Bath Society of Artists : 121st Open Exhibition (Non Members Only)

Decanter Screen and Wedges

By mary lace SWA

Oil on linen

h: 35 w: 30 d: 2 (cms).

The screen with its two apertures is just an item of packaging, but it made quite a dramatic background to support and inspire an unusual still life group. The red glass decanter and dried flowers suited in terms of size and colour and the scattered wedges picked up on the angles and triangles created by the screen. The inside of the decanter became an interior world of its own making.

£750

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Decanter Screen and Wedges

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Dorchester Street

By rowan melling

oil paint on board

h: 33 w: 48 d: 1 (cms).

This painting depicts a cafe on Dorchester Street in Bath. It explores the dual nature of glass as both reflective and transparent. The cafe interior and the street outside overlap as figures, reflections and architectural elements merge into a fragmented space. The image shifts between interior, exterior and the surface of the glass.

£800

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Dorchester Street

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Monellis

By rowan melling

oil paint on canvas

h: 60 w: 45 d: 2 (cms).

This painting depicts the window of Monellis, a restaurant in Hastings, on a cold and rainy day. The window intentionally fills the composition, creating a contrast between the rigid, geometric edges of the frame and the softer, more painterly marks of condensation across the glass. Diffused interior light and subtle distortions partially obscure the figures seated inside, allowing them to remain secondary to the overall atmosphere.

£950

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Monellis

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Fire Exit

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The Matrix

By john grice

Oil on Canvas

h: 80 w: 80 d: 3 (cms).

The painting has a narrative largely inspired by a movie called The Matrix. The blue pills (or berries in this case) signify blissful ignorance and conformity. The wallpaper birds in the background stay in comfortable but false simulation forgetting the truth. The Agents (crows on frozen branches on the vase) are guardians protecting this false world by handing out the blue pills.

£2500

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The Matrix

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Changing Rooms

By matthew ensor

Wood Construction - Mixed Media, vintage manipulated tin bath, tap, shower, mirror, papier-mâché and acrylic paint.

h: 62 w: 52 d: 32 (cms).

Changing rooms reflects on the appalling grassroots facilities endured during my teenage sporting endeavours. I feel this construction exudes a stillness and silence of the after event, possibly even a menacing presence more reminiscent of a crime scene.

£1250

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Changing Rooms

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Five Vessels

By mike skinner

Mixed oil acrylic graphite pen on board

h: 34 w: 34 d: 1 (cms).

Still Life semi abstract composition

£1800

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Five Vessels

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Moving

By mike skinner

Mixed Pen Graphite oil and acrylic on board

h: 36 w: 36 d: 1 (cms).

A work based on moving in and out of apartments

£875

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Moving

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WATERDANCE

By peter goodhall

oil on linen canvas

h: 92 w: 138 d: 4 (cms).

gallery wrapped presentation

£6000

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WATERDANCE

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Dance Yrself Clean

By isobel heath BA(Hons)

Oils on Canvas

h: 60 w: 60 d: 2 (cms).

‘Dance Yrself Clean’ depicts a flock of pigeons. The bright pink background and title respond to a club night of the same name at The Shacklewell Arms in London, a grassroots music venue infamous for vivid pink lighting. Here, I replace humans with pigeons, animals commonly regarded as 'dirty' urban pests, allowing the birds to occupy the dancefloor instead. The work questions why humans so readily position themselves above other species while engaging in similarly instinctive forms of flocking and display. The desire to appear alternative or culturally distinct ultimately gives way to a familiar collective behaviour, blurring the perceived divide between human and animal.

£750

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Dance Yrself Clean

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Beautiful Prisoners

By lena zinski

Acrylic and collage on canvas

h: 60 w: 50 d: 5 (cms).

Beautiful Prisoners responds to the Belarusian government’s mass imprisonment of political opponents, artists, writers, journalists, and cultural figures. Through layered collage, torn paper, and painted gestures, the work transforms birds into symbols of captivity, solidarity, and inner freedom. White doves emerge from fractured, dark surfaces, appearing caught between disappearance and survival. Overlapping forms evoke both confinement and collective endurance, while branching structures suggest prison bars and systems of control. Torn fragments embody rupture, censorship, memory, and repair. Despite an atmosphere of fear and isolation, the birds persist, expressing resilience, imagination, and spiritual resistance against oppression.

