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Cathy Tabbakh Gracious Monstera Bouquet, 2020 Ink and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Cathy Tabbakh is a French contemporary artist working in both France and the UK. Her work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism and a saturated colour palette to punctuate emotive mood and shadows. Tabbakh's bathroom series and recent still-lives show her desire to surround herself with green spaces combined with her love for contemporary interior design. Cathy exhibits regularly and works with international art advisors and curators.   In 2017, Tabbakh had her first solo show at L'Espace André Malraux in région Lyonnaise where she is from originally. In 2018, she was included in a group show at theprintspace, London. That same year, Tabbakh collaborated with Art on a Postcard, a charity organisation raising funds for the Hepatitis C foundation, which took place at The Other Art Fair, in Victoria House in London. In 2019, Tabbakh took part in another charity auction which raised funds for Reprive, a charity focussing on Human rights protections. This partnership continues via Planar Editions, an online design store selling prints in benefit for Reprieve, of which Tabbakh's work is included. In London, she has been included in Delphian Gallery's summer exhibition in 2019, also in a group show last summer with Bowes-Parris Gallery at Blue Shop Cottage. During lockdown, she was included in the "Lockdown Editions", a print release by Delphian Gallery to help artists during the pandemic. She will be returning to Art on a Postcard for their October auction in London. Tabbakh also has an online presence via Bowes - Parris Gallery in London, and The Curators, an art platform based in NYC selling and promoting emerging artists. Cathy will also be showcasing works with Maison Contemporain next month, a Parisian platform. She will also be returning at The Other Art Fair in a group show curated by Aida Wilde next March.

Cathy Tabbakh Tormented Shadow, 2020 Ink and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Cathy Tabbakh is a French contemporary artist working in both France and the UK. Her work collides imaginary forms with existing landscapes through the use of both architectural and botanical elements. Her compositions incorporate a hint of surrealism and a saturated colour palette to punctuate emotive mood and shadows. Tabbakh's bathroom series and recent still-lives show her desire to surround herself with green spaces combined with her love for contemporary interior design. Cathy exhibits regularly and works with international art advisors and curators.   In 2017, Tabbakh had her first solo show at L'Espace André Malraux in région Lyonnaise where she is from originally. In 2018, she was included in a group show at theprintspace, London. That same year, Tabbakh collaborated with Art on a Postcard, a charity organisation raising funds for the Hepatitis C foundation, which took place at The Other Art Fair, in Victoria House in London. In 2019, Tabbakh took part in another charity auction which raised funds for Reprive, a charity focussing on Human rights protections. This partnership continues via Planar Editions, an online design store selling prints in benefit for Reprieve, of which Tabbakh's work is included. In London, she has been included in Delphian Gallery's summer exhibition in 2019, also in a group show last summer with Bowes-Parris Gallery at Blue Shop Cottage. During lockdown, she was included in the "Lockdown Editions", a print release by Delphian Gallery to help artists during the pandemic. She will be returning to Art on a Postcard for their October auction in London. Tabbakh also has an online presence via Bowes - Parris Gallery in London, and The Curators, an art platform based in NYC selling and promoting emerging artists. Cathy will also be showcasing works with Maison Contemporain next month, a Parisian platform. She will also be returning at The Other Art Fair in a group show curated by Aida Wilde next March.

Andreas Gefeller 051, from Clouds, 2020 Print Photograph on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Andreas Gefeller lives and works in Düsseldorf, Germany. He studied photography at the University of Essen and was appointed to the German Academy of Photography in 2001. The Palais für aktuelle Kunst/Kunstverein Glückstadt presented a major survey of his works in 2014, exhibiting works from the artist's series Soma, Supervisions, The Japan Series and Blank in one exhibition for the first time. Andreas Gefeller has also exhibited at The Nasher Museum of Art at Duke University in North Carolina, the Nelson-Atkins Museum in St. Louis, Palazzo Strozzi, Florence, Elgiz Museum of Contemporary Art, Istanbul and DZ Bank Kunstsammlung. His work is included in important public and private collections throughout the world including Taubman Musem of Art, Roanoke, Virginia, Norton Museum, West Palm Beach, Florida, National Gallery of Cananda, Toronto and Deutsche Bank Sammlung, Frankfurt, Germany, amoung others. Three monographs of his work have been published: Supervisions (Hatje Cantz, 2005) Andreas Gefeller: Photographs (Hatje Cantz,2009) and The Japan Series (Hatje Cantz, 2011), which won Gold in the German Photo Book Award in 2012.

