120th Open Exhibition (Non Members Only)
262 artworks
Hole by louise cropper
Hole by louise cropper
201 / 262
By louise cropper
Wood Veneers on Plywood
h: 81 w: 21 d: 2 (cms).
Walnut ,Sycamore, Oak and dyed black wood veneers on plywood base.
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Keychange by marian hyland
Keychange by marian hyland
202 / 262
By marian hyland
Oil, charcoal and collage on canvas
h: 40 w: 50 d: 2 (cms).
£1200
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Gentle Muse by lucy d'auvergne
Gentle Muse by lucy d'auvergne
203 / 262
By lucy d'auvergne
Cast slate and raw Earth pigments on granite
h: 37 w: 15 d: 21 (cms).
Contemporary portrait of a sighthound. Each piece is hand cast and coloured, therefore unique
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Reflection by lucy d'auvergne
Reflection by lucy d'auvergne
204 / 262
By lucy d'auvergne
Cast slate with raw Earth pigments on granite
h: 33 w: 20 d: 20 (cms).
Portrait of a gentle, pensive sighthound. Each piece is hand cast and coloured, therefore unique
£1200
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Running Rail by millie claxton keys
Running Rail by millie claxton keys
205 / 262
By millie claxton keys
Oil on wood panel
h: 23 w: 30 d: 1 (cms).
Capturing the form and momentum of racehorses through the use of light and shadows, distilling the painting to its most essential elements.
£300
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Mr A. by anna larin
Mr A. by anna larin
206 / 262
By anna larin
Oil on plywood
h: 20 w: 14 d: 1 (cms).
£550
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Twinhoe Sunset, Bath by lucy dunnett
Twinhoe Sunset, Bath by lucy dunnett
207 / 262
By lucy dunnett
Acrylic on ‘Aluwood’ panel
h: 20 w: 20 d: 3 (cms).
An original acrylic painting of the view looking towards Twinhoe from Hinton Charterhouse, near Bath, painted on an ‘aluwood’ panel (an aluminium surface backed with a 28mm plywood subframe).
£400
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Pattern 2.1 Whiteblock by katarina orolinova
Pattern 2.1 Whiteblock by katarina orolinova
208 / 262
By katarina orolinova
Embroidery on perspex
h: 70 w: 50 d: 5 (cms).
Interior object, combining hand embroidery and CNC technology, is inspired by glass concrete blocks that produce optical illusions. Transparent wall ornaments preserve openness, and doubled motifs enhance harmony. Drawing from Czech architect Pavel Janák's cubist principles of prisms and pyramids, the design utilizes crystal-like translucence to create shifting perspectives. Embroidery transcends decoration, transforming into geometric abstraction and structure.
£3000
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The Beginning and End of Something by skye holland
The Beginning and End of Something by skye holland
209 / 262
By skye holland
Oil on Canvas
h: 86 w: 86 d: 2 (cms).
The Beginning and End of Something reflects the landscape’s transition into autumn: energy withdrawing, colour flaring then fading, a pause before the palette cools and deepens. This cycle mirrors my own sense of loss and longing after my children’s summer visits, balanced with the contentment of returning to solitude and attunement with the natural world. Working from photos taken on walks, I sketch loosely in charcoal before painting directly and gesturally. My process layers memory and intuition, mixing specific hues, then softening with glazes, shifting forms between focus and abstraction. I approach colour as my primary language, guided by nature and animated by a childlike joy in oil paint. This painting captures not nature itself, but the fleeting act of seeing and experiencing—a single moment in time.
£3200
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Red Rebel by nadia mcgowan
Red Rebel by nadia mcgowan
210 / 262
By nadia mcgowan
Oil on board
h: 37 w: 28 d: 3 (cms).
On 20 April 2024 Extinction Rebellion organised a Funeral for Nature in Bath to raise awareness about the biodiversity crisis and call for action to protect the environment. It featured hundreds of costumed "Red Rebels" in a piece of street theatre. Having hosted one of the performers, I watched the procession and captured this image.
£750
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August Dusk by jane walker
August Dusk by jane walker
211 / 262
By jane walker
Oil
h: 46 w: 36 d: 2 (cms).
