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

African Painted Dog

By lucy d'auvergne

Cold Cast iron with raw Earth pigments on granite

h: 35 w: 21 d: 18 (cms).

Painted Dog portrays an African Wild Dog, sculpted with the immediacy of a field sketch in clay – a fleeting encounter rather than a carefully composed portrait. Rusted iron and earth pigment patination echo the vibrancy of his coat, leaving the surface alive with energy and movement. Rather than striving for photographic realism, I wanted to convey the intensity of another being's gaze and the quiet presence of an individual. My work is rooted in those fleeting moments when an animal is simply, completely itself – where even the briefest encounter reveals the individuality of another life.

£1600

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African Painted Dog

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South Sands Salcombe

By Kathy Pearce MA

Acrylic

h: 91 w: 70 d: 2 (cms).

This is the view from South sands Salcombe with the ruins of Fort Charles built by Henry V111. The image is constructed using 100s of tessellating triangles.

£2500

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South Sands Salcombe

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fab-u-lous

By lynn purcell

Glass and textile

h: 8 w: 25 d: 25 (cms).

Do you remember the retro Nestlé lolly ‘fab’ from your childhood? It can still be bought today! This piece evokes childhood memories of sunny days by the sea having that special treat. This lolly was hand cut from selected sheets of glass which were layered and fused together in the kiln, with the desired shape being supported by fibre paper. The sprinkles, made from cutting coloured glass stringers, were added in a subsequent firing at a lower temperature to retain their texture. The fabric lips were cut, machine and hand sewn and stuffed to support the lolly on its fused glass platter. It will hopefully make your mouth water at the prospect of indulging in this cooling delight.

£295

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fab-u-lous

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'Shapes That I Know' series, wallpiece no. 1

By clare day

Reduction fired stoneware

h: 16 w: 13 d: 1 (cms).

This wallpiece is one of a series of works that I made after an artists' residency in the Mawddach estuary. I walked the same route every day under the Barmouth Bridge and gathered shapes left by the retreating tide.

£350

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'Shapes That I Know' series, wallpiece no. 1

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Fissure III

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The Uncertain Sitter

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Towards the Tor IV

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Brick Lane II

By ryan everson

Oil on panel

h: 15 w: 15 d: 3 (cms).

From a series of paintings of East London, examining the traces of people, architecture and time.

£600

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Brick Lane II

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Sea and Pines Provence

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Irish John

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Entangled Fibre No.2

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Fort Saint-Elme Collioure

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Boxed III

By helen stotesworthy

Oil on linen canvas

h: 70 w: 50 d: 2 (cms).

The subtly confined and distorted figure in 'Boxed III' embodies the often unseen restraints, sacrifices and stereotypes that women experience. With a moment of reflection, the viewer can see that the woman is limited within the rectangular space. She is restricted but importantly not squashed, as she has become used to her need to adapt to the space that she is allowed to take up in the world and the expectations that she is held to. The simplicity of her presence alone on the bare linen opens up a conversation of an emptiness and vulnerability. Conversely, she is nude and self-assured. Oil paints are built up slowly and rhythmically, creating the textures, from the veins, to the cellulite, to the tactile skin.

£3800

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Boxed III

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This still early day

By wendy rhodes PhD

Hand drawn etching, using open bite, hard ground, and aquatint mezzotint

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

This print embodies place and all the meaningful associations people attach to place. It was created to celebrate Museum in the Park's 25th Anniversary, in Stroud. The tree stands in the museum grounds and the title was taken from Stroud's celebrated writer and poet, Laurie Lee, specifically his poem 'April Rise'. The tree has great significance for many of Stroud's residents.

£495

£345 (Unframed)

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This still early day

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Cottam

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Tantalisation

By wendy rhodes PhD

Charcoal

h: 84 w: 59 d: 1 (cms).

A view along a regular dog walk that takes me from my village to a local lake. This place creates very impressive and dramatic shadows that have often tantalised me. The promise of what may be around the corner tantalises further. I have used Nitram Charcoal which gives denser blacks and it proves to be a great medium for capturing such strong and dynamic shadows.