Andreas Gefeller, 046 046, from Clouds, 2020 Print Photograph on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Andreas Gefeller lives and works in Düsseldorf, Germany. He studied photography at the University of Essen and was appointed to the German Academy of Photography in 2001. The Palais für aktuelle Kunst/Kunstverein Glückstadt presented a major survey of his works in 2014, exhibiting works from the artist's series Soma, Supervisions, The Japan Series and Blank in one exhibition for the first time. Andreas Gefeller has also exhibited at The Nasher Museum of Art at Duke University in North Carolina, the Nelson-Atkins Museum in St. Louis, Palazzo Strozzi, Florence, Elgiz Museum of Contemporary Art, Istanbul and DZ Bank Kunstsammlung. His work is included in important public and private collections throughout the world including Taubman Musem of Art, Roanoke, Virginia, Norton Museum, West Palm Beach, Florida, National Gallery of Cananda, Toronto and Deutsche Bank Sammlung, Frankfurt, Germany, amoung others. Three monographs of his work have been published: Supervisions (Hatje Cantz, 2005) Andreas Gefeller: Photographs (Hatje Cantz,2009) and The Japan Series (Hatje Cantz, 2011), which won Gold in the German Photo Book Award in 2012.

Fiona Bradford Allmost to the Day, 2020 Oil on Card Signed verso 10 x 15cm (3¾ x 5¾ in.) Fiona Bradford is a British contemporary artist based in Somerset. Predominantly a painter, Fiona's material and process-led practice attempts to articulate the space between what 'there is' and 'there is not'; a point of potential immanence. This is not a tactic for avoidance or resolution, but a curiosity about the nature of impermanence and a drive to respond to the transformative and mutable potential of the medium.   The work is informed by ideas related to the principles of emptiness and uncertainty. Emptiness is not seen as a 'thing' or 'state of being' but rather a process or 'state of becoming'. In relation to painting she sees uncertainty as a tool - a way to figure her practice by using uncertainty purposefully. These persistent interchanges between the tools and her intentions convey an agitation, an unavoidable restlessness in the work:   "The intention is to work towards making paintings that evolve rather than arrive at a destination. As a painter my task as I see it is to try and apprehend these reverberations. I see understanding as contingent; it's messy. Repeated trial and error with pigments, oils, airbrush, spray painting and collage does not preclude other modes of working such as doodling, daydreaming and deferral. By experimenting with strategies of hesitation, delay and deceleration, most recent work stops short of being explicit".   Fiona received an MA Fine Art from The Arts University Bournemouth in 2016 having graduated with a first class honours degree in Fine Art from Plymouth University in 2013. She exhibits regularly in the South-West.  

Fiona Bradford Wavering, 2020 Oil on Card Signed verso 10 x 15cm (3¾ x 5¾ in.) Fiona Bradford is a British contemporary artist based in Somerset. Predominantly a painter, Fiona's material and process-led practice attempts to articulate the space between what 'there is' and 'there is not'; a point of potential immanence. This is not a tactic for avoidance or resolution, but a curiosity about the nature of impermanence and a drive to respond to the transformative and mutable potential of the medium.   The work is informed by ideas related to the principles of emptiness and uncertainty. Emptiness is not seen as a 'thing' or 'state of being' but rather a process or 'state of becoming'. In relation to painting she sees uncertainty as a tool - a way to figure her practice by using uncertainty purposefully. These persistent interchanges between the tools and her intentions convey an agitation, an unavoidable restlessness in the work:   "The intention is to work towards making paintings that evolve rather than arrive at a destination. As a painter my task as I see it is to try and apprehend these reverberations. I see understanding as contingent; it's messy. Repeated trial and error with pigments, oils, airbrush, spray painting and collage does not preclude other modes of working such as doodling, daydreaming and deferral. By experimenting with strategies of hesitation, delay and deceleration, most recent work stops short of being explicit".   Fiona received an MA Fine Art from The Arts University Bournemouth in 2016 having graduated with a first class honours degree in Fine Art from Plymouth University in 2013. She exhibits regularly in the South-West.  