£1390
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Balloon Rise, Lansdown by rachael haggerty
Balloon Rise, Lansdown by rachael haggerty
212 / 262
By rachael haggerty
Lino print
h: 32 w: 22 d: 1 (cms).
Hot air balloons rising over the backs of Georgian houses on Lansdown Road.
£130
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Buoyed by jamie medlin RSMA
Buoyed by jamie medlin RSMA
213 / 262
By jamie medlin RSMA
Oil on canvas
h: 71 w: 71 d: 3 (cms).
£12500
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The way home by Nadiia Rom
The way home by Nadiia Rom
214 / 262
By Nadiia Rom
oil on canvas
h: 50 w: 40 d: 2 (cms).
"The Way Home" - a painting from the Roads Series/ I spend half my life on the road. When I look out the window, everything blurs together – just colors shaping my mood. That’s how the idea for the sRoads Series came to life.
£800
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Sunday afternoon at the National by john hunt
Sunday afternoon at the National by john hunt
215 / 262
By john hunt
Watercolour
h: 46 w: 61 d: 1 (cms).
£800
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Islay, Scotland looking out to the Atlantic by melissa wishart
Islay, Scotland looking out to the Atlantic by melissa wishart
216 / 262
By melissa wishart
Acrylic
h: 46 w: 61 d: 1 (cms).
£650
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Cove near Mullion, Cornwall by melissa wishart
Cove near Mullion, Cornwall by melissa wishart
217 / 262
By melissa wishart
Oil
h: 30 w: 40 d: 1 (cms).
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Selfie in Blue by alex cooper
Selfie in Blue by alex cooper
218 / 262
By alex cooper
Oil on board
h: 40 w: 30 d: 2 (cms).
£600.00
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gilded cage by alison jenkins
gilded cage by alison jenkins
219 / 262
By alison jenkins
oil paint and gold metal leaf
h: 23 w: 31 d: 1 (cms).
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Portrait of my father by isabel tanko
Portrait of my father by isabel tanko
220 / 262
By isabel tanko
Oil on Canvas
h: 51 w: 41 d: 2 (cms).
£500
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Five Fired Eggs by lynn purcell
Five Fired Eggs by lynn purcell
221 / 262
By lynn purcell
Glass (displayed on a cast iron griddle with a vintage kitchen utensil)
h: 6 w: 46 d: 26 (cms).
These individual eggs are the result of numerous experiments in the kiln and were created from sheet, crushed and powdered glass. Careful control of temperatures and times was required to achieve the desired texture over a sequence of firings to produce these realistic fried eggs. They are presented on a cast iron griddle, temporarily mounted for display purposes using magnets and museum gel so that, if desired, they can be repositioned or ‘served’ using the vintage spatula.
£650
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banjo by alison jenkins
banjo by alison jenkins
222 / 262
By alison jenkins
oil paint
h: 21 w: 15 d: 1 (cms).
oil paint on aluminium
£450
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Protective Figure by Nathaniel Stevenson
Protective Figure by Nathaniel Stevenson
223 / 262
By Nathaniel Stevenson
Beech, Steel, Brass
h: 17 w: 17 d: 16 (cms).
£700
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Nuthatch by ella holmes BA(Hons)
Nuthatch by ella holmes BA(Hons)
224 / 262
By ella holmes BA(Hons)
Oil on traditional gesso
h: 31 w: 23 d: 3 (cms).
I work with traditional thickened gesso which adds an undulating texture to my folkloric paintings. The process of making gesso is vey slow and makes me sit with my painting and surface during a time where AI makes 'art' instant.
£825
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OPEN SEA by ceri shaw BA (Hons)
OPEN SEA by ceri shaw BA (Hons)
225 / 262
By ceri shaw BA (Hons)
Fine Bone China
h: 192 w: 125 d: 63 (cms).
I am a landscape artist specialising in fine bone china slip cast vessels. My interest lies in describing a sense of place through visual stimulation drawing on the emotions that I have when immersed in particular landscapes. This work is made up of a central stacking ceramic column sitting on a plinth. The curve of the set behind is reflective. As the viewer moves around and towards the work the image of the ceramic piece is stretched in the reflective surface and appears as a sea scape behind. This piece is lit from within and light subtly peaks through along the horizon line. My academic research looks at whether artists can affect culture by drawing attention to the environment through landscape art and giving the viewer a moment of positive connection to the natural world. The aim of OPEN SEA is to give the viewer a 'wow' moment but without explanation, this hopefully raises questions. Its experiential & multi sensual. A corner position is preferred & plug needed for LEDs.
