Freya Douglas-Morris Evening Dove, 2021 Watercolour and Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My painting practice covers both work on canvas and on paper. In many ways the scenes I paint are based on something tangible, but there is a leaning on memory and a heightened sense of colour that leaves the paintings somewhere in the realm of the remembered and unreal. Narrative plays a part and for these two postcard paintings I took inspiration from poetry and music alongside many other sources. Education Painting MA, Royal College of Art, London 2011 - 2013 Fine Art BA, Brighton University 1999 - 2002 Exhibitions/Awards 2021 (Solo show, Lychee One, London UK - future) (Solo show, Arusha Gallery UK - future) Inside/Outside, Janet Rady Fine Art, UK 2020 10 Year anniversary exhibition, Contemporary 6, UK Viewing Rooms, on-line presentation of paper works, Lychee One, UK Staycation, Lychee One, UK Tides, Arusha Gallery, UK Isolated Observations, Candida Stevens Gallery, UK London Art Fair, Lychee One, UK Picture Palace, Transition Gallery, UK 2019 The Sun Long Night, Lychee One, UK (Solo) Art Shenzhen, HDM Gallery, Shenzhen China Art 021, HDM Gallery, Shanghai China 2018 Winter Exhibition, Campden Art Gallery, UK Bone Memory, Lychee One, UK Exhibition and shortlisted for Denton's Art Prize 2018, UK Fresh Paint, Messums Wiltshire, UK 2017 The Manchester Contemporary, Manchester UK The Diamond Sea, Saatchi Gallery, curated by Kristian Day, London UK Where They Hum, Lychee One, London UK What is This Place? Group Exhibition, Newlyn Art Gallery, Cornwall UK Benefit Auction & Exhibition, CS Hospiz is Rennweg & Sotheby's, Vienna, AT 2016 The Classical, Transition Gallery, London UK Landing, curated by Kristian Day, London UK Sampler, Arcade Fine Arts, curated by Kristian Day, London UK Artificial Arcadia, Bosse & Baum, London UK Paper, Publication, Performance, Lychee One, London UK Light For Company, Lychee One, London UK - January (Solo) 2015 Carnival Glass, Block 336, London UK A Crazed Flowering, Frameless Gallery, London, UK 2014 Studiolo #11 'One place or another' Studiolo Project, Milan, IT (Solo) 100 Painters of Tomorrow, New York, USA Elsewhere, Yellow Gallery & Transition Gallery, Varese, IT East End Painting Prize, Bow Arts Trust, London, UK Freya Douglas-Morris & Marita Fraser, Peter Von Kant Gallery, London, UK Re-Define, Dallas Contemporary Museum, USA Paper & Colour, Griffin Gallery, London, UK The Catlin Guide, Art London, UK 2013 Atomic, Transition Gallery (off-site) London, UK Art Britannia, Miami, USA New Sensations 2013, Saatchi Gallery & Channel 4, London, UK Painting Show, Winter Projects, London, UK Paper, Saatchi Gallery, London, UK Selected Works from the RCA Show, Christie's, London, UK RCA Degree Show, Royal College of Art, London, UK See Think Different, Drawing Room Projects (off-site) London, UK Big Rock Candy Mountain, MOT International Projects, London, UK Secret Postcards, Royal College of Art, London, UK Near that place, Hockney Gallery, RCA, London, UK 2012 Passing Through Landscape Campden Gallery, UK (Solo) Bloomberg New Contemporaries, ICA, London, UK Bloomberg New Contemporaries, Liverpool Biennial, UK CHASE Charity Exhibition, Royal College of Art, London, UK Collectible Zeitgeist Art Group, London, UK WIP Show, Royal College of Art, London, UK Residencies/Awards Nigel Greenwood Prize, shortlisted 2018 Denton's Art Prize, commended 2018 Varese, Italy - Residency with Yellow Space, Varese & Transition Gallery, London, September 2014 Kuwait - Participated in Out of Britain with the RCA and British Council, September 2012 & April 2013 Barcelona - Pantocrator Gallery, May 2011 Berlin - Milchhof Art Studios, May 2008 Publications, Catalogues, Articles Journal, Cohabiting' Dateagle Interview with Anna Souter, '2019 Talking Points, Make Believe - Harper's Bazaar, 2019 Buying Art - House & Garden, 2018 5 Questions with Freya Douglas-Morris, Elephant, Magazine Issue 32, 2016 Elsewhere/Altrove - Exhibition Publication, Vera Portatadino & Cathy Lomax, Italy, 2015 100 Painters of Tomorrow - Kurt Beers and Thames & Hudson, 2014 The Catlin Guide 2014 - Justin Hammond, 2014 Freya Douglas-Morris Studiolo#11 - Wall St International, 2014 New Sensations 2013 - Exhibition Catalogue, Saatchi Gallery, 2013 Paper - Exhibition Publication, Saatchi Gallery, 2013 Bloomberg New Contemporaries Review - The Guardian, 2012 Bloomberg New Contemporaries Catalogue, 2012 - Nairy Baghramian, Cullinan Richards, Rosalind Nashashibi, ICA & Cornerhouse Collections Saatchi Gallery and many private collections worldwide About the postcard artworks Evening dove' & 'Lilac tree' - these scenes are part imagined, part remembered and part observed. Two moments captured in time, both have an air of narrative. And a sense of escape ..." Condition Report: Condition Report Disclaimer
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Freya Douglas-Morris Lilac Tree, 2021 Watercolour and Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My painting practice covers both work on canvas and on paper. In many ways the scenes I paint are based on something tangible, but there is a leaning on memory and a heightened sense of colour that leaves the paintings somewhere in the realm of the remembered and unreal. Narrative plays a part and for these two postcard paintings I took inspiration from poetry and music alongside many other sources. Education Painting MA, Royal College of Art, London 2011 - 2013 Fine Art BA, Brighton University 1999 - 2002 Exhibitions/Awards 2021 (Solo show, Lychee One, London UK - future) (Solo show, Arusha Gallery UK - future) Inside/Outside, Janet Rady Fine Art, UK 2020 10 Year anniversary exhibition, Contemporary 6, UK Viewing Rooms, on-line presentation of paper works, Lychee One, UK Staycation, Lychee One, UK Tides, Arusha Gallery, UK Isolated Observations, Candida Stevens Gallery, UK London Art Fair, Lychee One, UK Picture Palace, Transition Gallery, UK 2019 The Sun Long Night, Lychee One, UK (Solo) Art Shenzhen, HDM Gallery, Shenzhen China Art 021, HDM Gallery, Shanghai China 2018 Winter Exhibition, Campden Art Gallery, UK Bone Memory, Lychee One, UK Exhibition and shortlisted for Denton's Art Prize 2018, UK Fresh Paint, Messums Wiltshire, UK 2017 The Manchester Contemporary, Manchester UK The Diamond Sea, Saatchi Gallery, curated by Kristian Day, London UK Where They Hum, Lychee One, London UK What is This Place? Group Exhibition, Newlyn Art Gallery, Cornwall UK Benefit Auction & Exhibition, CS Hospiz is Rennweg & Sotheby's, Vienna, AT 2016 The Classical, Transition Gallery, London UK Landing, curated by Kristian Day, London UK Sampler, Arcade Fine Arts, curated by Kristian Day, London UK Artificial Arcadia, Bosse & Baum, London UK Paper, Publication, Performance, Lychee One, London UK Light For Company, Lychee One, London UK - January (Solo) 2015 Carnival Glass, Block 336, London UK A Crazed Flowering, Frameless Gallery, London, UK 2014 Studiolo #11 'One place or another' Studiolo Project, Milan, IT (Solo) 100 Painters of Tomorrow, New York, USA Elsewhere, Yellow Gallery & Transition Gallery, Varese, IT East End Painting Prize, Bow Arts Trust, London, UK Freya Douglas-Morris & Marita Fraser, Peter Von Kant Gallery, London, UK Re-Define, Dallas Contemporary Museum, USA Paper & Colour, Griffin Gallery, London, UK The Catlin Guide, Art London, UK 2013 Atomic, Transition Gallery (off-site) London, UK Art Britannia, Miami, USA New Sensations 2013, Saatchi Gallery & Channel 4, London, UK Painting Show, Winter Projects, London, UK Paper, Saatchi Gallery, London, UK Selected Works from the RCA Show, Christie's, London, UK RCA Degree