£950

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Tantalisation

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Revision, again

By esme janson

Acrylic on canvas

h: 40 w: 51 d: 2 (cms).

This piece explores the chaos I felt during the exam period. My colourful bedroom contrasts with the monotone clothes I was wearing, representing the dullness of revision and how difficult it was to focus in such a busy environment. The messy room and multiple figures reflect the different tasks, emotions and positions I experienced while revising for my GCSEs.

£490

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Revision, again

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When Rain Paints Trees #2 (KIng's Boulevard, KIngs Cross, London))

By stephanie herbert MA (CSM)

Alkyd Oil on Copper

h: 61 w: 35 d: 1 (cms).

This upside-down young tree appeared under my feet one rainy day, when the wet pavement had transformed into a looking-glass, its mirrored leaves glittering on the water as they moved. A photograph became a painting, initiating a series recording phenomena of reflections, light and shade. I had begun painting on copper as an experiment during my MA at CSM: the surface is prepared using a 400-year old method, with Flake (lead) White and garlic juice, which forms a very strong bond; then I applied glazes, using Alkyd oil paints which dry well on the copper. When the glazes are complete I etch through the paint as if drawing with the copper beneath, to accentuate surface details. The raw copper areas (including the back of the paintings) are protected by Renaissance Wax, developed by conservationists at the British Museum. I do not use a substrate, but in the 10 years since I began working on copper the works have so far suffered no damage.

£895

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When Rain Paints Trees #2 (KIng's Boulevard, KIngs Cross, London))

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Solstice

By jamie lord BA(Hons)

Archival paper & mixed media

h: 36 w: 13 d: 35 (cms).

Solstice celebrates the quiet presence of the barn owl, a species whose silent flight and ghostly beauty have captivated people for centuries. Created from hundreds of individually hand-cut and painted archival paper feathers, the life-size sculpture captures the stillness, awareness, and quiet observation that often go unnoticed in nature. Reflecting the balance between light and darkness that gives the piece its name, Solstice portrays the calm confidence of an animal perfectly adapted to life between the visible and unseen, inviting the viewer to pause and reconnect with the quieter beauty of the natural world.

£1950

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Solstice

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Field #36

By haruka hashiguchi

white cotton thread embroidered onto painted canvas

h: 76 w: 76 d: 2 (cms).

This particular work (Field series) exploits light reflections on the surface, which create transient patterns and shapes that change depending on the direction of gaze. The work depicts forms that emerge naturally by the interaction of the repeated accumulation of the materials - much like patterns that occur over time in the natural world. No preparatory marks are made beforehand, the rows of stitches are layered next to one-another until they cover the entire field of the canvas. As everything is by hand, the flow of stitches distorts and undulates, dictating how the work progresses, contributing to the final surface.

£3600

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Field #36

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Drifting on Ness

By Patrick Will Baker

Charcoal

h: 59 w: 84 d: 1 (cms).

A charcoal drawing on paper of the wild landscape at Orford Ness on the Suffolk coast. Once a former secret military nuclear testing site, the area is now managed by the National Trust and is an area of re-wilding.

£785

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Drifting on Ness

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Sugar Face

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Afternoon Nap

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Color and Balance

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Upgathering

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Entanglement

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Surfing the Severn Bore

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Windowsill at home.

By angus meads

Etching

h: 20 w: 25 d: 1 (cms).

A still life of a windowsill from my family home.

£200

£125 (Unframed)

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Windowsill at home.

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Kat

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Ridgeway Dream

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Noddy and Big Eyes

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Moira

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Iain

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I Saw That

By elizabeth perry BA(Hons)

Acrylic on canvas

h: 29 w: 20 d: 1 (cms).

My practice has always centred around social observation but now as a mother of SEND children, I explore what it means to be neurodivergent, society's perceptions and my daily observations. Animals act as stand-ins for people and social dynamics within my work, which allows the title of the piece an opportunity to hint at storytelling and perspective. In this piece, I am the Mother Hen observing how my children are treated.

