocative and playful landscapes, the artist's longstanding engagement with the female form relates to her desire to develop an artistic practice that is accessible. As she has commented, "what is more universally relatable than the human body?"
Bessone's meditations are informed by an interest to subvert existing portrayals of women in the cultural sphere, and the artist is equally passionate about citing art historical tropes which may appear in opposition to contemporary feminist ideals. Found objects are another key aspect of Bessone's practice. The items she cites within her work, especially in relation to her small-scale figurines and ceramic works, have been termed by Bessone as her "muses".
 Bessone was born in 1970 in New York, USA. She studied in Paris and Amsterdam from 1989-1995, earning a BFA from Parsons Paris School of Design, and received further education at De Ateliers, Amsterdam, The Netherlands. The artist lives and works in Los Angeles, California,
Recent exhibitions include All of Them Witches, Deitch Projects, Los Angeles, California, USA (2020); Demifigures, La Loma Projects, Pasadena, California, USA (2020); Yarrow Pickers, Harper's Apartment, New York, USA (2020); Paint, Porcelain and Pulp: Amy Bessone, Francesca DiMattio, and Natalie Frank, Salon 94, New York (2019), Reclamation Island, The Pit, Los Angeles (2019), NO MAN'S LAND: Women Artists from the Rubell Family Collection, National Museum of Women in the Arts, Washington D.C. (2016) which toured from the Rubell Family Collection, Miami (2015), and Amy Bessone, Kunsthall Stavanger, Stavanger (2014). 
Bessone's work features in a number of museum collections including Museum of Contemporary Art, Los Angeles, and Frac Bretagne, Châteaugiron. Her work has also been acquired by foundations, including Rennie Museum, Vancouver, and Rubell Family Collection, Miami. Amy Bessone is represented by Alison Jacques Gallery, London and Salon 94, New York.
Guglielmo Alfarone Reneque, 2020 Graphite and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My work draws the viewers in, shakes them, screams at them with demanding subjects. The figures portrayed staring intensely. Each subject is deeply engaged with the own history, present but at the same time detached. They are the youth of a disenchanted world, proudly brandishing their own disillusions to a distressed observer. The young faces depicted embrace several feelings; through these emotions the characters affirm their genuine presence (their Da-Sein) only in the present moment since they have no yesterday and no tomorrow, no drive nor ambition." Born in Italy, Guglielmo Alfarone has participated in national and international exhibitions since the age of 17. Among others, he has taken part at the Venice Art Biennale and performed one of his «live paintings» in the gardens of the Guggenheim Museum of Venice. After graduating with a MA from the Venice Academy of Fine Arts in 2009, he chose to further develop his work in London where he now lives and work. The list of solo show include New York, Milano and London, as well as group-shows across Europe. Among exhibitions his projects includes official brands campaign such Philips Modern Man.
Guglielmo Alfarone Sarah, 2020 Graphite and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My work draws the viewers in, shakes them, screams at them with demanding subjects. The figures portrayed staring intensely. Each subject is deeply engaged with the own history, present but at the same time detached. They are the youth of a disenchanted world, proudly brandishing their own disillusions to a distressed observer. The young faces depicted embrace several feelings; through these emotions the characters affirm their genuine presence (their Da-Sein) only in the present moment since they have no yesterday and no tomorrow, no drive nor ambition." Born in Italy, Guglielmo Alfarone has participated in national and international exhibitions since the age of 17. Among others, he has taken part at the Venice Art Biennale and performed one of his «live paintings» in the gardens of the Guggenheim Museum of Venice. After graduating with a MA from the Venice Academy of Fine Arts in 2009, he chose to further develop his work in London where he now lives and work. The list of solo show include New York, Milano and London, as well as group-shows across Europe. Among exhibitions his projects includes official brands campaign such Philips Modern Man.
Guglielmo Alfarone Cici, 2020 Graphite and Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My work draws the viewers in, shakes them, screams at them with demanding subjects. The figures portrayed staring intensely. Each subject is deeply engaged with the own history, present but at the same time detached. They are the youth of a disenchanted world, proudly brandishing their own disillusions to a distressed observer. The young faces depicted embrace several feelings; through these emotions the characters affirm their genuine presence (their Da-Sein) only in the present moment since they have no yesterday and no tomorrow, no drive nor ambition." Born in Italy, Guglielmo Alfarone has participated in national and international exhibitions since the age of 17. Among others, he has taken part at the Venice Art Biennale and performed one of his «live paintings» in the gardens of the Guggenheim Museum of Venice. After graduating with a MA from the Venice Academy of Fine Arts in 2009, he chose to further develop his work in London where he now lives and work. The list of solo show include New York, Milano and London, as well as group-shows across Europe. Among exhibitions his projects includes official brands campaign such Philips Modern Man.
Kristy M Chan Covering Both Ears with One Hand, 2020 Watercolour, Oil and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Kristy Chan is a contemporary artist whose works are dense with information often exploring odd depictions of the environment. Kristy's paintings reflect on her upbringing in Hong Kong. Her hologram-like works explore the notion of displacement, movement, and change. Kristy's recent works are a documentation of the visuals and sensations during her time spent with that piece of work. She often describes certain uncanny qualities of her works as "stolen realities" in her surroundings. Shapes and forms are imported into her images, leaving their original meaning behind. Kristy Chan was born in Hong Kong, 1997. She studied at Slade School of Fine Art, London 2016-2019 followed by Sotheby's Institute of Art, London 2019-2020. She lives and works in London.
Kristy M Chan Makeshift Kaleidoscope, 2020 Watercolour, Oil and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Kristy Chan is a contemporary artist whose works are dense with information often exploring odd depictions of the environment. Kristy's paintings reflect on her upbringing in Hong Kong. Her hologram-like works explore the notion of displacement, movement, and change. Kristy's recent works are a documentation of the visuals and sensations during her time spent with that piece of work. She often describes certain uncanny qualities of her works as "stolen realities" in her surroundings. Shapes and forms are imported into her images, leaving their original meaning behind. Kristy Chan was born in Hong Kong, 1997. She studied at Slade School of Fine Art, London 2016-2019 followed by Sotheby's Institute of Art, London 2019-2020. She lives and works in London.
