"Autumn Wood" by Kerry Gerdes
“Autumn wood was taken in a Plymouth nature reserve, in 2013 using an Olympus trip 35mm camera and lomography film. I use expired or lomo films because I love the saturated colours you get from film photography.”
"Misty at Santa Cruz, 2012" by Mark Benham Photography
“1500hrs, a misty afternoon at Santa Cruz. I visited the beach to people watch, noticing a boy dragging his surf board across the beach. His silhouetted figure against the misty landscape with part-visible figures gave the shot a certain atmosphere worth capturing. I love how the edge of the wet sand takes the eye to the boy.”
"Emily - sitting" by Tin Odescalchi
“I painted this quickly, and let the paint flow in the initial wash, allowing it to drip and do what paint does. The initial wash worked so well I left the rest of the canvas blank, save for the nude. When I paint, I want the paint to 'speak' for itself; how it flows, how it mixes, what is overlaid with what. The way the paint is applied is almost as important as the image. I use colour to get a 3D effect, and the lighting of the nude is crucially important to give atmosphere.”
"The Past, 2014" by Tom Rawles
“I am describing this one as a self-portrait. Because whilst I look nothing like this person - we’re not even the same sex - her emotion is something which, at the time of painting, I empathised and associated with. She is painted with oil paint. The background is gold spray-paint and its shine varies greatly depending on the light. It can shine so brightly it becomes the foreground of the piece but also at a different time of day it can take a step back and be a subtle matt background.”
"Evolution II, 2013" by Don Wunderlee
“Evolution II was created in Wellfleet, Massachusetts. With an atmosphere of ocean on the east side and the bay on the west side there is nothing like vacation. I use a pentimento approach when painting, where traces of previous marks come through. I enjoy the process of laying down a color or shape with a squeegee or piece of wood to find the perfect accident. I would describe this process as a search for imagery; I have an impulse after applying a mark to cover it or remove it and as I begin to trust the painting more marks are left until it's finally finished.”
""Series of eyes" Charley, 2014" by Charlotte Aiken
An explosion of simple and subtle colours with a depth and expression of kindness. I made a series of watercolour and ink paintings all with a similar simplistic style, each drawing your attention to the emotion and colour of the eyes. For this project I asked volunteers to take photos of their eyes so I could create my own "series of eyes". I have a love for painting eyes as I believe they hold your emotions and say more than words ever could. For this piece I used a few colours which I found compliment each other in a controlled manner. I gave the bold watercolour a structured but free run of the painting and the black ink created a frame for the whole composition. I used my signature technique of allowing the ink to run and drip freely whilst maintaining a structure to the composition.
"Sea Movers, 2014" by Victoria Horkan
Thick undiluted oil paints on canvas. Rich and buoyant in expressive paint techniques the artists signature style. A mix palette of cobalt blues, vibrant turquoise hues and magenta pinks. The colours are endless and that's why her work suits any modern living space. Taking inspiration from the sky and sea, Horkan's work has us mesmerised by the movement and clarity of her work. She delivers a very high standard of artwork only the very serious of collectors desires to add to their collection.
"Open Cast (18x12in Unmounted), 2014" by Justice Hyde
Captured at the exhausted copper mine of Parys Mountain, Anglesey, this almost surreal landscape represents a fascinating piece of industrial history from a remote area which was the world's biggest copper supplier in the 18th and early 19th century, bringing renowned scientists including Faraday and Watt to this corner of Wales. Left behind after half a century of frantic activity was this vast open cast pit , an almost alien landscape whose steep sides seem to shift and roll in the changing light, and create a powerful reminder of the effects of industrial revolution which continue to shape our world today. Another product of my rekindled love affair with black and white film, this photograph was shot with a vintage Agfa Super Silette rangefinder (c.1955), on Ilford FP4 Plus film, the analogue process lending its own unique quality to this dramatic landscape.
"Semei Tei, 2014" by Liam Hennessy
Semei Tei is one of a series of abstract works which use sinuous, elegant lines, and designs which evoke strange and surreal lifeforms or psychedelic visions. I tend to paint quite intuitively, building up each image layer by layer and using flat planes of bold, vibrant colour to create a striking visual impression. art buyers and lovers will see references to Japanese artists such as Hokusai and the pop surrealism of Takashi Murukami and Yayoi Kusama.
"Stanley, 2014" by Becci Maryanne
Geometric patterns are totally in right now, I'm not sure if you know? This guy certain does. He decided to stick one on his head for the ladies to admire. Romantic. Hand drawn with ink and then touched up with watercolours as primary as they come, he looks awesome hanging from your wall (so people have told me). The original painting was created from watercolour, and ink. This is a print on natural textured stock, mounted with a recycled white board.