Show, Royal College of Art, London, UK See Think Different, Drawing Room Projects (off-site) London, UK Big Rock Candy Mountain, MOT International Projects, London, UK Secret Postcards, Royal College of Art, London, UK Near that place, Hockney Gallery, RCA, London, UK 2012 Passing Through Landscape Campden Gallery, UK (Solo) Bloomberg New Contemporaries, ICA, London, UK Bloomberg New Contemporaries, Liverpool Biennial, UK CHASE Charity Exhibition, Royal College of Art, London, UK Collectible Zeitgeist Art Group, London, UK WIP Show, Royal College of Art, London, UK Residencies/Awards Nigel Greenwood Prize, shortlisted 2018 Denton's Art Prize, commended 2018 Varese, Italy - Residency with Yellow Space, Varese & Transition Gallery, London, September 2014 Kuwait - Participated in Out of Britain with the RCA and British Council, September 2012 & April 2013 Barcelona - Pantocrator Gallery, May 2011 Berlin - Milchhof Art Studios, May 2008 Publications, Catalogues, Articles Journal, Cohabiting' Dateagle Interview with Anna Souter, '2019 Talking Points, Make Believe - Harper's Bazaar, 2019 Buying Art - House & Garden, 2018 5 Questions with Freya Douglas-Morris, Elephant, Magazine Issue 32, 2016 Elsewhere/Altrove - Exhibition Publication, Vera Portatadino & Cathy Lomax, Italy, 2015 100 Painters of Tomorrow - Kurt Beers and Thames & Hudson, 2014 The Catlin Guide 2014 - Justin Hammond, 2014 Freya Douglas-Morris Studiolo#11 - Wall St International, 2014 New Sensations 2013 - Exhibition Catalogue, Saatchi Gallery, 2013 Paper - Exhibition Publication, Saatchi Gallery, 2013 Bloomberg New Contemporaries Review - The Guardian, 2012 Bloomberg New Contemporaries Catalogue, 2012 - Nairy Baghramian, Cullinan Richards, Rosalind Nashashibi, ICA & Cornerhouse Collections Saatchi Gallery and many private collections worldwide About the postcard artworks Evening dove' & 'Lilac tree' - these scenes are part imagined, part remembered and part observed. Two moments captured in time, both have an air of narrative. And a sense of escape ..."
Mary Stephenson White Bow 2020, 2021 Oil on Card Signed verso 15 x 10cm (5¾ x 3¾ in.) Mary Stephenson (b.1989) was born and raised in London. Spending a short period living and working in Madrid and then Lisbon, Stephenson now resides back in London where she studies full time at The Royal Academy Schools. Education 2019 - 2022 The Royal Academy Schools 2007 - 2011 The Glasgow School Of Art Exhibitions/Awards Monster/Beauty: An Exploration of The Female/Femme Gaze Group Show, September 2020, Lychee One, London Staying Sane Group Show, July 2020, Bernston Bhattacharjee Gallery, Skanor, Sweden Paintings On, And With Paper Group Show, May 2020, Cob Gallery, London Preview London Group Show, April 2020, Bosse & Baum, London Marigolds Group Show, February 2020, Harlesden High Street, London Maison Dakota Group Show, January 2020, Super Dakota, Brussels Egg Roll Play Solo Show, May 2019, After Nyne Gallery, London Reserved Exposure Group Show, June 2018, Pestana CR7, Lisbon Carry On Bags Group Show, May 2017, Nadie Nunca Nada No, Madrid Suck' It and See' Group Show, May 2017, The Brick Cube, London My Man Solo Show, February 2017, Downstairs At Mother, London Let Them Eat Steak Group Show, May 2015, HIX Cock 'n' Bull Gallery, Tramshed, London On Canvas Solo Show, December 2014, Downstairs At Mother, London New Contemporaries 2012 Group Show, The Royal Scottish Academy, Edinburgh Glasgow School of Art Degree Show 2011 Group Show, June 2011 Glasgow About the postcard artworks The paintings submitted to for AOAP for International Women's Day aim to portray and exude a tension between the motions of contentment and apprehension. Calling on the subconscious, Stephenson paints rapidly to chase internal dialogues in order to arrive at a clearer idea of herself and her inner desires.