£725

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I Saw That

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Gold rims

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Sunbather

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Gaia

By nick foot

High fired ceramic stoneware with crackle glaze.

h: 48 w: 20 d: 18 (cms).

The female form in a pose of strength and dignity with meticulously captured detail and an intricate crackle glaze finish.

£3300.00

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Gaia

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Peeking Duck

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Urban 1

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Magpie 2

By julia brooker

Lino cut prints & paintings

h: 10 w: 79 d: 1 (cms).

Lino cut print & leaf print & paintings in reds, black & white. Panorama format. In white mount. Framed in narrow matt black metal frame.

£249.00

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Magpie 2

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Magpie 1

By julia brooker

Lino cut prints & paintings

h: 10 w: 79 d: 1 (cms).

Collage in black white & reds, using contrasting textures & shapes. Panoramic format. In white mount & narrow matt black frame

£249.00

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Magpie 1

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A Potted History (of The Ashmolean)

By sarah targett

Screenprint

h: 59 w: 42 d: 1 (cms).

A 15 colour Limited edition silkscreen print on Fabriano Artistico paper featuring a selection of pots seen at The Ashmolean Museum in Oxford. Using lots of transparent colour layers it is a very busy print with lots of small details. With a bright pink and some shiny gold ink to lift the slightly more muted colours.

£320

£160 (Unframed)

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A Potted History (of The Ashmolean)

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Eclipse

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Horizons 5

By shelley thornton

Acrylics, sand, beeswax, rope, resin and rivets on linen board framed in white wood frame with wood trim

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

Horizons 5 forms part of my Shorelines Collection – drawing on the luminous beaches of St Ives and the wider Cornish coast. It echoes a lone boat on the Porthminster horizon – one of my most cherished shorelines. It draws on the quiet magic of early-morning sea swims, taken before the beaches fill with visitors and ocean craft. It distils the essence of the place – reflecting the deep turquoise waters of the Atlantic Ocean, the blue skies and the golden sands – abstracted into colour, texture, and rhythm.

£950

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Horizons 5

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Chromeliness

By gent fossly

Paper, mixed plastics, stepper motors, microcontroller boards

h: 44 w: 25 d: 30 (cms).

In my piece Chromeliness I want to showcase the beauty of radial symmetry in the form of a flower. Nature’s cunning is reflected in the simple, but not obvious, blooming motion. Both the closed and open forms mimic those seen in nature. I emphasise the beauty of the flower’s motion.

£2200

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Chromeliness

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Woodland April - It was here in the gloom, we heard whisperings

By Martin MARTIN

Heliogravure intaglio etching

h: 25 w: 55 d: 1 (cms).

Part of an arts residency in a Wiltshire wood, detailing the seasonal changes every month over a year.

£250

£225 (Unframed)

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Woodland April - It was here in the gloom, we heard whisperings

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Carousel with Carriage

By jo johnson BA Hons

Oil on Board

h: 20 w: 25 d: 1 (cms).

I have painted Carousels since I left art college starting with the one in Prince's Street Gardens. I draw from life then work on my paintings in my studio. These ones are more and more from drawings but also my mind. Someone said that the carriage is a little macabre. The Carousel in La Rochelle which I used for inspiration has a slightly ghostly feel about it. As a child I only went on Carousels and as a result was often left there while my mother took my siblings to other rides so there is a fascination and both a feeling of safety but aloneness if I were to dig deeper, I suffer from extreme motion sickness so always wonder why I paint them. Maybe to make them stay still.

£500

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Carousel with Carriage

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Tragedy!

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Fruit with Bowls

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Lichen

By huiyan zhang

Stone lithography with photo transfer printed on Japanese paper.

h: 46 w: 51 d: 1 (cms).