£8195
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Rembrandt's Best Friend by evangelia hamilton phD MRTPI
Rembrandt's Best Friend by evangelia hamilton phD MRTPI
226 / 262
By evangelia hamilton phD MRTPI
Copper Drypoint and Chine Colle
h: 18 w: 30 d: 1 (cms).
This is a drypoint drawing of a resting dog, inspired by Rembrandt.
£800
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Natural Mandala - Great Mullein by sarah gardner FSBA
Natural Mandala - Great Mullein by sarah gardner FSBA
227 / 262
By sarah gardner FSBA
Watercolour
h: 74 w: 56 d: 1 (cms).
A naturally formed mandala pattern discovered emerging from an ivy-draped stone wall in Galpmton Village, Devon. Great Mullein (Verbascum thapsus), Ivy (Hedera helix).
£1950
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'Teresa's House' by richard whitehouse
'Teresa's House' by richard whitehouse
228 / 262
By richard whitehouse
Lino Print, ink on paper
h: 42 w: 29 d: 1 (cms).
A lifelong professional designer silversmith, I have discovered that the medium of lino printmaking requires many of the design and manual skills of silversmithing. The limitations imposed by the medium are equally challenging and exciting.
£380
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Line Up by karen steer
Line Up by karen steer
229 / 262
By karen steer
acrylic
h: 41 w: 91 d: 1 (cms).
This is a painting of an arrangement of objects, placed precisely on a temporary shelf, in my studio. The strong artificial lighting was constant, allowing me to work at any time of day. Each object was viewed individually from directly in front, each from the same eye level. The strong horizontals and verticals are reinforced by the marks on the background, which I decided to include in the finished work, and the plumb line visible towards the right of the painting.
£650
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Breadfruit at Ocho Rios by sarah gardner FSBA
Breadfruit at Ocho Rios by sarah gardner FSBA
230 / 262
By sarah gardner FSBA
Watercolour
h: 42 w: 30 d: 1 (cms).
Breadfruits (Artocarpus altilis) growing on the bough of a tree at Ocho Rios, Jamaica.
£995
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BLADE by nicola beattie
BLADE by nicola beattie
231 / 262
By nicola beattie
Elm wood
h: 114 w: 16 d: 15 (cms).
This wood sculpture is one of a series entitled ‘Blade’ inspired by various archaeological forms, from stone age axes and arrowheads to bronze age swords and spearheads. This sculpture was inspired by obsidian spear blades and the knapped texture of the stone. In 'BLADE' I have emulated that flint-knapping texture in elm to a degree where the surface is highly textured. Most of my work is about war and peace inspired by the wealth of castles and ruins near my home, therefore I use a lot of varying textures in my sculptures to emphasise the friction and turbulence of war and struggle described through the highs and lows of the surface. This sculpture is waxed.
£5000
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Let the Sunshine in by vintage shuffle
Let the Sunshine in by vintage shuffle
232 / 262
By vintage shuffle
Recycled Vintage postcards and paper ephemera
h: 11 w: 16 d: 40 (cms).
Inspired by 18th and 19th Century Paper Peep Shows - I have created a 3D miniature world from recycled vintage postcards and paper ephemera. This piece travels only a short way back in time to the hippy movement - and is an intimate experience that can only be seen (through the viewing hole) by one person at a time.
£250
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ASCENT by nicola beattie
ASCENT by nicola beattie
233 / 262
By nicola beattie
Oak
h: 108 w: 27 d: 28 (cms).
This sculpture is part of a series entitled ‘Monolith’, where I am drawn to my local area of Pembrokeshire with its wealth of castles and ruins; steep steps, archways and rough surfaces of castle walls are all elements in this Welsh Oak sculpture. In 'ASCENT', the steps represent a long journey upwards to the opening at the top –into light from the darkness as a symbol of hope in times of war, and an escape at the end of a long uphill journey through turbulent times. The choppy surfaces illustrate the erosion of the castle walls, as well as describing battles and struggles through the surrounding texture, aggressively textured at the bottom which becomes lighter and smoother as it nears the light at the top.