Lena Brazin Spring, 2021 Gouache on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Lena Brazin's figurative paintings embrace paradoxes. They explore the seen and the unseen, attempting to materialise immateriality, to reflect the fullness of human existence. Brazin's work starts simply. Depicting simple forms, drawing simple lines, projecting simple ideas, taking base inspiration by painting only what is there in front of her. Then she begins open it up, bringing in lived experiences, unbelievable coincidences, welcoming in the unseen. The unseen is the most prominent motif across Brazin's work, which she renders as an androgynous metaphysical presence that lures her paintings into the supernatural; through them, Brazin is urging us to look beyond what our eyes tell us, to think beyond material possessions and find something real within you. Brazin's process is instinctive, growing with the work, experimenting to create a pictorial harmony, to depict a whole life. This is achieved through a balance of iconography, material, and colour. The iconography in the paintings comes from Brazin pouring herself into the work, exaggerating objects from her past, present, memories and hopes. These are all placed alongside the unseen, as Brazin possesses the knowledge that the physical world and the spiritual world are inseparable, and so presents it this way. In her choice of materials, Brazin uses linen stretched over wooden bars, allowing her work to be vulnerable, hiding nothing and reflecting on the intangible nature of the physical world in contrast to the ethereal world that takes place on the linen. Brazin's frequent use of vibrant colours forces an immediate impression on the audience, rooting them in the moment, potentially confused and lost, attempting to make sense of the image before them. The paintings are always freaky, but they never feel incomplete, rushed, or lacking. They work because Brazin has poured everything into their construction, so that the disparate and apparently random visuals that surround her portraits are always plucked from somewhere, some feeling, vision, or photograph, they are whole. Across Brazin's career, every painting simmers with energy. From portraits of friends to isolated cottages, each work is imbued with thought, whether containing a celebration of the now or a yearning for home. Brazin knows that without the right imagery, the effect would be inadequate, so she layers and textures her work, guided by the unseen, creating paintings that brim with the varied vitality of life. The work represents an essential way of understanding the contemporary self, full of paradoxes. Education: Turps Art School, Painting Studio Programme, 2019 Graduate Exhibitions/Awards: 2021 Coincidental Encounters / Four You Gallery, Dubai, UAE (SOLO, online) 2021 Midseason Mermaid's Dreams / Peirao Projects, Athens, GR (SOLO) 2020 The Autumn Auction 2020 / The Auction Collective, London, UK 2020 RA Summer/Winter Show 2020, Royal Academy of Arts, London, UK 2020 Ancient Deities / Arusha Gallery, Edinburgh, UK 2020 We could put on our lipstick / C&C Gallery, online exhibition, UK 2020 FBA Futures 2020 / Mall Galleries, London, UK 2020 Exceptional - Graduate Art Award / Collyer Bristow Gallery, London, UK 2019 Time flies like the wind, Fruit flies like bananas / Newington Gallery, London, UK 2019 Turps painters 2019 / Turps Gallery, London, UK 2019 We can only have fun on certain days / Warbling collective, London, UK 2019 Where we once were someone / YNGSPC, online exhibition 2018 Bow Open Show / Nunnery gallery, London, UK 2018 Artist of the day / Flowers gallery, London, UK 2018 SET 24 / Newington Gallery, London, UK 2016 Crystallized / Wall mural painting, Santozeum, Santorini, GR 2016 The shag / The Library Club, London, UK COMPETITIONS and AWARDS 2020 ""Jackson's Painting Prize 2020"", London, UK (Shortlisted) 2020 ""FBA Futures 2020"" Mall Galleries, London, UK (Shortlisted) 2019 ""Exceptional"" The Collyer Bristow Graduate Award, London, UK (Shortlisted) 2018 ""Bow Arts Open"" - Nunnery gallery, curated by Mark Titchner, London, UK (Shortlisted) About the postcard artworks: Like the seeds that grow, let your soul flow. Condition Report: Condition Report Disclaimer