Kristy M Chan Reaching the Top Cupboard, 2020 Watercolour, Oil and Charcoal on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Kristy Chan is a contemporary artist whose works are dense with information often exploring odd depictions of the environment. Kristy's paintings reflect on her upbringing in Hong Kong. Her hologram-like works explore the notion of displacement, movement, and change. Kristy's recent works are a documentation of the visuals and sensations during her time spent with that piece of work. She often describes certain uncanny qualities of her works as "stolen realities" in her surroundings. Shapes and forms are imported into her images, leaving their original meaning behind. Kristy Chan was born in Hong Kong, 1997. She studied at Slade School of Fine Art, London 2016-2019 followed by Sotheby's Institute of Art, London 2019-2020. She lives and works in London.
Miles Regis Golden Eye, 2020 Acrylic and Spraypaint on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) In the life and studio of LA-based, Trinidad-born artist Miles Regis, every action is an opportunity for creative self-expression. Prolific in both fine art art and fashion design, Regis freely swaps the materials and languages of each to enrich the other. His large-scale mixed media paintings on canvas and linen incorporate dimensional collage elements of denim, buttons, leather, printed matter, sequins, and patches of eclectically sourced found textiles along with his dextrous, gestural, richly hued abstract and figurative painting techniques. Aggressively hopeful and humanistic, Regis embraces a storytelling stance in his stylized renditions of fundamental scenes of love, loss, freedom, survival, activism, and living history. Regis' work is in the permanent collection of Intel Corporation, California African American Museum, and Senegal's La Musee Borindar; and has appeared in association with CNN, Art Basel Miami, The Coachella Music and Art Festival, CCH Pounder, Million Dollar Listing, The Marley Family, Josh Flagg, American Rag Cie, Art For Amnesty, Campaign for Black Male Achievement, Manifest Justice, Adobe, and Tonny Sorenson. Regis has exhibited at Art Basel Miami and The Coachella Arts And Music Festival and has been featured on CNN, the Huffington Post, Extra TV and Ebony Magazine.
Miles Regis Dem September Eyes, 2020 Acrylic and Spraypaint on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) In the life and studio of LA-based, Trinidad-born artist Miles Regis, every action is an opportunity for creative self-expression. Prolific in both fine art art and fashion design, Regis freely swaps the materials and languages of each to enrich the other. His large-scale mixed media paintings on canvas and linen incorporate dimensional collage elements of denim, buttons, leather, printed matter, sequins, and patches of eclectically sourced found textiles along with his dextrous, gestural, richly hued abstract and figurative painting techniques. Aggressively hopeful and humanistic, Regis embraces a storytelling stance in his stylized renditions of fundamental scenes of love, loss, freedom, survival, activism, and living history. Regis' work is in the permanent collection of Intel Corporation, California African American Museum, and Senegal's La Musee Borindar; and has appeared in association with CNN, Art Basel Miami, The Coachella Music and Art Festival, CCH Pounder, Million Dollar Listing, The Marley Family, Josh Flagg, American Rag Cie, Art For Amnesty, Campaign for Black Male Achievement, Manifest Justice, Adobe, and Tonny Sorenson. Regis has exhibited at Art Basel Miami and The Coachella Arts And Music Festival and has been featured on CNN, the Huffington Post, Extra TV and Ebony Magazine.
Richard Bawden Sea Shell, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.
Gordon Close Head 1, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Gordon Close trained as a sculptor and his work, which is now predominantly paintings and drawings, has originated from the working drawings he made for life-sized figure compositions; sculptures that were fashioned from traditional materials referring to, and making heavy use of, classical imagery. Now the drawings and paintings are of a world that embraces the domestic and everyday as well as historic (personal and in the wider sense), folklore and myth. Narratives inhabiting a familiar timeless interior or pastoral landscape often contain subtle references to the earlier sculptures. 1978-1982, BA Fine Art (Hons) Sunderland Polytechnic College of Art & Design. Gordon Close received Northern Arts Awards in 1983, 1984 and 1986. He taught at Sunderland University College of Art & Design from 1993 to 1999 and has exhibited at: Royal Academy Summer Exhibition, Mall Galleries, Aspex Gallery, Portsmouth; Yorkshire Sculpture Park; Broadgate Arena, London; Queen's Hall, Hexham; Blackheath Gallery, London; Sally Hunter Fine Art, London.
Gordon Close Tools, Whippet and Green Cracket, 2020 Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Gordon Close trained as a sculptor and his work, which is now predominantly paintings and drawings, has originated from the working drawings he made for life-sized figure compositions; sculptures that were fashioned from traditional materials referring to, and making heavy use of, classical imagery. Now the drawings and paintings are of a world that embraces the domestic and everyday as well as historic (personal and in the wider sense), folklore and myth. Narratives inhabiting a familiar timeless interior or pastoral landscape often contain subtle references to the earlier sculptures. 1978-1982, BA Fine Art (Hons) Sunderland Polytechnic College of Art & Design. Gordon Close received Northern Arts Awards in 1983, 1984 and 1986. He taught at Sunderland University College of Art & Design from 1993 to 1999 and has exhibited at: Royal Academy Summer Exhibition, Mall Galleries, Aspex Gallery, Portsmouth; Yorkshire Sculpture Park; Broadgate Arena, London; Queen's Hall, Hexham; Blackheath Gallery, London; Sally Hunter Fine Art, London.
Gordon Close Beacon Hill, 2020 Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Gordon Close trained as a sculptor and his work, which is now predominantly paintings and drawings, has originated from the working drawings he made for life-sized figure compositions; sculptures that were fashioned from traditional materials referring to, and making heavy use of, classical imagery. Now the drawings and paintings are of a world that embraces the domestic and everyday as well as historic (personal and in the wider sense), folklore and myth. Narratives inhabiting a familiar timeless interior or pastoral landscape often contain subtle references to the earlier sculptures. 1978-1982, BA Fine Art (Hons) Sunderland Polytechnic College of Art & Design. Gordon Close received Northern Arts Awards in 1983, 1984 and 1986. He taught at Sunderland University College of Art & Design from 1993 to 1999 and has exhibited at: Royal Academy Summer Exhibition, Mall Galleries, Aspex Gallery, Portsmouth; Yorkshire Sculpture Park; Broadgate Arena, London; Queen's Hall, Hexham; Blackheath Gallery, London; Sally Hunter Fine Art, London.