£4500

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Beautiful Prisoners

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Waiting to go on

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Boudica

By mandy bunnett

Mixed media, card, textiles, wire, paint

h: 164 w: 140 d: 42 (cms).

The cloak is a sculptural tribute to Boudica, embodying feminine strength, motherly love, ancestral power and protection. Inspired by her spirit as a warrior queen of the Celtic Iceni tribe and a mother who rose up to defend her people and her two daughters, the piece honours her legacy. The front panel is made from painted playing cards, a reflective surface of silver and light, symbolising resilience and strength. Several cards are inscribed with Ogham script, the Celtic ancient symbolism, grounding the piece to time. The main body of the cloak – hessian fabric, dyed blue with Indigo. The red draped cords represent the bloodline, connection, continuity and the emotional threads between mother and daughters. The macrame knots are like threads of storytelling, each one tied with intention, becoming a therapeutic, healing ritual that weaves memory and emotion into the work.

£2750

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Boudica

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Autumn at Bream Cove

By kate cochrane

Oil

h: 92 w: 122 d: 4 (cms).

While looking for rocky coves west of Falmouth, I came across Bream Cove. A small hidden bay reached via a delightful 300 yard easy woodland walk. The geology of the cove is of ancient slate rocks with glacial features shaped by the last Ice Age. The rock pools and tide pools are an excellent environment for marine life, with the cove being classed as a Site of Special Scientific Interest due to rich marine deposits and nationally rare plants. I was attracted to the bay with its deeply fissured slate rocks covered with coloured seaweeds in contrast to the rich blue tones of the sea.

£5250

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Autumn at Bream Cove

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Self Portrait Two

By Sara Netherway BA(Hons)

Oil on Canvas Board

h: 40 w: 30 d: 1 (cms).

The painting is a self portrait of the artist, wearing an apron, ready for work.

£350

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Self Portrait Two

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Self Portrait One

By Sara Netherway BA(Hons)

Oil on Canvas Board

h: 40 w: 30 d: 1 (cms).

The painting is a self portrait of the artist, wearing an apron, tying her hair up, ready for work.

£350

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Self Portrait One

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Safe Land of Colour #1

By javier garcia

Oils

h: 18 w: 24 d: 2 (cms).

An imagined psychological space orchestrated for escapism and wonder. A landscape inspired by hyper-stimulated environments and rich animated media.

£750

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Safe Land of Colour #1

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Eyes Eyes Eyes

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Geoff

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A Somerset Church in Winter

By kate westcott

Black iron and fine black copper wire

h: 48 w: 72 d: 24 (cms).

This piece can be hung directly on a wall with two small nails, or can stand on a shelf, with a plain background. In light, shadows will be cast. The piece may show areas of rust if in damp conditions.

£1775

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A Somerset Church in Winter

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The Holburne

By kate westcott

Black iron and fine black copper wire

h: 31 w: 62 d: 14 (cms).

This wire art hangs directly on the wall. If exposed to damp conditions, it may rust.

£1750

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The Holburne

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Crossways XII

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Through the Trees

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swimming

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Confluence

By amy roberts MA, BA (Hons)

Acrylic, ink and pencil

h: 102 w: 81 d: 2 (cms).

Confluence is an abstract exploration of convergence, where colour, gesture and layered forms meet. Through translucent surfaces and luminous contrasts, the painting evokes growth, resilience and the traces of what lies beneath.

£1600

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Confluence

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Chilcompton

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Kilmersdon

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Swift's Hill view, Slad Valley, Autumn

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Beech Barrow SU 319 311

By nigel parkes

Bronze on polished bronze base

h: 18 w: 8 d: 8 (cms).

The numbers are a six figure ordnance survey map grid reference identifying a real barrow in Hampshire that I often cycled to as a boy to draw and paint (it's one of a series of heads all named and similarly identified). The 'point' is a real flint cast in bronze.