Lena Brazin Summer, 2021 Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Lena Brazin's figurative paintings embrace paradoxes. They explore the seen and the unseen, attempting to materialise immateriality, to reflect the fullness of human existence. Brazin's work starts simply. Depicting simple forms, drawing simple lines, projecting simple ideas, taking base inspiration by painting only what is there in front of her. Then she begins open it up, bringing in lived experiences, unbelievable coincidences, welcoming in the unseen. The unseen is the most prominent motif across Brazin's work, which she renders as an androgynous metaphysical presence that lures her paintings into the supernatural; through them, Brazin is urging us to look beyond what our eyes tell us, to think beyond material possessions and find something real within you. Brazin's process is instinctive, growing with the work, experimenting to create a pictorial harmony, to depict a whole life. This is achieved through a balance of iconography, material, and colour. The iconography in the paintings comes from Brazin pouring herself into the work, exaggerating objects from her past, present, memories and hopes. These are all placed alongside the unseen, as Brazin possesses the knowledge that the physical world and the spiritual world are inseparable, and so presents it this way. In her choice of materials, Brazin uses linen stretched over wooden bars, allowing her work to be vulnerable, hiding nothing and reflecting on the intangible nature of the physical world in contrast to the ethereal world that takes place on the linen. Brazin's frequent use of vibrant colours forces an immediate impression on the audience, rooting them in the moment, potentially confused and lost, attempting to make sense of the image before them. The paintings are always freaky, but they never feel incomplete, rushed, or lacking. They work because Brazin has poured everything into their construction, so that the disparate and apparently random visuals that surround her portraits are always plucked from somewhere, some feeling, vision, or photograph, they are whole. Across Brazin's career, every painting simmers with energy. From portraits of friends to isolated cottages, each work is imbued with thought, whether containing a celebration of the now or a yearning for home. Brazin knows that without the right imagery, the effect would be inadequate, so she layers and textures her work, guided by the unseen, creating paintings that brim with the varied vitality of life. The work represents an essential way of understanding the contemporary self, full of paradoxes. Education: Turps Art School, Painting Studio Programme, 2019 Graduate Exhibitions/Awards: 2021 Coincidental Encounters / Four You Gallery, Dubai, UAE (SOLO, online) 2021 Midseason Mermaid's Dreams / Peirao Projects, Athens, GR (SOLO) 2020 The Autumn Auction 2020 / The Auction Collective, London, UK 2020 RA Summer/Winter Show 2020, Royal Academy of Arts, London, UK 2020 Ancient Deities / Arusha Gallery, Edinburgh, UK 2020 We could put on our lipstick / C&C Gallery, online exhibition, UK 2020 FBA Futures 2020 / Mall Galleries, London, UK 2020 Exceptional - Graduate Art Award / Collyer Bristow Gallery, London, UK 2019 Time flies like the wind, Fruit flies like bananas / Newington Gallery, London, UK 2019 Turps painters 2019 / Turps Gallery, London, UK 2019 We can only have fun on certain days / Warbling collective, London, UK 2019 Where we once were someone / YNGSPC, online exhibition 2018 Bow Open Show / Nunnery gallery, London, UK 2018 Artist of the day / Flowers gallery, London, UK 2018 SET 24 / Newington Gallery, London, UK 2016 Crystallized / Wall mural painting, Santozeum, Santorini, GR 2016 The shag / The Library Club, London, UK COMPETITIONS and AWARDS 2020 ""Jackson's Painting Prize 2020"", London, UK (Shortlisted) 2020 ""FBA Futures 2020"" Mall Galleries, London, UK (Shortlisted) 2019 ""Exceptional"" The Collyer Bristow Graduate Award, London, UK (Shortlisted) 2018 ""Bow Arts Open"" - Nunnery gallery, curated by Mark Titchner, London, UK (Shortlisted) About the postcard artworks: Like the seeds that grow, let your soul flow.