Gordon Close Along the Walk, 2020 Oil and Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Gordon Close trained as a sculptor and his work, which is now predominantly paintings and drawings, has originated from the working drawings he made for life-sized figure compositions; sculptures that were fashioned from traditional materials referring to, and making heavy use of, classical imagery. Now the drawings and paintings are of a world that embraces the domestic and everyday as well as historic (personal and in the wider sense), folklore and myth. Narratives inhabiting a familiar timeless interior or pastoral landscape often contain subtle references to the earlier sculptures. 1978-1982, BA Fine Art (Hons) Sunderland Polytechnic College of Art & Design. Gordon Close received Northern Arts Awards in 1983, 1984 and 1986. He taught at Sunderland University College of Art & Design from 1993 to 1999 and has exhibited at: Royal Academy Summer Exhibition, Mall Galleries, Aspex Gallery, Portsmouth; Yorkshire Sculpture Park; Broadgate Arena, London; Queen's Hall, Hexham; Blackheath Gallery, London; Sally Hunter Fine Art, London.
Corinna Button Away from the Flock II, 2020 Oil and Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Renowned painter-printmaker Corinna Button RE explores themes of feminine identity, her distinct practice being defined through her application of texture and patterning. Female portraits emerge through layers of paint and mixed media, with a rich yet playful sense of becoming; imprints of decorative fabric meld the language of painting and printmaking into a spontaneous and energetic exploration of movement and identity. Button employs a strong, confident use of line, reminiscent of the Cubist movement, to give form to her female studies. Button says, "My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface." After completing her Fine Art degree at Leeds, Button went on to study an MA in Printmaking in London. Her work is held in many high-profile collections including the V&A Museum in London, Ashmolean Museum in Oxford, Jiangsu Art Museum in China and the BBC. Button also exhibits regularly in America and her work is featured in several publications including 'Extraordinary Sketchbooks' and 'Printmaker's Secrets' (Published by A&C Black). She is a respected member of the Royal Society of Painter Printmakers.
Corinna Button Longing III, 2020 Acrylic, Ink and Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Renowned painter-printmaker Corinna Button RE explores themes of feminine identity, her distinct practice being defined through her application of texture and patterning. Female portraits emerge through layers of paint and mixed media, with a rich yet playful sense of becoming; imprints of decorative fabric meld the language of painting and printmaking into a spontaneous and energetic exploration of movement and identity. Button employs a strong, confident use of line, reminiscent of the Cubist movement, to give form to her female studies. Button says, "My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface." After completing her Fine Art degree at Leeds, Button went on to study an MA in Printmaking in London. Her work is held in many high-profile collections including the V&A Museum in London, Ashmolean Museum in Oxford, Jiangsu Art Museum in China and the BBC. Button also exhibits regularly in America and her work is featured in several publications including 'Extraordinary Sketchbooks' and 'Printmaker's Secrets' (Published by A&C Black). She is a respected member of the Royal Society of Painter Printmakers.
Corinna Button Preparing a Face IX, 2020 Acrylic, Oil and Mixed Media on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Renowned painter-printmaker Corinna Button RE explores themes of feminine identity, her distinct practice being defined through her application of texture and patterning. Female portraits emerge through layers of paint and mixed media, with a rich yet playful sense of becoming; imprints of decorative fabric meld the language of painting and printmaking into a spontaneous and energetic exploration of movement and identity. Button employs a strong, confident use of line, reminiscent of the Cubist movement, to give form to her female studies. Button says, "My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface." After completing her Fine Art degree at Leeds, Button went on to study an MA in Printmaking in London. Her work is held in many high-profile collections including the V&A Museum in London, Ashmolean Museum in Oxford, Jiangsu Art Museum in China and the BBC. Button also exhibits regularly in America and her work is featured in several publications including 'Extraordinary Sketchbooks' and 'Printmaker's Secrets' (Published by A&C Black). She is a respected member of the Royal Society of Painter Printmakers.
Corinna Button Nesting III, 2020 Oil and Mixed Media on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Renowned painter-printmaker Corinna Button RE explores themes of feminine identity, her distinct practice being defined through her application of texture and patterning. Female portraits emerge through layers of paint and mixed media, with a rich yet playful sense of becoming; imprints of decorative fabric meld the language of painting and printmaking into a spontaneous and energetic exploration of movement and identity. Button employs a strong, confident use of line, reminiscent of the Cubist movement, to give form to her female studies. Button says, "My aim is not to create exact likenesses, but rather to create prototypical or archetypal figures whose personality or identity is both partly exposed and partly hidden beneath the surface." After completing her Fine Art degree at Leeds, Button went on to study an MA in Printmaking in London. Her work is held in many high-profile collections including the V&A Museum in London, Ashmolean Museum in Oxford, Jiangsu Art Museum in China and the BBC. Button also exhibits regularly in America and her work is featured in several publications including 'Extraordinary Sketchbooks' and 'Printmaker's Secrets' (Published by A&C Black). She is a respected member of the Royal Society of Painter Printmakers.
Joe Bloom Flying Through, 2020 Oil Paint on Paper, Collaged on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Joe Bloom is a painter and filmmaker born in 1995. People, and notions surrounding their relationships with themselves and others are central to both his painting and film practice, between which he splits his time and as of recent has been finding ways to inform one another, through ventures into more experimental moving image. Born in 1995, Joe Bloom is a painter and filmmaker who since graduating from the Glasgow School of art (BA Painting) in 2016 has been living and working in his home town of London. During this time he has exhibited in a handful of group shows and made a number of short films including a recent documentary commission for BBC3 titled 'Making friends with a stranger changed my life'. In January 2020 he had his first solo show, titled 'Mid-Way' at the Soho Revue, Brewer Street.