My work combines the life forms of fungi with discarded waste encountered in nature, exploring a new symbiosis between humans and non-human entities. The compositions are primarily composed of lines that trace entangled networks of life, highlighting how human-made materials and natural forms become interwoven in processes of repair and regeneration.

£850

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Lichen

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South, Cley Hill

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Underfoot

By huiyan zhang

Pastel on wood panel

h: 37 w: 45 d: 3 (cms).

Underfoot explores the overlooked world beneath our feet. Inspired by a close observation of dried grass, the painting magnifies an ordinary fragment of ground until it becomes an intricate web of intertwined forms. Through shifts in scale and colour, the familiar is transformed into something unfamiliar, inviting viewers to imagine the hidden complexity of the world underfoot.

£1850

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Underfoot

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monolith house

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Teapot Lid

By seamus moran MRSS

Ceramic/Helmet padding and fittings

h: 26 w: 27 d: 36 (cms).

A Ceramic Motorcycle helmet in the style of a traditional teapot with the original helmet padding and fittings

£3000

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Teapot Lid

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Where Bucephalus Drank

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Bust with red fan hat

By sally macdonell

Ceramic

h: 42 w: 26 d: 16 (cms).

Glazed red stoneware clay

£2700

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Bust with red fan hat

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Still Life With Black Jug

By imogen bittner BA(Hons); MA Fine Art

Fabric , paint

h: 47 w: 83 d: 1 (cms).

A printed, painted and stitched still life using colour to build up rhythm and balance.

£1200

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Still Life With Black Jug

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Zoom Call

By carol ryder

Watercolour

h: 27 w: 27 d: 1 (cms).

During The Covid-19 pandemic of 2020 – 2021, UK government guidelines related to social distancing led to the widespread adoption of the Zoom platform to enable continued interpersonal communication. This watercolour portrait was painted from a screengrab, taken by the artist, during such a Zoom meeting with businesswoman and friend, Jan Bigg-Wither. ‘Zoom Call’ expresses how Jan’s unwavering spirit and sense of personal style endured in the face of uncertain times and formidable challenges to social interaction.

£1650

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Zoom Call

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Earth Angels

By lucie sivier-voller SWAc

Oil

h: 59 w: 84 d: 2 (cms).

I wanted to create an essence of heavenly ethereal imagery, whilst also keeping it grounded and eathly. Whilst I partially wanted to preserve the mysterious elements to the painting, I do want to mention some ideas which inspired this piece. The reference was a dance performance I took part depicting a stairway to heaven made up of dancers each one supporting and relying on the next, and it caused me to consider the idea of angels outside the spiritual context. In iconography angels appear humanlike. I thought about the concept of an ‘earth angel’, someone who helps and guides us in our everyday lives. I thought about what, if anything, would make an angel any different from a friend who is there for us and to consider both the fear and comfort that comes with the thought that maybe other people might be all we have.

£1900

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Earth Angels

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Alex

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Dr Harrington summer

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Renu

By ken taylor

Oil

h: 60 w: 50 d: 2 (cms).

Painted entirely from life in May 2026, this studio portrait is felt to be typical of the standards of likeness and characterisation I begin to achieve having started part-time tuition and painting in 2014 following retirement from a career in engineering.

£550

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Renu

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Winter trees

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First Light

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Postcode Lottery

By jeremy scott

Acrylic & charcoal on canvas

h: 95 w: 65 d: 4 (cms).

From a series of paintings engaging with the Aylesbury Estate in South London, location of my last studio. Once Europe’s largest social housing development, much is now demolished and what remains is in a sad condition. This painting connects the built with the human; the residents have often been derided or ignored in the politically loaded discussions about the estate. The title – Postcode Lottery – highlights that where people live massively affects lifetime outcomes for them and for society at large. I’m also minded that a not dissimilar development around 3 miles north of The Aylesbury (the Barbican) is a very different story. The composition was developed from sketches made on site.

£1200

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Postcode Lottery

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Art is Hard

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Everything in its right place

By Robin Bourne

Acrylic paint on board

h: 42 w: 56 d: 1 (cms).