Lena Brazin Autumn, 2021 Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Lena Brazin's figurative paintings embrace paradoxes. They explore the seen and the unseen, attempting to materialise immateriality, to reflect the fullness of human existence. Brazin's work starts simply. Depicting simple forms, drawing simple lines, projecting simple ideas, taking base inspiration by painting only what is there in front of her. Then she begins open it up, bringing in lived experiences, unbelievable coincidences, welcoming in the unseen. The unseen is the most prominent motif across Brazin's work, which she renders as an androgynous metaphysical presence that lures her paintings into the supernatural; through them, Brazin is urging us to look beyond what our eyes tell us, to think beyond material possessions and find something real within you. Brazin's process is instinctive, growing with the work, experimenting to create a pictorial harmony, to depict a whole life. This is achieved through a balance of iconography, material, and colour. The iconography in the paintings comes from Brazin pouring herself into the work, exaggerating objects from her past, present, memories and hopes. These are all placed alongside the unseen, as Brazin possesses the knowledge that the physical world and the spiritual world are inseparable, and so presents it this way. In her choice of materials, Brazin uses linen stretched over wooden bars, allowing her work to be vulnerable, hiding nothing and reflecting on the intangible nature of the physical world in contrast to the ethereal world that takes place on the linen. Brazin's frequent use of vibrant colours forces an immediate impression on the audience, rooting them in the moment, potentially confused and lost, attempting to make sense of the image before them. The paintings are always freaky, but they never feel incomplete, rushed, or lacking. They work because Brazin has poured everything into their construction, so that the disparate and apparently random visuals that surround her portraits are always plucked from somewhere, some feeling, vision, or photograph, they are whole. Across Brazin's career, every painting simmers with energy. From portraits of friends to isolated cottages, each work is imbued with thought, whether containing a celebration of the now or a yearning for home. Brazin knows that without the right imagery, the effect would be inadequate, so she layers and textures her work, guided by the unseen, creating paintings that brim with the varied vitality of life. The work represents an essential way of understanding the contemporary self, full of paradoxes. Education: Turps Art School, Painting Studio Programme, 2019 Graduate Exhibitions/Awards: 2021 Coincidental Encounters / Four You Gallery, Dubai, UAE (SOLO, online) 2021 Midseason Mermaid's Dreams / Peirao Projects, Athens, GR (SOLO) 2020 The Autumn Auction 2020 / The Auction Collective, London, UK 2020 RA Summer/Winter Show 2020, Royal Academy of Arts, London, UK 2020 Ancient Deities / Arusha Gallery, Edinburgh, UK 2020 We could put on our lipstick / C&C Gallery, online exhibition, UK 2020 FBA Futures 2020 / Mall Galleries, London, UK 2020 Exceptional - Graduate Art Award / Collyer Bristow Gallery, London, UK 2019 Time flies like the wind, Fruit flies like bananas / Newington Gallery, London, UK 2019 Turps painters 2019 / Turps Gallery, London, UK 2019 We can only have fun on certain days / Warbling collective, London, UK 2019 Where we once were someone / YNGSPC, online exhibition 2018 Bow Open Show / Nunnery gallery, London, UK 2018 Artist of the day / Flowers gallery, London, UK 2018 SET 24 / Newington Gallery, London, UK 2016 Crystallized / Wall mural painting, Santozeum, Santorini, GR 2016 The shag / The Library Club, London, UK COMPETITIONS and AWARDS 2020 ""Jackson's Painting Prize 2020"", London, UK (Shortlisted) 2020 ""FBA Futures 2020"" Mall Galleries, London, UK (Shortlisted) 2019 ""Exceptional"" The Collyer Bristow Graduate Award, London, UK (Shortlisted) 2018 ""Bow Arts Open"" - Nunnery gallery, curated by Mark Titchner, London, UK (Shortlisted) About the postcard artworks: Like the seeds that grow, let your soul flow.