Joe Bloom Opener, 2020 Oil Paint on Paper, Collaged on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Joe Bloom is a painter and filmmaker born in 1995. People, and notions surrounding their relationships with themselves and others are central to both his painting and film practice, between which he splits his time and as of recent has been finding ways to inform one another, through ventures into more experimental moving image. Born in 1995, Joe Bloom is a painter and filmmaker who since graduating from the Glasgow School of art (BA Painting) in 2016 has been living and working in his home town of London. During this time he has exhibited in a handful of group shows and made a number of short films including a recent documentary commission for BBC3 titled 'Making friends with a stranger changed my life'. In January 2020 he had his first solo show, titled 'Mid-Way' at the Soho Revue, Brewer Street.
Richard Bawden Duke of York for Ever, 2020 Watercolour on paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.
Joe Bloom Anti Vaxxer, 2020 Oil Paint on Paper, Collaged on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Joe Bloom is a painter and filmmaker born in 1995. People, and notions surrounding their relationships with themselves and others are central to both his painting and film practice, between which he splits his time and as of recent has been finding ways to inform one another, through ventures into more experimental moving image. Born in 1995, Joe Bloom is a painter and filmmaker who since graduating from the Glasgow School of art (BA Painting) in 2016 has been living and working in his home town of London. During this time he has exhibited in a handful of group shows and made a number of short films including a recent documentary commission for BBC3 titled 'Making friends with a stranger changed my life'. In January 2020 he had his first solo show, titled 'Mid-Way' at the Soho Revue, Brewer Street.
Joe Bloom Solo Goer, 2020 Oil Paint on Paper, Collaged on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Joe Bloom is a painter and filmmaker born in 1995. People, and notions surrounding their relationships with themselves and others are central to both his painting and film practice, between which he splits his time and as of recent has been finding ways to inform one another, through ventures into more experimental moving image. Born in 1995, Joe Bloom is a painter and filmmaker who since graduating from the Glasgow School of art (BA Painting) in 2016 has been living and working in his home town of London. During this time he has exhibited in a handful of group shows and made a number of short films including a recent documentary commission for BBC3 titled 'Making friends with a stranger changed my life'. In January 2020 he had his first solo show, titled 'Mid-Way' at the Soho Revue, Brewer Street.
Gordon Dalton Heartbreak Hill, 2020 Acyrlic and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "My paintings are made up of multiple landscapes, viewpoints, memories. These are places I've lived, or imagined. There are about longing for somewhere, something or someone. A romantic notion ground into the messy business of painting." Dalton has earned an international reputation for his resplendently coloured paintings. He holds his MA, Fine Art, University of Northumbria, and an honours BA, Fine Art, University of Wales, Cardiff. Select residencies include URRA, Buenos Aires, Argentina, 2016 and the Chapter Art Gallery, Cardiff, 2007. Select solo exhibitions: Trade Gallery, Nottingham; Bay Art, Cardiff; Last Gallery, Llangadog; Bank Gallery, Los Angeles; Keith Talent, London; Marksman Gallery, Reading; Castlefield Gallery, Manchester; Moot Gallery, Nottingham. Select group shows: Newlyn Art Gallery, Penzance; Contemporary British Painting Prize, Riverside Gallery, Richmond; Beep Wales Painting Prize, Swansea (touring); Del Infinito Art Gallery, Buenos Aires; City Limits, Oriel Canfas, Cardiff; National Eisteddfod of Wales, Abergavenny; Exeter Contemporary Open, 2015, Exeter Phoenix; Bankley Gallery & Studios, Manchester; Transition, London; Syson, Nottingham; Elysium Gallery, Swansea; Bank Art, Los Angeles; Galerie Skuc, Ljubljana, Slovenia; Cynthia Broan Gallery, New York; Moravian Gallery, Brno, Czech Republic; Contemporary Art Centre, Vilnius, Lithuania; ICA, London; MIMA, Middleborough; City Gallery, Leics, National Museum of Wales, Cardiff; North Gallery for Contemporary Art, Sunderland; Royal Academy of Art, 2019 London, BEEP Painting Prize 2020.
CB Hoyo NO, 2020 Water, Canvas, Wax Crayon, Acrylic, Wax, Oil, Pasted on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) CB HOYO (1995, Havana, Cuba) is an Europe-based artist whose career has been on the steady rise since 2017. After his massive success on Instagram, the self-taught artist is constantly in the public eye with important worldwide exhibitions. CB Hoyo's skillfully composed paintings are often spiced with a splash of humor and celebrate life itself in a fresh, colorful, and fun way. In an era shaped by social media and fake news, and where artistic authenticity is highly questionable, CB Hoyo aims to create awareness of the falsity of contemporary society, pointing out that art should always be a way of self expression and joy.