Taylor O. Thomas Untitled, 2020 Oil and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Taylor O. Thomas is an American painter who uses gestural painting as a means of making manifest human tendencies, ways of seeing, and the interconnection between the body and the mind. Her paintings have been exhibited in galleries and private collections across the United States and in Italy, Spain, Singapore, and China. In 2012, Thomas graduated magna cum laude from Davidson College with a BA in Studio Art. She was then awarded a Graduate Fellowship by the University of South Florida and earned her MFA in 2019. Thomas is the recipient of an inaugural Innovate Artist Grant, a Peripheral Vision Publication Fellowship, a two-time role as Publication Juror for Friend of the Artist, a Regional Artist Project Grant by the Arts and Science Council of Charlotte, NC, and residency scholarships to attend Vermont Studio Center (Johnson, Vermont) and Benaco Arte (Sirmione, Italy). Other residencies include MassArt's Art New England and Deli Grocery New York. Thomas currently lives and works in Tampa, Florida. Thomas is represented by Deli Grocery New York (Brooklyn, NY) and Emily Friedman Fine Art (Los Angeles, CA) . A painting may begin with a gesture I have borrowed from a dilapidated wall, cracking tile,scurrying commuter, or draping telephone wire. It continues based on the objects that jolt myattention within my studio walls. I mine for forms that approach "rightness" and "wrongness"simultaneously, gathering references to expand upon and manipulate. Gestural painting is mymeans of creating a tactile language, as I question what it means to live fully into the body.I visualize my environment with a collage mentality- jumping from shape-to-shape and texture-to-texture- cultivating a way of seeing that directs my intuitive way of making. This interactiveresearch that occurs outside of the studio serves as the preface for my work within it. Myphysical marks are embodiments of my being and moving through the world. Materialexperimentation is also a key factor in creative decision-making. Playing with paint's plasticityand ambiguous spaces provides for more interesting routes to each unexpected end. I teeter-totterbetween the compositional "bones" I establish for a painting and the spontaneous actions thatdisrupt those plans. Be it the imprint of an old tool, or the smudgy scrawls made by my faultybrush, I choose to embed such moments in the work. By embracing studio residue andresponding to past and present images at once, I invite new layers of meaning, chance, andauthorship into my paintings.While my practice remains rooted in my attempt to unify self-expression with ongoingdiscovery, the optical and emotive qualities of each surface stretch beyond my singularperspective. The images are altogether thick and flat, direct and obscure, sensitive and markedlydeliberate. Through them, I question: Where do our collective ideas of mind-body connectednessstand today? What is the value of preserving the physical in a digital age? And how mightgestural abstraction be utilized as a mode of contemporary communication?

Taylor O. Thomas Untitled, 2020 Oil and Pastel on Paper Sigend verso 15 x 10cm (5¾ x 3¾ in.) Taylor O. Thomas is an American painter who uses gestural painting as a means of making manifest human tendencies, ways of seeing, and the interconnection between the body and the mind. Her paintings have been exhibited in galleries and private collections across the United States and in Italy, Spain, Singapore, and China. In 2012, Thomas graduated magna cum laude from Davidson College with a BA in Studio Art. She was then awarded a Graduate Fellowship by the University of South Florida and earned her MFA in 2019. Thomas is the recipient of an inaugural Innovate Artist Grant, a Peripheral Vision Publication Fellowship, a two-time role as Publication Juror for Friend of the Artist, a Regional Artist Project Grant by the Arts and Science Council of Charlotte, NC, and residency scholarships to attend Vermont Studio Center (Johnson, Vermont) and Benaco Arte (Sirmione, Italy). Other residencies include MassArt's Art New England and Deli Grocery New York. Thomas currently lives and works in Tampa, Florida. Thomas is represented by Deli Grocery New York (Brooklyn, NY) and Emily Friedman Fine Art (Los Angeles, CA) . A painting may begin with a gesture I have borrowed from a dilapidated wall, cracking tile,scurrying commuter, or draping telephone wire. It continues based on the objects that jolt myattention within my studio walls. I mine for forms that approach "rightness" and "wrongness"simultaneously, gathering references to expand upon and manipulate. Gestural painting is mymeans of creating a tactile language, as I question what it means to live fully into the body.I visualize my environment with a collage mentality- jumping from shape-to-shape and texture-to-texture- cultivating a way of seeing that directs my intuitive way of making. This interactiveresearch that occurs outside of the studio serves as the preface for my work within it. Myphysical marks are embodiments of my being and moving through the world. Materialexperimentation is also a key factor in creative decision-making. Playing with paint's plasticityand ambiguous spaces provides for more interesting routes to each unexpected end. I teeter-totterbetween the compositional "bones" I establish for a painting and the spontaneous actions thatdisrupt those plans. Be it the imprint of an old tool, or the smudgy scrawls made by my faultybrush, I choose to embed such moments in the work. By embracing studio residue andresponding to past and present images at once, I invite new layers of meaning, chance, andauthorship into my paintings.While my practice remains rooted in my attempt to unify self-expression with ongoingdiscovery, the optical and emotive qualities of each surface stretch beyond my singularperspective. The images are altogether thick and flat, direct and obscure, sensitive and markedlydeliberate. Through them, I question: Where do our collective ideas of mind-body connectednessstand today? What is the value of preserving the physical in a digital age? And how mightgestural abstraction be utilized as a mode of contemporary communication?