Lena Brazin Winter, 2021 Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Lena Brazin's figurative paintings embrace paradoxes. They explore the seen and the unseen, attempting to materialise immateriality, to reflect the fullness of human existence. Brazin's work starts simply. Depicting simple forms, drawing simple lines, projecting simple ideas, taking base inspiration by painting only what is there in front of her. Then she begins open it up, bringing in lived experiences, unbelievable coincidences, welcoming in the unseen. The unseen is the most prominent motif across Brazin's work, which she renders as an androgynous metaphysical presence that lures her paintings into the supernatural; through them, Brazin is urging us to look beyond what our eyes tell us, to think beyond material possessions and find something real within you. Brazin's process is instinctive, growing with the work, experimenting to create a pictorial harmony, to depict a whole life. This is achieved through a balance of iconography, material, and colour. The iconography in the paintings comes from Brazin pouring herself into the work, exaggerating objects from her past, present, memories and hopes. These are all placed alongside the unseen, as Brazin possesses the knowledge that the physical world and the spiritual world are inseparable, and so presents it this way. In her choice of materials, Brazin uses linen stretched over wooden bars, allowing her work to be vulnerable, hiding nothing and reflecting on the intangible nature of the physical world in contrast to the ethereal world that takes place on the linen. Brazin's frequent use of vibrant colours forces an immediate impression on the audience, rooting them in the moment, potentially confused and lost, attempting to make sense of the image before them. The paintings are always freaky, but they never feel incomplete, rushed, or lacking. They work because Brazin has poured everything into their construction, so that the disparate and apparently random visuals that surround her portraits are always plucked from somewhere, some feeling, vision, or photograph, they are whole. Across Brazin's career, every painting simmers with energy. From portraits of friends to isolated cottages, each work is imbued with thought, whether containing a celebration of the now or a yearning for home. Brazin knows that without the right imagery, the effect would be inadequate, so she layers and textures her work, guided by the unseen, creating paintings that brim with the varied vitality of life. The work represents an essential way of understanding the contemporary self, full of paradoxes. Education: Turps Art School, Painting Studio Programme, 2019 Graduate Exhibitions/Awards: 2021 Coincidental Encounters / Four You Gallery, Dubai, UAE (SOLO, online) 2021 Midseason Mermaid's Dreams / Peirao Projects, Athens, GR (SOLO) 2020 The Autumn Auction 2020 / The Auction Collective, London, UK 2020 RA Summer/Winter Show 2020, Royal Academy of Arts, London, UK 2020 Ancient Deities / Arusha Gallery, Edinburgh, UK 2020 We could put on our lipstick / C&C Gallery, online exhibition, UK 2020 FBA Futures 2020 / Mall Galleries, London, UK 2020 Exceptional - Graduate Art Award / Collyer Bristow Gallery, London, UK 2019 Time flies like the wind, Fruit flies like bananas / Newington Gallery, London, UK 2019 Turps painters 2019 / Turps Gallery, London, UK 2019 We can only have fun on certain days / Warbling collective, London, UK 2019 Where we once were someone / YNGSPC, online exhibition 2018 Bow Open Show / Nunnery gallery, London, UK 2018 Artist of the day / Flowers gallery, London, UK 2018 SET 24 / Newington Gallery, London, UK 2016 Crystallized / Wall mural painting, Santozeum, Santorini, GR 2016 The shag / The Library Club, London, UK COMPETITIONS and AWARDS 2020 ""Jackson's Painting Prize 2020"", London, UK (Shortlisted) 2020 ""FBA Futures 2020"" Mall Galleries, London, UK (Shortlisted) 2019 ""Exceptional"" The Collyer Bristow Graduate Award, London, UK (Shortlisted) 2018 ""Bow Arts Open"" - Nunnery gallery, curated by Mark Titchner, London, UK (Shortlisted) About the postcard artworks: Like the seeds that grow, let your soul flow.