Heri Dono Chatting about Pandemic, 2020 Acrylic and Chinese Ink on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Heri Dono is a contemporary Indonesian artist known for his inventive mélange of traditional folk art with contemporary imagery. Throughout his practice, he combines diverse source material such as wayang kulit (shadow puppets), Western pop culture, and socio-political issues in paintings and installations. Born on June 12, 1960 in Jakarta, Indonesia, Dono went on to study at the Indonesian Art Institute in Yogyakarta. His works seek to disrupt and contradict the mainstream narratives of Western art and its control over international art practices. Dono represented Indonesia in the 56th Venice Biennale in 2015 and his works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropen museum in Amsterdam, among others. He lives and works in Yogyakarta, Indonesia. I create works by combining concepts of Animism and Animated Cartoons. All the most impossible possibilities of life in this world can be illustrated in a work of art."Semar as an Angel" depicts the story of a Semar figure in Java who is actually a godnamed Ismoyo. He incarnates as a human figure and acts as a clown. He criticized the royal officials in the kingdom and sided with the people (wong alit)."Petruk as a Clown" tells the story of Semar's brother in the Punakawan group. One day he became a king and brought humour to the Kingdom. In fact, his position was not that of a statesman."Chatting about Pandemic", is about the current situation where there is an epidemic that does not provide certainty of life. In contemplation we realize that the certainty of life is the uncertainty itself."A Security of Life" illustrates a superhero who doesn't know how to wear underwear. He wears it after wearing trousers. He doesn't realize that his genital is not covered Yogyakarta, Indonesia, 15 October 2020
Heri Dono A Security of Life, 2020 Acrylic and Chinese Ink on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Heri Dono is a contemporary Indonesian artist known for his inventive mélange of traditional folk art with contemporary imagery. Throughout his practice, he combines diverse source material such as wayang kulit (shadow puppets), Western pop culture, and socio-political issues in paintings and installations. Born on June 12, 1960 in Jakarta, Indonesia, Dono went on to study at the Indonesian Art Institute in Yogyakarta. His works seek to disrupt and contradict the mainstream narratives of Western art and its control over international art practices. Dono represented Indonesia in the 56th Venice Biennale in 2015 and his works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropen museum in Amsterdam, among others. He lives and works in Yogyakarta, Indonesia. I create works by combining concepts of Animism and Animated Cartoons. All the most impossible possibilities of life in this world can be illustrated in a work of art."Semar as an Angel" depicts the story of a Semar figure in Java who is actually a godnamed Ismoyo. He incarnates as a human figure and acts as a clown. He criticized the royal officials in the kingdom and sided with the people (wong alit)."Petruk as a Clown" tells the story of Semar's brother in the Punakawan group. One day he became a king and brought humour to the Kingdom. In fact, his position was not that of a statesman."Chatting about Pandemic", is about the current situation where there is an epidemic that does not provide certainty of life. In contemplation we realize that the certainty of life is the uncertainty itself."A Security of Life" illustrates a superhero who doesn't know how to wear underwear. He wears it after wearing trousers. He doesn't realize that his genital is not covered Yogyakarta, Indonesia, 15 October 2020
Heri Dono Semar as an Angel, 2020 Acrylic and Chinese Ink on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Heri Dono is a contemporary Indonesian artist known for his inventive mélange of traditional folk art with contemporary imagery. Throughout his practice, he combines diverse source material such as wayang kulit (shadow puppets), Western pop culture, and socio-political issues in paintings and installations. Born on June 12, 1960 in Jakarta, Indonesia, Dono went on to study at the Indonesian Art Institute in Yogyakarta. His works seek to disrupt and contradict the mainstream narratives of Western art and its control over international art practices. Dono represented Indonesia in the 56th Venice Biennale in 2015 and his works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropen museum in Amsterdam, among others. He lives and works in Yogyakarta, Indonesia. I create works by combining concepts of Animism and Animated Cartoons. All the most impossible possibilities of life in this world can be illustrated in a work of art."Semar as an Angel" depicts the story of a Semar figure in Java who is actually a godnamed Ismoyo. He incarnates as a human figure and acts as a clown. He criticized the royal officials in the kingdom and sided with the people (wong alit)."Petruk as a Clown" tells the story of Semar's brother in the Punakawan group. One day he became a king and brought humour to the Kingdom. In fact, his position was not that of a statesman."Chatting about Pandemic", is about the current situation where there is an epidemic that does not provide certainty of life. In contemplation we realize that the certainty of life is the uncertainty itself."A Security of Life" illustrates a superhero who doesn't know how to wear underwear. He wears it after wearing trousers. He doesn't realize that his genital is not covered Yogyakarta, Indonesia, 15 October 2020
Richard Bawden Cat Seat and Fountain, 2020 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Richard Bawden RWS NEAC RE is a painter, printmaker and designer working predominantly in lino, etching and watercolour. His work has a graphic, linear quality and a strong sense of craftsmanship, which translates naturally into many forms. These have included book illustration, murals for restaurants, etched glass church windows and doors, a poster for London Transport, mosaics and furniture. Born in 1936, the son of the well-known artist, Edward Bawden, R.A. Richard studied painting, printmaking and graphic design at Chelsea, St Martin's and the Royal College of Art. His paintings are drawn from life and often depict scenes of domesticity: his house, sofas, chairs, windows, cats, his garden and its birds. He is attracted by atmosphere, oddity, pattern and the austere. Focussing on these, he draws the viewer into his delightful universe. Based in Suffolk, Richard has had over fifty one man exhibitions at home and abroad; including a major retrospective at Gainsborough's House in Suffolk. He has work in Royal, public and private collections, and has taught drawing and printmaking at several London and provincial art schools. Richard is a Council member of the Royal Watercolour Society (RWS), an elected member of the Royal Society of Painter-Printmakers (RE), a member of the New English Art Club (NEAC), and a former Chairman of the Gainsborough House Print Workshop in Sudbury.
Heri Dono Petruk as a Clown, 2020 Acrylic and Chinese Ink on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Heri Dono is a contemporary Indonesian artist known for his inventive mélange of traditional folk art with contemporary imagery. Throughout his practice, he combines diverse source material such as wayang kulit (shadow puppets), Western pop culture, and socio-political issues in paintings and installations. Born on June 12, 1960 in Jakarta, Indonesia, Dono went on to study at the Indonesian Art Institute in Yogyakarta. His works seek to disrupt and contradict the mainstream narratives of Western art and its control over international art practices. Dono represented Indonesia in the 56th Venice Biennale in 2015 and his works are in the collections of the Deutsche Guggenheim in Frankfurt, the Fukuoka Art Museum in Japan, the Singapore Art Museum, the National Gallery of Australia in Canberra, and the Tropen museum in Amsterdam, among others. He lives and works in Yogyakarta, Indonesia. I create works by combining concepts of Animism and Animated Cartoons. All the most impossible possibilities of life in this world can be illustrated in a work of art."Semar as an Angel" depicts the story of a Semar figure in Java who is actually a godnamed Ismoyo. He incarnates as a human figure and acts as a clown. He criticized the royal officials in the kingdom and sided with the people (wong alit)."Petruk as a Clown" tells the story of Semar's brother in the Punakawan group. One day he became a king and brought humour to the Kingdom. In fact, his position was not that of a statesman."Chatting about Pandemic", is about the current situation where there is an epidemic that does not provide certainty of life. In contemplation we realize that the certainty of life is the uncertainty itself."A Security of Life" illustrates a superhero who doesn't know how to wear underwear. He wears it after wearing trousers. He doesn't realize that his genital is not covered Yogyakarta, Indonesia, 15 October 2020
Jonas Burgert Log, 2020 Graphite on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Jonas Burgert is a contemporary German artist working in darkly comic, large-scale paintings. He is best known for his use of animals and people as ornamentation, often portraying them in the midst of ritual acts such as in Second Day Nothing (2008). Burgert's work has been compared to Hieronymous Bosch for its fantastical and tortured imagery, and his frequent use of North African motifs, which is inspired by a period when the artist lived in Egypt. Born in 1969 in West Berlin, Germany, he graduated from the Berlin Academy of Fine Arts in 1996 with his earliest works consisting of series of fractal images created collaboratively with the artist Ingolf Keiner. Burgert's first solo exhibition was at the Produzentengalerie Hamburg in 2006, and he has since been widely shown, including solo shows at the Denver Museum of Contemporary Art in 2008 and the Blain Southern Gallery in London, in 2014. He lives and works in Berlin, Germany.