Dan Baldwin Study for Fragmented Landscape 1, 2020 Pure Pigment and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Dan Baldwin is a contemporary British artist known for his kaleidoscopic paintings and ceramics. Baldwin often features a mixture of sinister and innocent imagery, clashing cartoon characters with icons of skulls and guns. Born in 1972 in Manchester, United Kingdom, he went on to receive his BA from Kent Institute of Art and Design in 1995. In the years that followed, the artist has produced book covers, album art, and collaborated with clothing designers such as Sara Berman. In 2005, Baldwin was featured on the British version of the hit television show The Apprentice and has gone on to exhibit his work internationally alongside Banksy, Julian Opie, and Peter Blake, among others. He currently lives and works Sussex, United Kingdom.

Dan Baldwin Study for Fragmented Landscape 2, 2020 Pure Pigment and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Dan Baldwin is a contemporary British artist known for his kaleidoscopic paintings and ceramics. Baldwin often features a mixture of sinister and innocent imagery, clashing cartoon characters with icons of skulls and guns. Born in 1972 in Manchester, United Kingdom, he went on to receive his BA from Kent Institute of Art and Design in 1995. In the years that followed, the artist has produced book covers, album art, and collaborated with clothing designers such as Sara Berman. In 2005, Baldwin was featured on the British version of the hit television show The Apprentice and has gone on to exhibit his work internationally alongside Banksy, Julian Opie, and Peter Blake, among others. He currently lives and works Sussex, United Kingdom.

Dan Baldwin Study for Fragmented Landscape 3, 2020 Pure Pigment and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Dan Baldwin is a contemporary British artist known for his kaleidoscopic paintings and ceramics. Baldwin often features a mixture of sinister and innocent imagery, clashing cartoon characters with icons of skulls and guns. Born in 1972 in Manchester, United Kingdom, he went on to receive his BA from Kent Institute of Art and Design in 1995. In the years that followed, the artist has produced book covers, album art, and collaborated with clothing designers such as Sara Berman. In 2005, Baldwin was featured on the British version of the hit television show The Apprentice and has gone on to exhibit his work internationally alongside Banksy, Julian Opie, and Peter Blake, among others. He currently lives and works Sussex, United Kingdom.

Sinéad Breslin Apple, 2020 Watercolour and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) I strive to create contemplative spaces that function both as a mirror and a window. I'm inclined to use the figure as an anchor and a mechanism to explore ideas surrounding the metaphysics. I have a tendency to depict singular figures suspended within a range of diverse and often obscure settings. Perspectives are flattened, colours are exaggerated, and results often reference the absurdity of REM sleep. They function as both portraits and descriptions of place and time. Creating tension, intensity and relief though the materiality of oil paint is the continual goal.   Sinead Breslin completed her fine art education at the University of The West of England (M.A., B.A.) and has been awarded multiple international residencies in Europe, including the prestigious Palazzo Monti residency, and most recent; Adhesivo 2020 Summer residency programme. She has exhibited in solo and group exhibitions in the US, Europe, Russia, and Mexico, and her work is found in numerous private and museum collections. In February of this year, Breslin exhibited a series of new paintings at Zona Maco, Latin America's leading art fair with Marc Straus Gallery following a successful solo in NYC at the gallery. During summer 2020 she was selected to be a part of major online exhibitions with AoraSpace, Zeitgeist, and independent curators. This autumn she has had shows opening in Moscow with ArtIQ and New Jersey at Mana Contemporary. Breslin has various exciting exhibitions upcoming in the US, London and Russia in 2021.  