£7500
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Make Someone Happy (Orange) by vintage shuffle
Make Someone Happy (Orange) by vintage shuffle
234 / 262
By vintage shuffle
Recycled Vintage and Paper ephemera
h: 46 w: 46 d: 3 (cms).
A 3D Analogue paper collage with over 13 layers to a depth of 3cm - created from analogue recycled images sourced from old books, postcards, magazines and paper ephemera. Depicting a "Smile" factory - showing that happiness can be manufactured and created even in the darkest of times. And happiness can be found in the most mundane and everyday things. We can make our happiness... This item is bespoke framed with 99% UV protective Museum glass to help preserve the delicate paper contents.
£1500
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Sue in Red by alastair barford
Sue in Red by alastair barford
235 / 262
By alastair barford
Oil on Canvas
h: 60 w: 50 d: 2 (cms).
Portrait of Fellow artist Sue, Seen in a vibrant red jumper.
£1000
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Red and Blue abstract by deirdre elphick
Red and Blue abstract by deirdre elphick
236 / 262
By deirdre elphick
Acrylic on canvas
h: 40 w: 40 d: 2 (cms).
exploration of colour
£850
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Radiance by ruth baker
Radiance by ruth baker
237 / 262
By ruth baker
Pyrography wood burning / silverleaf /acrylic
h: 50 w: 50 d: 3 (cms).
Pyrography wood burning with accents of Silver leaf on a birch wood panel . ' She's not a queen, she's something more. A soul the trees are blooming for. Radiance, not of gown or grace. But wonder written on her face.
£950
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Winter by yi yuan MA
Winter by yi yuan MA
238 / 262
By yi yuan MA
Paper
h: 35 w: 30 d: 1 (cms).
Hand papercut artwork, Canson acid free 180gsm paper
£680
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H.T.H by kit benwell
H.T.H by kit benwell
239 / 262
By kit benwell
Scorched and painted oak
h: 100 w: 20 d: 8 (cms).
H.T.H is carved from a single piece of oak.
£1950
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the wall by ingrid sandsborg BA (hons)
the wall by ingrid sandsborg BA (hons)
240 / 262
By ingrid sandsborg BA (hons)
Analog collage
h: 30 w: 40 d: 1 (cms).
The images are made by cutting and pasting materials out of vintage books. Old book covers are used as "canvas" which the images are varnished onto - matt/satin coverage. They become closer to an object than a "paper montage" in handling and showing. Unframed and very light weight but not fragile.
£250
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The Scissorsbird by shanshan mo
The Scissorsbird by shanshan mo
241 / 262
By shanshan mo
Acrylic, oil, charcoal on canvas
h: 45 w: 120 d: 2 (cms).
This painting extends the exploration of identity under pressure, where language becomes both tool and trap. A bird with scissor-like beak cuts the tongue of the figure—an act of violent silencing. Behind them, sheep circle a central pillar in quiet, mindless repetition, referencing Francis Alÿs’s Cuentos Patrióticos (1997). In this borrowed gesture, collective obedience meets personal trauma: the muted figure becomes a vessel for the cost of assimilation in a bilingual, unstable environment. As speech is severed, the landscape fades,the voice erased, the home receding.
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Wallflower by mellony taper
Wallflower by mellony taper
242 / 262
By mellony taper
Digital print on cotton rag
h: 30 w: 30 d: 1 (cms).
Digital print on cotton rag; edition of 10
£195.00
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Self-Portrait by anastasia mironova
Self-Portrait by anastasia mironova
243 / 262
By anastasia mironova
Oil on canvas board
h: 40 w: 40 d: 1 (cms).
Painted from life in a single sitting, this self-portrait explores a more instinctive and direct approach to mark-making
£1600
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Rocks at Trelugga by Elizabeth-Jane Grose MA, BA (Hons)
Rocks at Trelugga by Elizabeth-Jane Grose MA, BA (Hons)
244 / 262
By Elizabeth-Jane Grose MA, BA (Hons)
99% Cornish wool, dyed with ash, willow, barberry and apple barks, bramble, nettles, comfrey, dandelion and woad; 1% recycled silk and dog hair
h: 90 w: 127 d: 1 (cms).