Imam Raad Gaze (Zipolite), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City. Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer. Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement. His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).
Imam Raad Gaze (Nightfall), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City. Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer. Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement. His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).
Imam Raad Gaze (Oranges on Turquoise Table), 2020 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Iman Raad (Mashhad, Iran 1979) received his MFA in Painting and Printmaking from Yale University (2017), and was the Shandaken Projects' Paint School fellow (2017-18). He is currently a resident at the Queens Museum Studio Program, and an adjunct faculty at The Cooper Union School of Art. He lives and works in New York City. Iman Raad works across a variety of media, including painting, drawing, embroidery, graphic work and performance lectures. In these diverse works, he draws on influences such as Persian painting, Mughal painting, South-Asian Truck painting and internet image culture. He combines these local references with contemporary subject matter to create his mural-like installations. Using a vivid, high key palette, altered perspective, and repetition that mimics digital glitches, the result is a riot of colour and movement that is both seductive and unsettling. Traditionally ornamental elements such as birds, fruits and flowers are recalibrated into subjects that carry narrative import and are given animate, unnatural presences. These are intertwined with social events and historical moments rendered in fantastical ways to draw in the viewer. Aside from painting, Raad is also an internationally acknowledged graphic designer, included in The Phaidon archive of five hundred designs that matter, representing the contemporary Persian graphic design movement. His recent solo exhibitions include Sargent's Daughters Gallery, New York (2021 -forthcoming), In Her Sweetest, Saddest Plight, Dastan Gallery at Frieze New York (2020), Tongue Tied, Sargent's Daughters Gallery, New York (2017) and Forty Drawings and So, Dastan Gallery, Tehran (2016). 
Recent exhibitions include group show at The Flag Art Foundation in New York (Sep 2018), Standing Still, Lying Down, As If at the Museum of Contemporary Art Detroit (MOCAD) (Oct 2018), the 9th Asia Pacific Triennial of Contemporary Art at QAGOMA Brisbane, Australia (Nov 2018), Contemporary Art from Asia, Australia and the Pacific at the Centro Cultural La Moneda, Santiago, Chile (Aug 2019), and Reflections: contemporary art of the Middle East and North Africa at the British Museum, London, UK (Dec 2020).
Michael Ajerman The Gorgon and the Lycanthrope, 2020 Coloured Pencil and Watercolour on Primed Watercolour Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Michael Ajerman was born in New York, and studied at the Corcoran School of Art and the New York Studio School. In 2003 he completed a Masters Degree at the Slade School of Art. That same year, he received the British Institute Award from the Royal Academy Summer Exhibition. He currently lives and works in London. Since then he has had solo exhibitions in the UK, Italy, USA and Israel including Fisherman, Strawberry and Devil Crab (2010) and Squash (2013) at the Transition Gallery. He has been included in numerous group exhibitions including, Kunskog at 500 Dollars, London; East Wing Collection 8 at the Courtauld Galleries; The Painting Room at the Transition Gallery; and Bomberg's Relevance at the Ben Uri Gallery.
Michael Ajerman Little Rescuer, 2020 Watercolour and Ink on Primed Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Michael Ajerman was born in New York, and studied at the Corcoran School of Art and the New York Studio School. In 2003 he completed a Masters Degree at the Slade School of Art. That same year, he received the British Institute Award from the Royal Academy Summer Exhibition. He currently lives and works in London. Since then he has had solo exhibitions in the UK, Italy, USA and Israel including Fisherman, Strawberry and Devil Crab (2010) and Squash (2013) at the Transition Gallery. He has been included in numerous group exhibitions including, Kunskog at 500 Dollars, London; East Wing Collection 8 at the Courtauld Galleries; The Painting Room at the Transition Gallery; and Bomberg's Relevance at the Ben Uri Gallery.
Tim Bavington Metabolism 1, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence. Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.
Tim Bavington Metabolism 2, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence. Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.
Alan Furneaux St. Ives Train @ Hayle Cornwall (plein air), 2020 Gouache on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Alan Furneaux was born in London in 1953. Artists such as Frost, Hitchens, Nicholson, Matisse, Klee, Picasso, Braque, to name but a few, were all early influences of his art. However, at the age of 14, he was greatly influenced by the English painter, Patrick Heron, for his simple and direct approach. Alan left Secondary Modern School at 17 and went to Reigate School of Art for two years, although he did not make art his career until much later. In 1985, Alan Furneaux moved to Brighton, finding rooms near George Hann's studio. George (who was his grandfather) was an established artist and the two men formed a mutual friendship based on discussions about Jack Kerouac, George's life as a painter, and art in general.
Tim Bavington Last Night 1, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence. Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.