Sinéad Breslin Praying Boy in a Boat, 2020 Watercolour and Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) I strive to create contemplative spaces that function both as a mirror and a window. I'm inclined to use the figure as an anchor and a mechanism to explore ideas surrounding the metaphysics. I have a tendency to depict singular figures suspended within a range of diverse and often obscure settings. Perspectives are flattened, colours are exaggerated, and results often reference the absurdity of REM sleep. They function as both portraits and descriptions of place and time. Creating tension, intensity and relief though the materiality of oil paint is the continual goal.   Sinead Breslin completed her fine art education at the University of The West of England (M.A., B.A.) and has been awarded multiple international residencies in Europe, including the prestigious Palazzo Monti residency, and most recent; Adhesivo 2020 Summer residency programme. She has exhibited in solo and group exhibitions in the US, Europe, Russia, and Mexico, and her work is found in numerous private and museum collections. In February of this year, Breslin exhibited a series of new paintings at Zona Maco, Latin America's leading art fair with Marc Straus Gallery following a successful solo in NYC at the gallery. During summer 2020 she was selected to be a part of major online exhibitions with AoraSpace, Zeitgeist, and independent curators. This autumn she has had shows opening in Moscow with ArtIQ and New Jersey at Mana Contemporary. Breslin has various exciting exhibitions upcoming in the US, London and Russia in 2021.  

Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard.   Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010).   His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010).   His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014).   Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.  

Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard.   Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010).   His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010).   His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014).   Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.

Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard.   Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010).   His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010).   His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014).   Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.

Ryan Mosley Untitled, 2020 Ink and Pastel on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Mosley synthesizes art-historical themes, styles, and movements into surreal, folk-inspired paintings that are wholly contemporary, yet appear timeless. Mosley does not sketch his paintings beforehand, instead treating his paintbrush as a pencil to build large-scale images through layers of translucent washes for a batik quality. This spontaneous technique results in theatrical spaces and fantastic scenes, at once whimsical and tragic, ambiguous and intriguing. Mosley's work features recurring images of heads and masks, as well as harlequin-inspired, diamond patterned clothing, which serve as liberated and somber symbols of carnival and release. Mosley's "Southern Banjo," for example, features a minstrel playing a banjo underneath a tree. Isolated yet confident, Mosley's figure merges a Wild West appearance with stylistic elements culled from Henri Toulouse-Lautrec, Edgar Degas, Jean-Antoine Watteau, and Pierre Bonnard.   Ryan Mosley (b. Chesterfield, UK, 1980) trained at the University of Huddersfield and Royal College of Art, London; the artist lives and works in Sheffield, UK. Recent solo presentations include From the Verges, Galerie EIGEN + ART Leipzig/Berlin (2017); Anatomy and the Wall, Alison Jacques Gallery, London (2016); The Mirror Never Reflects, Eigen + Art, Berlin (2015); Susanne Vielmetter Projects, Los Angeles (2014); Thoughts of Man, Tierney Gardarin, New York (2013); Reversed Limbo, Eigen + Art, Berlin (2012), Alison Jacques Gallery, London (2011) and Painting Séance, Grand Arts, Kansas City (2010).   His work has featured in significant group shows including Walls Have Ears, Aston Hall Museum, Birmingham, UK, Malevolent Eldritch Shrieking, Attercliffe™, Sheffield, UK, Everything Flows, Millennium Gallery: Museums Sheffield, UK (2017); A New kitchen Sink, Josh Lilley Gallery, London, UK (2017); Ready for the Stage Act 1 (1900-2016), Arp Museum Bahnhof Rolandseck, Germany (2016); Painters' Painters, Saatchi Gallery, London (2016); One Day, Something Happens: Paintings of People, Hayward touring exhibition (2015); June: A Painting Show, Sadie Coles HQ, London (2015); The Islanders, Galerie Mikael Andersen, Copenhagen (2015); Zero Hours, S1 Artspace, Sheffield (2013); Nightfall, Modem Museum, Hungary (2012); London Twelve: Contemporary British Art, City Gallery, Prague (2012); Summer Exhibition, Royal Academy of Arts, London (2012); Merging Bridges, Museum of Modern Art, Baku (2012); and Newspeak: British Art Now, Saatchi Gallery, London (2010).   His work is included in Vitamin P3: New Perspectives in Painting published by Phaidon (2016); Picturing People published by Thames & Hudson (2015) and 100 Painters of Tomorrow published by Thames & Hudson (2014).   Mosley's work is part of the Arts Council Collection, UK; The Saatchi Collection, London and Falckenberg Collection, Hamburg.