£750

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Everything in its right place

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Armageddon days (are here again)

By Robin Bourne

Acrylic paint on board

h: 46 w: 61 d: 1 (cms).

£750

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Armageddon days (are here again)

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Synthetically Growing

By charlotte johnson

Rust dyed fabric, acrylic fabric, recycled fabric pieces, copper wire

h: 73 w: 54 d: 20 (cms).

This sculpture takes inspiration from the stone walls that dominate the walks that I take each day, particularly over the course of Autumn. Throughout the season I noticed the textures, shapes and colours of the plants that inhabit these walls. This sculpture draws on the life cycle of these plants depicting growth, change and decay. The sculpture contains recycled fabrics and materials which I have manipulated through a variety of organic dyeing techniques: eco dyeing and rust-dyeing. These techniques, in addition to brighter fabrics, accentuate the natural colours I witnessed.

£300

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Synthetically Growing

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Anticipation

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Unfulfilled Architecture

By cristina ariza

Mixed media on linen canvas

h: 40 w: 50 d: 1 (cms).

This work superposes collage snippets of city dwellings with often discarded materials like cardboard or bubblewrap, to show the tension between what’s ready-made and what is still forming. It’s illustrative of the artist’s desire to create her own path and find meaning in it.

£500

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Unfulfilled Architecture

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Red Beret

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Amphitrite with Dead Fish and Friendly Floatees

By pamela jones

Porcelain, resin, wood, gold leaf

h: 34 w: 18 d: 18 (cms).

This work reinterprets the classical figure of Amphitrite, traditionally depicted as the Greek goddess of the sea, to address the contemporary issue of marine pollution. The fish skeleton filled with "Friendly Floatees" references the 1992 cargo spill in which thousands of plastic bath toys were lost in the Pacific Ocean and later washed ashore around the world, becoming an enduring symbol of the persistence of plastic pollution in our oceans. By contrasting the idealised imagery of classical mythology with the reality of environmental degradation, the work explores the consequences of consumer culture and humanity's impact on marine ecosystems. It invites viewers to reflect on the enduring presence of plastic waste in the oceans and our collective responsibility to protect them.

£7000

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Amphitrite with Dead Fish and Friendly Floatees

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Street Art: Paris

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Endgame

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Pears in a Terracotta Bowl

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Lucy

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A view from the bridge, South Hill Park House and Lake - Autumn

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gathering sky

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Vincent

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Shall I compare thee

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Monkeys

By freya cooper

Mixed Media on Canvas. A mix of Acrylic, Charcoal and Oil paints

h: 90 w: 120 d: 2 (cms).

£1000

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Monkeys

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Hibiscus on Blue

By martin fairclough

Gouache on Card

h: 27 w: 37 d: 1 (cms).

Can you please ensure the labels for this work is "Eddie Martin" which is my artist name not Martin Fairclough. This is a float mounted gouache painting on reccyled cardboard.

£550

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Hibiscus on Blue

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Tuscan Sunrise

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Dean

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Snap Crackle Pop

By charlotte farmer

screenprint

h: 73 w: 53 d: 1 (cms).

A handmade screenprint of a collection of vintage fireworks - with a layer of pearlescent stars

£485

£325 (Unframed)

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Snap Crackle Pop

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Euphorbias green burst

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Padley Gorge

By christine cole

Freehand Machine Embroidery on painted silk

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

The embroidery is based on a scene from the Peak District. Habotai silk is painted to create a basis for stitch work. Use of straight stitch and zigzag along with differing bobbin tensions and threads provide the means of portraying depth and texture within the scene

£650

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Padley Gorge

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Towards Dolgellau

By christine cole

Freehand Machine Embroidery

h: 15 w: 10 d: 1 (cms).