Tim Bavington Last Night 2, 2020 Watercolour and Pencil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Music is the genesis of Tim Bavington's paintings. Through synthetic polymer paint, Bavington acts as a translator between the aural and the visual as he transforms guitar solos, melodies and bass lines into vertical bands of color. Tracks from bands such as The Darkness, Oasis and The Rolling Stones become vibrant bands of color, and bridge compositional concepts between seemingly unlike disciplines. Although Bavington has a method that designates sound to color and composition, the paintings are not literal translations; they remain open to intuition and decision-making, allowing for a distinct artistic presence. Tim Bavington (b. 1966, England) received his BFA from the Art Center (CA) before making the permanent move to Las Vegas, where he completed his MFA at the University of Nevada, Las Vegas (NV). His work is included in the public collections of Fredrick R. Weisman Collection (CA), Crocker Art Museum (CA), Honolulu Art Museum (HI), Albright-Knox Art Gallery (NY), Creative Artists Agency (CA), Joslyn Art Museum (NE), Museum of Contemporary Art, San Diego (CA), Portland Art Museum (OR), United Talent Agency (CA), Vivendi Universal (CA), Palm Springs Art Museum (CA), Denver Art Museum (CO), The Museum of Modern Art (NY), Nora Eccles Harrison Museum of Art, Utah State University (UT) and the McNay Art Museum (TX). He has exhibited at LeeAhn Gallery (Daegu), Jack Shainman Gallery (NY), Galerie Jean-Luc & Takako Richard (Paris), Space Gallery (London), Museum of Fine Arts (MA), Laguna Art Museum (CA), Museo de Arte Contemporaneo de Buenos Aires, and the Texas Fine Arts Center (TX) among others.
Frances Borden FBO1, 2020 Oil on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Frances Borden (b.1970) studied Fine Art (Painting) for a BA (Hons) at Chelsea College of Art and Design. She has been selected for the BP Portrait Award on six occasions, and been a prize winner on three (1996, 1998 and 2000), coming second in 1998. She has also received prizes in the NatWest Prize for Art (1995 and 1996), Hunting Art Prizes (1997 and 1999) and The Wells Art Contemporary Prize (2012). She has exhibited widely and lives in Devon, UK. "I love painting because its truthfulness never fails or diminishes in any measure, is obvious and directly expressed right at the heart of the work, yet still capable of being overlooked."
Lucy Austin At Sea, 2020 Acrylic and Collage Signed verso 10 x 15cm (3¾ x 5¾ in.) Lucy is originally from Yorkshire; after Art College in Harrogate she left to study in London, then Manchester and in Cheltenham where she was Printmaking Fellow for a year. She settled in the South West twenty years ago and has been based in her Bristol studio since then. Here she has developed her own particular brand of abstraction, which uses imagery from the landscape and her imagination. Her work is a visually rich mixture of drawing, collage and painting. Her work is recognised nationally and has been included in The Jerwood Drawing Prize, The Sunday Times Watercolour Competition and The Summer Exhibition at The Royal Academy in London. In 2016 she was elected Academician at the Royal West of England Academy, Bristol.
Lucy Austin Adrift, 2020 Acrylic and Collage Signed verso 10 x 15cm (3¾ x 5¾ in.) Lucy is originally from Yorkshire; after Art College in Harrogate she left to study in London, then Manchester and in Cheltenham where she was Printmaking Fellow for a year. She settled in the South West twenty years ago and has been based in her Bristol studio since then. Here she has developed her own particular brand of abstraction, which uses imagery from the landscape and her imagination. Her work is a visually rich mixture of drawing, collage and painting. Her work is recognised nationally and has been included in The Jerwood Drawing Prize, The Sunday Times Watercolour Competition and The Summer Exhibition at The Royal Academy in London. In 2016 she was elected Academician at the Royal West of England Academy, Bristol.
Bill Adams Untitled, 2020 Ballpoint Pen and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Bill Adams is an American Post-war & Contemporary artist was born in 1957. He studied Fine Art at Indiana University, Bloomington in 1986, and his work has been featured in numerous exhibitions at key galleries and museums, including the White Columns and the 56 Henry. Bill Adams is known for his obsessive drawings in ballpoint pen that offer a roster of furry creatures in simple perspectival landscapes. While they are not anatomically aligned with known animals, they possess a surprising power to solicit our interest and empathy. What is their condition exactly? Like staring sentinels, they express a cartoon version of existential anxiety-watchful, hopeful, sad, stoic, and bewildered. Their lower bodies seem to be merged with the ground, fixing them in place like monuments. The intimate scale of these works and their accumulation of short pen strokes are reminiscent of the dense vision of Leonardo Da Vinci's "deluge drawings," and their compositions owe something to the surreal elegance of Salvador Dali's imagery. The unmistakable blue palette brings to mind bored students with Bic pens, filling the pages of their notebooks with fantastic beings.
Bill Adams Untitled, 2020 Ballpoint Pen and Watercolour on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Bill Adams is an American Post-war & Contemporary artist was born in 1957. He studied Fine Art at Indiana University, Bloomington in 1986, and his work has been featured in numerous exhibitions at key galleries and museums, including the White Columns and the 56 Henry. Bill Adams is known for his obsessive drawings in ballpoint pen that offer a roster of furry creatures in simple perspectival landscapes. While they are not anatomically aligned with known animals, they possess a surprising power to solicit our interest and empathy. What is their condition exactly? Like staring sentinels, they express a cartoon version of existential anxiety-watchful, hopeful, sad, stoic, and bewildered. Their lower bodies seem to be merged with the ground, fixing them in place like monuments. The intimate scale of these works and their accumulation of short pen strokes are reminiscent of the dense vision of Leonardo Da Vinci's "deluge drawings," and their compositions owe something to the surreal elegance of Salvador Dali's imagery. The unmistakable blue palette brings to mind bored students with Bic pens, filling the pages of their notebooks with fantastic beings.