Tuesday Riddell Midnight Mushrooms, 2020 23.5k Gold Leaf, Silver Leaf, Ink and Gold Powder Signed verso 15 x 10cm (5¾ x 3¾ in.) "I practice the ancient art of japanning which is a 17th century form of decorative finish characterised by layered black lacquer, gilded with gold and silver leaf. Japanning is currently an endangered technique in the UK. The work explores cycles of life and death taking place in the dark underwood of the forest floor."       Tuesday Riddell graduated with a BA (Hons) in Fine Art Painting from City & Guilds of London Art School. She has just concluded her Painter-Stainers Decorative Surface Fellowship at City & Guilds - the only Fellowship in the UK that provides specialist training in the craft of decorative surface techniques to ensure that endangered skills are kept alive and vibrant in contemporary practice, focusing on historic techniques such as gilding, japanning, chinoiserie and marbling. Riddell will be granted a one-year honorary membership to The Worshipful Company of Painter-Stainers to conclude her fellowship.   She has recently exhibited at Belfiore 9, Viktor Wynd's Museum of Curiosities, Londonewcastle Project Gallery and Subsidiary Projects. Tuesday was selected as part of the 'Young Contemporary Artist Awards 2018' by The Biscuit Factory.  

Tuesday Riddell Snowdrop, 2020 23.5k Gold Leaf, Silver Leaf, Ink and Gold Powder Signed verso 15 x 10cm (5¾ x 3¾ in.) "I practice the ancient art of japanning which is a 17th century form of decorative finish characterised by layered black lacquer, gilded with gold and silver leaf. Japanning is currently an endangered technique in the UK. The work explores cycles of life and death taking place in the dark underwood of the forest floor."       Tuesday Riddell graduated with a BA (Hons) in Fine Art Painting from City & Guilds of London Art School. She has just concluded her Painter-Stainers Decorative Surface Fellowship at City & Guilds - the only Fellowship in the UK that provides specialist training in the craft of decorative surface techniques to ensure that endangered skills are kept alive and vibrant in contemporary practice, focusing on historic techniques such as gilding, japanning, chinoiserie and marbling. Riddell will be granted a one-year honorary membership to The Worshipful Company of Painter-Stainers to conclude her fellowship.   She has recently exhibited at Belfiore 9, Viktor Wynd's Museum of Curiosities, Londonewcastle Project Gallery and Subsidiary Projects. Tuesday was selected as part of the 'Young Contemporary Artist Awards 2018' by The Biscuit Factory.  

Ariel Vargassal To Whom Who Wears the Crown II, 2020 Acrylic and 24k Gold Leaf on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ariel Vargassal was born into a richly mixed culture family. These cultural singularities introduced Ariel to undeniable senses of style. He always leaned towards the arts and when he did not mold small clay sculptures, he turned to countless drawings in his notebook. Therefore, it was logical that Ariel followed a Bachelor of Fine Arts at the University of Mexico. In studying the works of the great artist who preceded him, his passion ignited and his determination proved unstoppable. Upon graduation, Ariel became one of the youngest teachers to teach art at a high school at Mexico City, and had the opportunity to showcase his work in different places, including the prestigious "Polyforum Cultural Siqueiros".   His first international exhibition was in Salt Lake City, Utah during the Winter Olympic Games as a host of the city, representing the visual arts of Mexico. After this exhibition, Ariel received invitations to showcase her work in area galleries as well as offers elsewhere in the US, so she decided to move to Los Angeles. Vargassal's work has been seen in various digital publications, books and television programs. In addition, he has been fortunate to work with young Hollywood stars as his models and clients.   Apart from Mexico City, Salt Lake City and Los Angeles, Ariel has shown her work in Arizona, San Francisco and New York. He is a member of the Los Angeles Art Association, one of the oldest and most prestigious art associations on the West Coast. He worked with International Curators in early 2013, his work was presented at the International Surrealism of Lisbon, Portugal, and recently received invitations to exhibit in Montreal, Canada (Galerie Gora, art contemporain), Germany (the Contemporary Museum of Berlin) and France.    

Ruth Philo From the Virgin's Robe I, 2020 Raw Pigments and Binder on Unstretched Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings combine experiences of inner and outer worlds, essentially paintscapes of thought, feeling and intuition. Toughly material, I often work with pigments and binders that feel close to the earth. These pieces were made during lockdown, in confinement and isolation, and explore blue pigments like ultramarine and cobalt. Blue, the colour of distance, memory, time, sky, sea, and the Virgin's robes; this series explores its history, beauty and associations.   I live and work in Sudbury, Suffolk and have a BA History of Art, University of Warwick and MA Fine Art, Norwich University of the Arts. My work has been selected for the Jerwood Drawing Prize and Royal Academy Summer exhibition and is in several collections worldwide. I regularly exhibit in the UK and abroad and am a member of Contemporary British Painting.  