£800

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Beech Barrow SU 319 311

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Pears and Flowers

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Dancing Women

By liz watts SWA

Porcelain, glazed and un glazed, with gold, platinum and mother of pearl lustres

h: 26 w: 26 d: 26 (cms).

£1850

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Dancing Women

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Plimsoll Bridge Control Tower

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The Circus

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Rowan Tree

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Budgie in His Garden

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Dark Sea

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Lost in the Hills

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Iris

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SY2 No1

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SY2 No4

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Woodland Oriental

By moira ladd

Acrylic

h: 80 w: 80 d: 4 (cms).

Painted on board and gloss varnished, this gives the feel of a lacquered panel.

£1800

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Woodland Oriental

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Rivers Street and Julian Road from Brunswick Place, Bath

By camilla dowse

Acrylic on gesso

h: 50 w: 50 d: 3 (cms).

A shaft of sunlight creating shadows across a road junction in Bath, the road markings drawing your eye towards the architecture. A quiet moment in time but with a sense of something about to happen...

£995

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Rivers Street and Julian Road from Brunswick Place, Bath

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Murderous Millinery

By eleanor glover

mixed media

h: 46 w: 34 d: 30 (cms).

The most valuable cargo on the Titanic were the feathers bound for the New York hat trade – only second in price per oz to diamonds and gold. Egrets, Birds of Paradise, and Ostriches were being driven to extinction by the fashion for lifelike and excessive bird and feather decorations. This destructive situation sparked the birth of the Society for the Protection of Birds (later the RSPB) in 1889. “Murderous Millinery” was a familiar slogan of the protest movement. To weight the base I have inset three sheets of lead – only later learning of its essential role in ship building to provide ballast and to make vessels watertight.

£1200

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Murderous Millinery

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Garden Birds

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The Divers

By stephanie wright

silkscreen print

h: 54 w: 31 d: 1 (cms).

silkscreen print making connections between ourselves and our ocean friends.

£280

£200 (Unframed)

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The Divers

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House

By jo mcchesney

Mixed media collage Wood/paper/paint

h: 29 w: 28 d: 1 (cms).

I graduated from Bath Academy of Art specialising in illustration for my B.A. During this time I was selected to study at the Cooper Union School of Art, New York, where I had access to the paper making department and experimented with hand made paper and print. Recent work has been inspired by revisiting these early experiments with paper making. The natural world is the source of inspiration for my work. I live in the midlands, surrounded by the rural landscape, and have watched the transformation of the land around me, the different seasons sliding from the warm yellow ochre crops of the flat fields to the darker linear ploughed lines of autumn. The stuff itself of paper pulp in its liquid malleable form becomes a tangible palpable image as well as the substrate. I incorporate carved found weather beaten fragments of wood, collaging and layering There is an emphasis on field patterns, with converging plough lines, big changing skies, and remote agricultural buildings.

£420

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House

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Cave

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Quiet Air

By Annabel Menheneott BA (Hons)

Acrylic on canvas

h: 30 w: 40 d: 2 (cms).

The constant changes and perspectives that draw the eye out to the horizon have much in common with the sea and our magnificent coastline, which has been the focus of my practice for many years. As such, this newer exploration of landscape has felt like the natural progression of my work. Focus is shifting to take only what interests me from the landscape and pare back the subject. This sometimes means bringing only a handful of elements, or indeed just one element, to the fore because they felt so prominent to me at that point in time. It may mean looking at the architecture of the landscape and using motifs to give the sense of a place even in abstracted form, through strong composition, bold forms and colour, while continuing to embrace the creativity and freedom of the painterly marks and elements I love. Recently Annabel has become more interested in abstracting the subject and moving even further into a contemporary style, both in her maritime work and in these new landscapes.

£1200

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Quiet Air

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Stock Image

By belinda bouchard

Printing ink

h: 43 w: 33 d: 1 (cms).

Artwork Description: As a monotype print this print is unique; a one-off. It is made using multiple layers of ink built up over time, each layer responding to what has been printed before. Symbols and signs are revealed and are then obscured beneath the following layer of ink. In this image, various memories were triggered by the shapes and symbols that emerged.