Oliver Dorrell Pool Party, 2020 Gouache, Watercolour and Ink on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) British artist Oliver Dorrell is a gifted storyteller, his strange yet intimately fascinating tales of travel to places such as India and North Caucasus offer unique insight into the experience of the world. So too Dorrell's colourful paintings seem a translation of sorts, a fantastic and painterly view into hidden places. The artist's pictures are distinguished by a sense of imaginative narrative and are rich tapestries of folktales, mythologies and impressionistic travel vignettes. Symbolic landscapes and figures evoke a sense of mystic interludes and the artist frequently draws upon imagery from regional religious imagery, terrain and the intersections of culture and experience. Because Dorrell studied anthropology he brings to his work, a knowledgeable and yet simultaneously open mindset that allows him to take in the idea of influence, preconceived notions, meaning and as well understand the complexity of the view of the traveller or the interloper. Through this process emerges a series of pictures that are often compared to the work of Marc Chagall and yet represent a contemporary world of symbiotic experience, place and tradition. The artist holds his MA with Distinction, Painting, Wimbledon College of Arts, University of the Arts, London and his BSC, Anthropology, University College London. Dorrell has participated in a number of group shows including at Blasé, London 2019 and 2018; Lewisham Art House, London, 2018; Wimbledon College of Art MA Show, London, 2018.
Oliver Dorrell BlackICE, 2020 Gouache, Watercolour and Ink on Postcard Signed verso 15 x 10cm (5¾ x 3¾ in.) British artist Oliver Dorrell is a gifted storyteller, his strange yet intimately fascinating tales of travel to places such as India and North Caucasus offer unique insight into the experience of the world. So too Dorrell's colourful paintings seem a translation of sorts, a fantastic and painterly view into hidden places. The artist's pictures are distinguished by a sense of imaginative narrative and are rich tapestries of folktales, mythologies and impressionistic travel vignettes. Symbolic landscapes and figures evoke a sense of mystic interludes and the artist frequently draws upon imagery from regional religious imagery, terrain and the intersections of culture and experience. Because Dorrell studied anthropology he brings to his work, a knowledgeable and yet simultaneously open mindset that allows him to take in the idea of influence, preconceived notions, meaning and as well understand the complexity of the view of the traveller or the interloper. Through this process emerges a series of pictures that are often compared to the work of Marc Chagall and yet represent a contemporary world of symbiotic experience, place and tradition. The artist holds his MA with Distinction, Painting, Wimbledon College of Arts, University of the Arts, London and his BSC, Anthropology, University College London. Dorrell has participated in a number of group shows including at Blasé, London 2019 and 2018; Lewisham Art House, London, 2018; Wimbledon College of Art MA Show, London, 2018.
Eric Inkala 6 Eyes in Blue, 2020 Acrylic on Paper Signed recto 10 x 15cm (3¾ x 5¾ in.) Brooklyn-based Eric Inkala is a self-taught artist whose highly visual and ever-evolving style has ripened from graffiti to pop art to contemporary art. His work presents a playful graphic language in the form of a signature character who serves as a vehicle for an autobiographical narrative. It's through this personal storyline that Inkala is able to channel thoughts and emotions into expressions of shape, colour and text. His universally approachable concept is amplified through increasingly complex patterns and symmetry,which over the years have reflected both the abstract escapades of his trademark character and Inkala's own artistic journey. Working primarily in acrylic, his paintings vary in size from large-scale canvas to sculpture, prints and small works on paper. Eric Inkala was born in Minneapolis, MN. His work has been exhibited nationally at galleries such as THIS Gallery (CA), Parlour Gallery (NJ), Public Functionary (MN), Joseph Gross Gallery (NYC) and most recently at Cass Contemporary (FL) Scope Miami beach and Blackbook gallery in Denver Colorado. His work has also been presented internationally, most recently at Gallery Poulsen in Copenhagen Denmark. Inkala murals have covered walls in Minneapolis, Palm Springs, and at the Ace Hotel in New York City.
Sola Olulode Untitled, 2020 Monoprint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sola Olulode (b. 1996) lives and works in South London. Olulode's paintings are nuanced and tender visions of intimacy and community. Her celebrations of black identity, womanhood, femmes, and non-binary people are distinguished by their use of gestural brushwork, indigo dye, wax, oil bar and impasto, which speak of her Nigerian heritage. Allowing the body to take centre stage, she gives prominence to movement, gesture and dance as binding forces which reflect both personal and collective experience, individuality and common strength. Her trademark blues and yellows become metaphors for a state of mind, energy & harmony, dance & meditation, joy & contemplation, love & desire, which reveal the complexity of identities within her communities. In 2018 Olulode was shortlisted for the Evening Standard Art Prize (Final 10) and awarded the Lewisham Arthouse Graduate Studio Bursary.
Sola Olulode Untitled, 2020 Monoprint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sola Olulode (b. 1996) lives and works in South London. Olulode's paintings are nuanced and tender visions of intimacy and community. Her celebrations of black identity, womanhood, femmes, and non-binary people are distinguished by their use of gestural brushwork, indigo dye, wax, oil bar and impasto, which speak of her Nigerian heritage. Allowing the body to take centre stage, she gives prominence to movement, gesture and dance as binding forces which reflect both personal and collective experience, individuality and common strength. Her trademark blues and yellows become metaphors for a state of mind, energy & harmony, dance & meditation, joy & contemplation, love & desire, which reveal the complexity of identities within her communities. In 2018 Olulode was shortlisted for the Evening Standard Art Prize (Final 10) and awarded the Lewisham Arthouse Graduate Studio Bursary.
Sola Olulode Untitled, 2020 Monoprint on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Sola Olulode (b. 1996) lives and works in South London. Olulode's paintings are nuanced and tender visions of intimacy and community. Her celebrations of black identity, womanhood, femmes, and non-binary people are distinguished by their use of gestural brushwork, indigo dye, wax, oil bar and impasto, which speak of her Nigerian heritage. Allowing the body to take centre stage, she gives prominence to movement, gesture and dance as binding forces which reflect both personal and collective experience, individuality and common strength. Her trademark blues and yellows become metaphors for a state of mind, energy & harmony, dance & meditation, joy & contemplation, love & desire, which reveal the complexity of identities within her communities. In 2018 Olulode was shortlisted for the Evening Standard Art Prize (Final 10) and awarded the Lewisham Arthouse Graduate Studio Bursary.
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