A Georgian style mahogany bow fronted sideboard, three drawers to centre flanked by two doors, the right door fitted with cellarette section, splash back, raised on square tapered legs, measuring 114cm high, 168cm wide, 62cm deep; together with a Georgian style mahogany corner cabinet, with two glazed doors, brushing slide, two doors below, 189cm high, 88cm wide, 52cm deep, 63cm into corner (2)
A 19thC French zinc bow end bath, with label for Chevalier Construteur Paris. In nice overall condition with a few surface dents and a small split on the top edge. Complete with plug and two inlet/outlet pipes both of which are capped. The outside is quite surface scratched and worn. We are unable to test as to whether it is water tight or not. Length 160cm Height 75cm Depth 70cmInternal height 55cm.
CORNELIS DE HEEM (ATTR.) 1631 Leiden - 1695 Antwerpen STILLLEBEN MIT MASKARON, BLAUER SCHLEIFE UND TRAUBEN Öl auf Leinwand (altdoubl.). 63 x 50 cm (R. 74,5 x 62 cm). Verso: Reste eines alten Wachssiegels (ungedeutet). Part. leicht altrest. Rahmen. Provenienz: Hessische Privatsammlung. Zuvor: Dr. Eberhardt Schenk zu Schweinsberg. CORNELIS DE HEEM (ATTR.) 1631 Leiden - 1695 Antwerp STILL LIFE WITH MASCARON, BLUE BOW AND GRAPES Oil on canvas (old relined). 63 x 50 cm (F. 74,5 x 62 cm). Verso: Remains of an old wax seal (unidentified). Part. slightly old restored. Frame. Provenance: Hessian Private Collection. Before: Dr. Eberhard Schenk zu Schweinsberg.
FRANCOIS BOUCHER (UMKREIS) 1703 Paris - 1770 Ebenda LIEGENDER AMOR MIT PFEIL UND BOGEN SOWIE ZWEI TURTELTAUBEN Öl auf Leinwand (altdoubl.). 31,5 x 41,5 cm (R. 36 x 46 cm). Verso: Auf dem Keilrahmen alte Londoner Auktionsnummer: '408 PJ'. Randbereich min. besch., leichte Altretuschen, Oberflächenverschmutzung. Rahmen. Provenienz: Rheinische Privatsammlung. FRANCOIS BOUCHER (CIRCLE) 1703 Paris - 1770 Ibid LYING AMOR WITH ARROW AND BOW AND TWO TURTLE DOVES Oil on canvas (old relined). 31,5 x 41,5 cm (F. 36 x 46 cm). Verso: On the stretcher with an old London auction number: '408 PJ'. Edge area min. damaged, slightly old retouching, dirty surface. Frame. Provenance: Rhenish Private Collection.
A good Edwardian dappled grey rocking horse on bow rockers, the carved, gesso and painted horse with pricked ears, flared nostrils, open mouth revealing carved teeth, the body with outstretched legs on a deeply curved elm rocker base with turned bails, real horse hair mane and tail, brown leather saddle and bridle, 146cm long, English c.1905
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117845 item(s)/page