£250

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Stock Image

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Inner World 5

By annie fry

Oil on cradled board

h: 60 w: 40 d: 5 (cms).

This was one of a series of works that I produced working with Mark

£2500

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Inner World 5

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Anenomes

By rowena whitty

watercolour

h: 71 w: 53 d: 1 (cms).

'Anenomes' is a watercolour based on a scruffy part of my garden

£1200

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Anenomes

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Ignis

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Dog and Collar

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The visitor

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The Way of The Hedgehog

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Succulent

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Allotments

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Morning Greenhouse

By jill myerscough BA(Hons)

Oil

h: 26 w: 20 d: 1 (cms).

This oil painting captures the fleeting nature of morning light through the structured glass panes of a green house. The composition draws the viewer into a sun-drenched tranquil sanctuary. 20cmx

£350

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Morning Greenhouse

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Mended Not Broken

By sylvie millen BA (Hons)

Digital print and free-motion machine stitching.

h: 45 w: 35 d: 3 (cms).

Mended, Not Broken explores resilience, vulnerability and the beauty of visible repair. Drawing on my own experience of physical and emotional healing, the portrait is printed onto natural fabric and developed through free-motion machine embroidery, adding texture, definition and emotional depth. Metallic gold thread travels across the face and body like repaired fractures. Inspired by the Japanese art of kintsugi, where damage is highlighted rather than concealed, the stitching represents healing, renewal and the emotional scars that may remain after physical wounds have healed. The raw, frayed edges and trailing threads suggest fragility, while the gold lines celebrate strength and survival. The figure has not been returned to an untouched state; instead, her experiences have become part of her identity. Selected for the ArtGemini Prize Finalists Exhibition, 2025.

£950

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Mended Not Broken

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Saunton Sands

By charlotte ambrose

Photogravure

h: 70 w: 50 d: 1 (cms).

Photogravure Charbonnel Black Etching Ink Charbonnel Prussian Blue Ink Fabriano Rosaspina 220 gsm printmaking paper Arctic White Mountboard

£250.00

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Saunton Sands

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#1

By jodie ledbury

Air dry clay on Canvas

h: 50 w: 40 d: 5 (cms).

My work is focused on repetition, both within the actual work and also in the process of creating it. I find it therapeutic to repetitively create a form and arrange that form on the canvas in a considered way.

£450

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Fleeting Memories

By belinda bouchard

Printing ink

h: 43 w: 33 d: 1 (cms).

As a monotype print this print is unique; a one-off. It is made using multiple layers of ink built up over time, each layer responding to what has been printed before. Symbols and signs emerge and are then obscured beneath the following layer of ink.

£250

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Fleeting Memories

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A Glimpse of another Fish Slice

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Hope

By anna kelleher

Wool on linen

h: 40 w: 30 d: 1 (cms).

Created in response to the UK's ongoing SEND crisis, this portrait reflects the experiences of families like my own. It honours the resilience of children with Special Educational Needs and Disabilities (SEND) while acknowledging the challenges faced by those seeking the support they deserve. The stamp motif and crown symbolise value and visibility, reminding us that every child matters and deserves the opportunity to thrive. The 'HOPE' rosette represents the determination of families who continue to advocate for their children, while also reflecting how fragile hope can become when support systems fail. This work invites viewers to look beyond policies and statistics to the lives they affect, recognising that when so many families experience exhaustion and burnout, the issue is not individual failure but a system struggling to meet the needs of those it exists to support.

£1900

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Hope

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Pwllgwaelod

By Liz Freedman BA(Hons)

Reduction Linocut

h: 20 w: 15 d: 1 (cms).

A multi layered reduction linocut printed in Cranfield relief inks on Kent paper.

£195

£130 (Unframed)

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Pwllgwaelod

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Boat on the Shore

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Hide & Seek

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Under the Sakura Light

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The Portraits

By jialu yao

Stone Lithography

h: 56 w: 76 d: 1 (cms).

The Portraits explores the encounter between contemporary viewers and historical images. Standing before three portraits by Van Dyck, a lone visitor appears absorbed in observation, while the painted figures seem to return the gaze. The work reflects on how museums create quiet conversations across time, where the distance between past and present momentarily collapses.