‘Rocks at Trelugga’ is one of a new series of works that comes out of the process of walking the Cornish Coast Path; of owning and raising a small flock of native, rare breed sheep; and of growing plants. This image is a personal response to walking the coast on a sunny June morning at mid-tide. The Cornish coastline is endlessly fascinating, changing with geology, tide and weather. Over millennia parts of this landscape have also been shaped by grazing sheep, instrumental in creating both specific flora habitats and shaping the aspect of the Cornish landscape. In these works I layer carded strands of wool from my flock’s fleeces. I dye white wool with plants grown on my holding, such as ash, willow, nettle, dandelion and woad, as well as using the natural colour of the wool itself, which ranges in colour from white to near black. The art materials used to make this work themselves derive from the landscape that is created.
£4400
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The Butcher by ian mood
The Butcher by ian mood
245 / 262
By ian mood
Oil on board
h: 28 w: 68 d: 4 (cms).
£395
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Annabel by claire louise vaculik
Annabel by claire louise vaculik
246 / 262
By claire louise vaculik
Pencil
h: 49 w: 35 d: 1 (cms).
This portrait unfolded over many years, allowing me to explore the role of memory and photographs in shaping my understanding of important people in my life. It provided a means of drawing a continuous line between past, current and future identities and experiences in our friendship. It speaks too of the sense of familiarity that I seek out and hold figural, in spite of the many changes that have occurred over 25 years.
£2750
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Sun Reader In Cafe by ian mood
Sun Reader In Cafe by ian mood
247 / 262
By ian mood
Oil on board
h: 40 w: 30 d: 5 (cms).
£295
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Pigeons outside Wild Cafe. by thomas davey
Pigeons outside Wild Cafe. by thomas davey
248 / 262
By thomas davey
Oil on board.
h: 39 w: 40 d: 1 (cms).
Painted in January 2025. Oil on board. Painted from life on the corner opposite Wild Cafe on Queen Street. .
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Sanctuary by Mary McClure
Sanctuary by Mary McClure
249 / 262
By Mary McClure
Oil on Board
h: 46 w: 36 d: 2 (cms).
Sanctuary / Vulnerability / Love / Support / Courage all wrapped up in an emotional tangle too overlapping to rightly separate, Phoebe as a portrait just peaks into that welter of emotions. Thought not the only figure, it is unquestionably her alone that we're interacting with. Peaking from the safety of her father's arms, she looks out through her hair and sees us / you. The riot of external textures and colors and patterns finds a window of calm and connection out through her attention. There are not answers, or the reassurance of a conclusion - just a moment of connection and empathy with a complicated experience of anxiety and support, both emotional and physical.
£3200
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Self Portrait in Pink by Mary McClure
Self Portrait in Pink by Mary McClure
250 / 262
By Mary McClure
Oil on Canvas
h: 71 w: 60 d: 5 (cms).
A self-portrait which is a departure from my usual practice, and an exploration of how things like texture can stand in for value, and how little a shape needs to be legible. Starting from strategically sanded/roughened gesso, it is painted in an incredibly high key with almost entirely a 3 color restricted palette
£3450
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Cossington woodland. Autumn 2024. by nigel downing MFA
Cossington woodland. Autumn 2024. by nigel downing MFA
251 / 262
By nigel downing MFA
Acrylic on canvas.
h: 50 w: 70 d: 2 (cms).
Woodlands feature a great deal in my work, particularly during the Autumn period when late afternoon light and the turning colour of the leaves provide a magical experience. This painting is a studio response to my sketchbook studies.
£500
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There's Always Hope by Becky McCarthy MA
There's Always Hope by Becky McCarthy MA
252 / 262
By Becky McCarthy MA
Oil on paper
h: 30 w: 21 d: 1 (cms).
Self-portarit of the artist.
£350
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Cerulean Dreamscape by sally sayers
Cerulean Dreamscape by sally sayers
253 / 262
By sally sayers
Oil and cold wax
h: 30 w: 30 d: 3 (cms).
An imagined childhood landscape where dreams and reality meet. The painting is rich in many layers and is made through a process of building and excavating back to reveal hidden, unexpected treasures beneath. The process mirrors our own life experiences where each layer informs what comes next with losses and gains along the way.