Ruth Philo From the Virgin's Robe II, 2020 Raw Pigments and Binder on Unstretched Canvas Signed verso 15 x 10cm (5¾ x 3¾ in.) My paintings combine experiences of inner and outer worlds, essentially paintscapes of thought, feeling and intuition. Toughly material, I often work with pigments and binders that feel close to the earth. These pieces were made during lockdown, in confinement and isolation, and explore blue pigments like ultramarine and cobalt. Blue, the colour of distance, memory, time, sky, sea, and the Virgin's robes; this series explores its history, beauty and associations.   I live and work in Sudbury, Suffolk and have a BA History of Art, University of Warwick and MA Fine Art, Norwich University of the Arts. My work has been selected for the Jerwood Drawing Prize and Royal Academy Summer exhibition and is in several collections worldwide. I regularly exhibit in the UK and abroad and am a member of Contemporary British Painting.

Kelly-Anne Davitt Sweet Love, 2020 Oil on Canvas Board Signed verso 15 x 10cm (5¾ x 3¾ in.)   "I like painting the heart throb sweet for Art on a Postcard, I use it as a symbol of life and living. I often paint sweets, they are a vehicle for me to paint many different forms, shapes, textures and colours. Sweet love oil painting, explores cultural imagery and is a reaction to our current circumstances. When the threat of loss is so close, love for the important people in our lives is intensified.   Bum Shot and Pink Bum Shot Mini limited edition prints explore themes of empowerment, having faith, strength and courage in the face of adversity. A nod to this unprecedented pandemic and the challenges we have all faced during lockdown and a celebration of my curatorial debut 'The Most Powerful Woman In The Universe' which was held at Gallery 46 in Whitechapel last year."   A young British artist, painter and feminist, Kelly-Anne Davitt was selected by the National Portrait Gallery to exhibit in the BP Portrait Awards, immediately after graduating from London Guildhall University with a degree in Fine Art. Kelly has had solo shows: Beach Balls & Melons at Dadiani Fine Art, Cork Street and Feel Good at Blacks, Soho. She has also exhibited her work at Faggionato Fine Arts, Colony Room Club, Gallery 46, The Laurence Stern Trust, Art Car Boot Fair, Zoo Art Fair, Trolley Gallery, Outside World Gallery and Lights of Soho. Through her oil paintings exploring the hyper-sexual images of women found online and within media, rendered realistically and with playful pop tones, Kelly achieves a contemporary approach and attitude to the time-honoured female nude. She also uses light text sculpture to re-enforce the ideas within her paintings. Taking text that amuses and outrages her from tabloids and magazines and re-appropriating them to illuminate the ridiculous, absurd and humorous. These themes remain dominant in Kelly's work. She currently lives and works in London.  

Kelly-Anne Davitt Bum Shot Mini, 2020 Limited Edition Digital Print Signed recto 15 x 10cm (5¾ x 3¾ in.)   "I like painting the heart throb sweet for Art on a Postcard, I use it as a symbol of life and living. I often paint sweets, they are a vehicle for me to paint many different forms, shapes, textures and colours. Sweet love oil painting, explores cultural imagery and is a reaction to our current circumstances. When the threat of loss is so close, love for the important people in our lives is intensified.   Bum Shot and Pink Bum Shot Mini limited edition prints explore themes of empowerment, having faith, strength and courage in the face of adversity. A nod to this unprecedented pandemic and the challenges we have all faced during lockdown and a celebration of my curatorial debut 'The Most Powerful Woman In The Universe' which was held at Gallery 46 in Whitechapel last year."   A young British artist, painter and feminist, Kelly-Anne Davitt was selected by the National Portrait Gallery to exhibit in the BP Portrait Awards, immediately after graduating from London Guildhall University with a degree in Fine Art. Kelly has had solo shows: Beach Balls & Melons at Dadiani Fine Art, Cork Street and Feel Good at Blacks, Soho. She has also exhibited her work at Faggionato Fine Arts, Colony Room Club, Gallery 46, The Laurence Stern Trust, Art Car Boot Fair, Zoo Art Fair, Trolley Gallery, Outside World Gallery and Lights of Soho. Through her oil paintings exploring the hyper-sexual images of women found online and within media, rendered realistically and with playful pop tones, Kelly achieves a contemporary approach and attitude to the time-honoured female nude. She also uses light text sculpture to re-enforce the ideas within her paintings. Taking text that amuses and outrages her from tabloids and magazines and re-appropriating them to illuminate the ridiculous, absurd and humorous. These themes remain dominant in Kelly's work. She currently lives and works in London.  

Jonni Cheatwood Hot Legzzz, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art.   Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times.   Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.  

Jonni Cheatwood Going to See the Queen, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art.   Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times.   Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.