The embroidery is based on a photo taken in Wales while my husband was mountain biking. Habotai silk is painted to create a basis for stitch work. Use of straight stitch and zigzag along with differing bobbin tensions and threads provide the means of portraying depth and texture within the scene

£600

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Towards Dolgellau

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Self Portrait Plaiting

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Inner Realm

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Spine

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Poise

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Alesi Seei

By simbah pile BA(Hons)

Mixed media collage, with 24ct gold on paper

h: 114 w: 80 d: 1 (cms).

The piece "Alesi Seei" takes its name from the ancient African rice grain which can be found in Suriname (in Central America). African rice strains were brought across the Atlantic by enslaved African women whom braided the grains into their hair as acts of survival, sovereignty and resistance; these grains along with Asian rice grains were then braided again into the hair of enslaved African women whom escaped enslavement and set up independent 'Maroon' societies within the jungles of Suriname. In this piece here are references to plants moved across the world during the colonial period, which altered diets and cultures and have complicated, problematic and fascinating stories attached to them. The artwork features Breadfruit (originally from Polynesia brought to the Caribbean by Captain William Bligh under directorship of the botanist Joseph Banks), Okra (brought to the Caribbean and the Americas by enslaved Africans), and the African strain of rice found in Suriname

£6000

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Alesi Seei

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Metaball Matrix II

By nathan hamblin BSc

Laser cut mountboard with neon paper

h: 56 w: 38 d: 2 (cms).

17 layers of mountboard and paper individually laser cut and stacked to create randomness within predetermined confinements. Both the depth and the negative space create their own patterns adding to the optical illusion of the piece.

£495

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Metaball Matrix II

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A Sleeping Beauty

By maria russell ASGFA

Soft Pastel on Pastelmat

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

This piece explores the quiet beauty of childhood, a beauty that exists simply because youth itself is beautiful. As children, we rarely recognise our own innocence or worth; it is only with age that we look back and realise how precious and beautiful we truly were. If only we could return and reassure our younger selves. At the same time, the work reflects on the growing influence of social media and modern beauty culture. The pursuit of glamour and external validation begins far too early, shaping the way we perceive ourselves before we have had the chance to simply be children. Painted predominantly in cool blue hues, the composition evokes the stillness and calm of night, a fleeting moment of peace, away from the noise, comparison, and expectations of the outside world.

£1800

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A Sleeping Beauty

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Carpaccio’s Dream

By gay kent

Etching with pastel

h: 56 w: 48 d: 1 (cms).

Since completing my BA in Fine Art at Falmouth University in 2003, I have immersed myself in the exciting world of printmaking, mainly focussing on etching and aquatint. Working on the finished etching with pastel allows me to create a painterly print and my Sennelier pastels have a wonderful life of their own! I am inspired by colour, pattern and quiet interiors. I try to create a feeling of mystery and uncertainty in my work.

£750

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Carpaccio’s Dream

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A Prize Every Time

By claudia cole

Hand Painted Stoneware

h: 31 w: 23 d: 11 (cms).

'A Prize Every Time' reflects on and celebrates my childhood growing up within a travelling showmen community. Celebrating the spectacle and beauty of the fairground aesthetic, craft and culture.

£2600

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A Prize Every Time

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The Gathering

By gay kent

Polymer Photogravure print with chine colle

h: 26 w: 46 d: 1 (cms).

As well as printmaking, collage has become a passion in my art practice. In this image, I created a collage of women from 19th century paintings gathering around a kitchen table telling their untold stories. A polymer photogravure plate was then made from the original collage and printed here with chine colle as a background.

£490

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The Gathering

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Vertumnus

By xander parry

Stained Glass

h: 79 w: 24 d: 1 (cms).

Vertumnus is a devotional window inspired by a sculpture with the same name, by Étienne Le Hongre, found in the gardens of Versailles. Vertumnus is the Roman god of the seasons, change, and growth, and this piece was designed and created at a time of great change and personal growth in my own life: leaving a long-term relationship, moving to a new city, and reinventing myself - turning over a new leaf, if you will. It's been made using very traditional skills and techniques, to place it at odds with the newly-built property it was originally installed in.

£1400

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Vertumnus

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