£420

£280 (Unframed)

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The Portraits

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The Dollhouse

By jialu yao

Lithography

h: 56 w: 76 d: 1 (cms).

In The Dollhouse, visitors gather around a miniature world displayed inside a museum. As they become absorbed in observing the tiny interior, they are themselves quietly observed by the viewer beyond the image. The work plays with this layered exchange of gazes, where one act of looking is nested within another. Blurring the boundary between model and reality, it suggests that every space of observation may itself become a kind of dollhouse.

£400

£280 (Unframed)

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The Dollhouse

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No.9 Chapel Street

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Hellebore Flower

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Whispers

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Wrens on the Rails

By hollie molloy

Oil

h: 31 w: 46 d: 2 (cms).

Wrens on the Rails depicts two Wrens on some old railings that are starting to be overgrown. I'm interested in the idea of nature reclaiming manmade items and the value that animals can find in discarded items in making their nests etc. In this piece I like the structure of the metalwork in contrast to the less rigid shapes of the plants. The painting is part of a series of works under the title 'Into The Woods' in which I try to explore different narratives around the natural world and manmade items.

£600

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Wrens on the Rails

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Tea Pot Talk

By david wood

Collagraph

h: 30 w: 42 d: 1 (cms).

This uses with our National attitude to drinking tea and plays with the idea behind pillow talk. Let’s talk about it over a cuppa…I ve used card, baking parchment, masking tape, fabric, tin foil, pencil shavings, cotton , leaves and PVA glue to build the printing plate.

£250

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Tea Pot Talk

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Bread and Butter

By henning lohlein

Oil on Board

h: 32 w: 25 d: 5 (cms).

My paintings explore life's deeper meaning through humour, surprise, and unexpected combinations. I take ordinary objects and reveal something unusual in them — playful on the surface, but with more going on underneath. I believe there's more to everything than meets the eye, if you look closely enough. My aim is simple: to make beautiful images that make you think and make you smile. After years in book illustration, I now tell whole stories within a single image — often letting the title and the picture pull against each other, so the viewer has to look twice.

£395

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Bread and Butter

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Gazing into the Lily Pond

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Discretely whispering

By richard young

Mixed : oil pastel, watercolour, gouache, crayons, ink on Fabriano Artistico

h: 19 w: 28 d: 1 (cms).

The painting is inspired by a poem ‘URBAN LEGEND’ written by the poet Geoffrey Breeze and performed in local venues here in Bath. The annotation is a line from the poem.

£575.00

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Discretely whispering

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Bjorn 2

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Where the Lilies sleep

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Perfect Soul

By lisa earley MA

Relief print on Somerset Satin.

h: 20 w: 24 d: 1 (cms).

'Perfect Soul' is a a relief print using wood and lino blocks, featuring the vigorously growing plants in my garden. Perfect soul is a lyric taken from Radiohead's song 'Creep', but in this case alludes to the growing habits of these plants and the joy they bring.

£280

£175 (Unframed)

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Perfect Soul

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The Old Quarry

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Longing never ends

By claire louise vaculik

willow and compressed charcoal

h: 69 w: 48 d: 1 (cms).

My artworks explore the relationship between memory, landscape, and identity, using drawing, painting and photography. Artworks develop over time - with the surface worked into, pigment removed, and then re-applied to create layers of shifting tone. Returning to the image periodically over many years, each subsequent day changes the experience of the object and the meanings this holds. My practice is influenced by my art therapy training and past practice, which has focused on bereavement, loss and palliative care. 'Longing never ends' draws together reflections on relationships, life stages and the shifting experiences of hope, despair, support, and resilience across a lifetime and across generations within a family line.

£4000

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Longing never ends

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The Tower

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View from above

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Time to checkout...

By alexandra cooper-wilkinson

Acrylic

h: 61 w: 91 d: 3 (cms).

Acrylic on linen canvas. This piece is inspired by the idea of liminal spaces. The viewer looks down a familiar supermarket aisle but with the added uncertainty of the nighttime/or closed shop setting and seemingly nobody else there. The glare from the fridge initially catches the eye with the bright fluorescent lighting and the colours of the products in the fridge. But as the viewer looks down into the darkness, it appears there may be someone… or something also browsing.