Jonni Cheatwood Preston Still has Petit Feet, 2020 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Jonni Cheatwood is a Brazilian-American visual artist working across many different disciplines including painting, photography, graphic design and textile art.   Cheatwood's work describes the broad visual ideas stemming from still life, abstraction and minimalism, but his approach is a wonderful amalgam of his artistic disciplines in which veritable scraps of canvas are hand-sewn together before his idiosyncratic mark-making is thereafter applied to the newly created surface. Denim, mesh, burlap sacks, t-shirts, blankets, t-shirts, screen-prints, and even his father's worn leather satchel have all made their way into his work at one time or another. The graffiti-like scribbles, scratches and primitive colours of Cheatwood's work is the controlled chaotic work of an erudite expressionist brought up on Saturday morning cartoons; suggesting deconstructed contour lines and bright, unforgiving primary colours often applied directly from the tube or oversize pastel. Beginning with direct marks, squiggles and doodles, Cheatwood reacts and builds up his compositions over time, working with the studio detritus that can build up as a result of working on the floor and from the physical nature of his process - allowing this to become part of his formation of the work. The many references housed in his work - whether intentional or unintentional - seem like a patchwork of Cheatwood's own autobiography - and the works come across like humorous albeit highly personalized recollections of his life at various times.   Jonni Cheatwood (b. 1986, Thousand Oaks, CA) lives and works in Los Angeles, California. He graduated from Arizona State University, Tempe, in 2011. Solo exhibitions include: ' Fresh Out of Fiddles', Makasiini Contemporary, Turku, Finland (2020); 'Tyger Tyger', Urban Spree, Berlin, Germany (2019); 'That's Dallas Baby, Artual Gallery, Beirut, Lebanon (2019); 'Dressed Up for the Letdown', Over the Influence, Hong Kong, (2018); 'She's Heavy on the Razzmatazz', MAKASIINI CONTEMPORARY, Turku, Finland (2018) and; 'Same Hero, New Boots', TW Fine Art, Brisbane, Australia (2018). Group exhibitions include: Fresh Out of Fiddles, MAKASIINI Contemporary, (2020), UNTITLED San Francisco, MAKASIINI Contemporary (2020); 'Seven Days Are Too Long', Mirus Gallery, Denver, Colorado (2019); 'The Atlantic Bridge', Galerie Kremers, Berlin, Germany (2019); 'Office Hours', New Museum, Los Angeles, California (2018); 'View From the Cheap Seats', Chimento Contemporary, Los Angeles, California (2018); 'The Urban Experience', Artual Gallery, Beirut, Lebanon (2018); 'FRESHAF', TW Fine Art, Brisbane Australia (2017); and 'Buy What You Love', Rema Hort Mann Foundation, New York NY (2017). Cheatwood first exhibited with BEERS London for the group exhibition '75 Works on Paper' (2017), he exhibited at Volta NY with BEERS in March 2018 and EXPO Chicago with BEERS in September 2019.

Simon Laurie Fish and Wine, 2020 Pencil 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.

Simon Laurie Bass Beer, 2020 Pencil on Paper Signed recto 15 x 10cm (5¾ x 3¾ 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.

Simon Laurie Jug and Fruit, 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.

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.

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.  

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.  

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.    

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  

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).

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.  

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."  

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.  

Rosie Emerson Dreamer, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.) Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model.   Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph.   Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.     Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine. Condition Report:         Condition Report Disclaimer

Rosie Emerson Ebony Rose AP, 2020 Photopolymer Etching on Paper Signed recto 15 x 10cm (5¾ x 3¾ in.)Rosie Emerson is an award winning contemporary artist originally from Dorset, she studied and lived in London for 10 years. She now resides on the South Coast and continues to work almost exclusively on representing the female form. Emerson's figures draw reference from archetypes old and new from Artemis to the modern day super model.   Inspired by her love of museums, architecture, theatre, silhouettes, shrines and rituals, she uses dramatic lighting, hand made costumes, set and prop making alongside printmaking and painting to create her unique style of work. Her work is widely collected and exhibited both in the UK, as well as internationally, through galleries, art fairs and museums. Emerson was also commissioned by Hackney WickED Arts Festival to create a new Guinness World record and create the world's largest Cyanotype photograph.   Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.     Emerson has been commissioned by brands including Sony, Triumph Underwear, Redbull, P&O Cruises, Toms, and Annoushka jewelry working with models Amber le Bon, Daisy Lowe and singer Eliza Doolittle. Her work has also been featured in Vogue, Harper's Bazaar, Another Magazine, The Financial Times Magazine and The Sunday Times Style Magazine.