£380
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Ama, Sankofa by joshua donkor
Ama, Sankofa by joshua donkor
254 / 262
By joshua donkor
Oil paint, graphite and image transfers on circular board
h: 70 w: 70 d: 3 (cms).
This portrait of my friend Ama was set up after we met during a residency with the Holburne Museum. The story behind this portrait is one of my favourites because Ama’s background was almost an exact mirror of my own. Her parents met in Ghana, whilst her Mum worked as a Voluntary Service Overseas teacher. This was exactly how my own parents met, yet while my parents moved to the UK before I was born her parents stayed in Ghana. One topic we spoke about was the idea of generational memories, an idea which is often symbolised by the word Sankofa which translates to “As this forward march proceeds, the knowledge of the past must never be forgotten”. The archway surrounding Ama is part of her family home in Ghana, which has seen many members of her family pass through. Within the background and arch, is a collection of family photos of Ama’s ancestors and her family in the present. This shows her family’s past history and memories directly influencing her present.
£4000
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While The Dust Settles by claudia cole
While The Dust Settles by claudia cole
255 / 262
By claudia cole
Hand-built, Hand-painted Ceramic
h: 7 w: 28 d: 21 (cms).
£900
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Family Holiday by Joey Fenn
Family Holiday by Joey Fenn
256 / 262
By Joey Fenn
Acrylic
h: 88 w: 123 d: 3 (cms).
Having referenced family in my previous work, this project offered a chance to dust off old photo albums and revisit long forgotten memories. I was drawn to images of ‘normal’ life infused with ceremony and childhood excitement - holidays and Christmases, as well as those documenting traditions such as Easter bonnet making and maypole dancing. The resulting painting is a composite of snapshots from trips to Spanish islands and Floridian theme parks. Spending time on this painting meant spending time with these people again.
£15000
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In service by victoria bone
In service by victoria bone
257 / 262
By victoria bone
Found object, fabric and thread
h: 20 w: 25 d: 6 (cms).
In service, a reference to household work carried out by the lower classes. Use of old silver cutlery and vintage Irish linen supports the era of the term of work . The forks of carefully threaded a reference to textile and sewing work carried out by women but have made the forks unusable.
£485.00
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Sleeping Tabby by Maddy Casey
Sleeping Tabby by Maddy Casey
258 / 262
By Maddy Casey
Linocut print
h: 16 w: 20 d: 1 (cms).
£160
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I Can't Be Bothered by jennifer oh
I Can't Be Bothered by jennifer oh
259 / 262
By jennifer oh
Stoneware Ceramic
h: 35 w: 30 d: 9 (cms).
The piece forms part of an ongoing body of work from Jennifer Oh’s dazzle series that takes inspiration from the dazzle camouflage that was employed on warships during the World Wars. The piece offers an opportunity to question our ideas of conformity and compliance. Stripes as a motif, with their medieval connotations of deviance, have taken a journey towards more ambiguous realms that perhaps these days conjure up sartorial playfulness or seaside gaiety - which makes their association with war as absurd as war itself. A theme throughout the artist’s body of work, the torus form is one she utilises repeatedly by fusing together wheel-based geometric forms. Although abstract and totemic, the object still maintains bodily qualities associated with traditional pottery such as shoulders and a foot. Meanwhile its totemic aspect is also a through line in the artist’s oeuvre, which seeks to make a connection to the talismanic objects that loom large in our everyday lives.
£365
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Thorn in My Side by marie burke
Thorn in My Side by marie burke
260 / 262
By marie burke
Watercolor
h: 25 w: 30 d: 1 (cms).
£745
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Withering Sunshine by marie burke
Withering Sunshine by marie burke
261 / 262
By marie burke
watercolor
h: 40 w: 52 d: 1 (cms).
£945
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A Boschian Conversation by myles mansfield MA, ARCA
A Boschian Conversation by myles mansfield MA, ARCA
262 / 262
By myles mansfield MA, ARCA
Collage on print of my watercolour painting
h: 43 w: 30 d: 1 (cms).
I paint people on benches in watercolour then add characters and animals from Hieronymous #bosch paintings to show the history of art and the imaginary world around us
£500
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