£3000

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Time to checkout...

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No Loading at Any Time

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Dusk Garden

By cathy pearce

Soft pastel

h: 23 w: 68 d: 1 (cms).

This soft pastel painting was painted in situ, in my garden at dusk in mid July. The lowering sun catches random leaves and flowers turning them into little jewels, whilst the dark foliage retains deep shadows to act as a back drop to these gleaming jewels. Observing this effect a few nights in a row inspired me to set up my easel and pastels. I very much wanted a wide slice of paper on which to portray the huge, veiny Cotinus flowers which filter the evening sun on the left and moving across the various bushes and plants that boarder the little concrete path and again to the right, the flowers of the Nandina Domestica shrub catch the light. The path then leads the eye up to the greenhouse where the sun bounces off the glass and finally to the wooden back slats of a chair at the end of the garden. I was captured by the huge variety of textures and shapes of colour coming together to make quite an abstract and complex piece of visual information.

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Dusk Garden

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The Abandoned Caravan

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Patterns, Stems

By virginia crompton

Acrylic on stone paper

h: 42 w: 30 d: 1 (cms).

I enjoy painting 'cornered' still lifes which allow more depth. Patterns, Stems has two vases, two flowers and two backgrounds. It took me some time to work out the composition so that the halves connected. When I went back to it, maybe the light had changed and a dried stem had moved. I kept discovering things I had missed. It came together when I found the two ribbons of shadow that ran down the middle of the painting. My practice is immediate and spontaneous. I paint experience rather than appearance, with honesty about what I see and feel and how the painting is made. Brushstrokes and grounds are exposed, the process visible. I am looking for the cracks in the everyday: moments of strangeness or beauty, humour and the surreal.

£400

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Patterns, Stems

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Fast Forward

By erin alibocus BA(Hons)

Biro on paper

h: 56 w: 77 d: 1 (cms).

A busy biro piece, representing the realisation of being an individual entering the adult world.

£900

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Fast Forward

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Lee

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Quinces

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Harpy

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Victorian Glasshouse, Heligan

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Direction of Travel 1

By william rounce

Oil on plywood panel

h: 51 w: 40 d: 5 (cms).

This painting explores the relationship between colour, form, pictorial structure and space. As a reference I created a cardboard relief, using it as a starting point to investigate the interplay of light, shadow and space. Through the application and removal of paint, the surface is continually reworked, creating shifting relationships between depth and flatness. A grid provides the underlying structure, acting as a counterpoint to the more intuitive and spontaneous elements. The push and pull of colour, emphasises the illusion of space within the picture plane. Layers of paint reveal traces of decisions made throughout the process, allowing the history of the work to remain visible and become an integral part of the finished painting.

£675

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Direction of Travel 1

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Two Bee or Not to Bee

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Mask

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Between You and Me

By Hetti Dysch

Oil on canvas

h: 100 w: 100 d: 3 (cms).

This painting features an exchange between two men and a dog on a winter market day in a Pyrenean village. Across a series of smaller studies, the figure on the right became increasingly powerful while the figure on the left began to retreat further into himself. Expanding the work to this large canvas has amplified this dynamic, yet the balance of power remains uncertain; whilst one appears to be more authoritative, the other possesses something of worth. The muted cream and ochre wash in the backdrop emulate the warmth of the French stone buildings, and the bold blue trousers of the left-hand figure mirror the vibrant sky-blue of winter in the mountains. The style is naïve and flat with no shadows and minimal detail. The dog is compositionally central and symbolic of the non-verbal world where interactions play out in a primal and intuitive way. The title, invites reflection on who is the ‘you’? Who is the ‘me’? What is the exchange? What is happening in between?

£2175

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Between You and Me

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Freshwater Bay Isle of Wight

By Kathy Pearce MA

Acrylic

h: 60 w: 80 d: 2 (cms).

This is the view from Tennyson Down over Freshwater Bay on the Isle of Wight. The image is constructed using hundreds of tessellating triangles

£2500

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Freshwater Bay Isle of Wight

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