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"Wave (Print Edition), 2013" by Paul West

“Growing up on the Dorset coast and experiencing the extremes of the seas moods, I treat the sea with equal parts inspiration and trepidation. The force of a storm and the incomprehensible "vastness" of an ocean is a humbling experience at best, and I wanted to create the impression of the weight of such a massive body of water rolling oily green in colour with the waves foaming white, while a squall cuts the horizon in the distance. "Wave" currently features in the exhibition "Into The Frame — A synthetic interaction" at the Red Gallery, London EC2A 3DT, from January 29th — February 5th.”

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"Through the grasses, Pen Ponds, 2013" by Sarah Manolescue

“I have a real thing for painting the sea, but this piece marks the first time I found inspiration away from the coast. I have been encouraged to paint local scenes (SW London) for ages but I just couldn’t get inspired. I go to Richmond Park regularly and never noticed how beautiful the reflections in Pen Ponds could be. Until one day in late summer, 2013. I took the image I worked from with my iPhone and played around with it in Instagram to achieve a pinkish filter. I roughly sketched out the painting and then got to work, first applying a pink acrylic wash, then building up the layers of oil paint over time. I am so pleased with the outcome. It’s not often I’m this happy with a painting. I think it emulates serenity and calm. Both the original oil painting on board is available to buy on Artfinder, and also limited edition prints.”

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"Mankind, 2013" by Randy Conner

“Sometimes I think that human beings see themselves as so much more advanced than animals, which we are in many ways, but in other ways we are still very animalistic at the core. Our primitive instincts can still be incredibly strong. These were the thoughts that ultimately led to this painting.”

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"The Well Trodden Path, 2011" by Sheri Gee

“This painting makes me nostalgic - remembering long family walks through the open heathland, a good dog walk with a hearty rewarding pub lunch at the end. It's based on the Ashdown Forest which has over 2500 hectares of heathland with lots of tracks, bracken and gorse and is a favourite spot for walkers and ramblers for miles around. I wanted to accentuate the path worn into the earth in this painting, with touches of heather and chalk tracks amongst the grass, an expression of the many lives that have trodden the same path.”

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"Untitled, 2013" by Kerry Gerdes

“‘Untitled’ was taken looking up at the power lines and the sky. I took the photo as part of a project I am doing about Light; I wanted to show light not just through the more obvious ways, but also in a metaphorical sense. I took the photograph in the evening light using a canon film SLR and a Lomography film.”

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"Cat Study - Sitting, 2013" by Kellas Campbell

“Charlie, my cat, is very sweet and sleeps right next to me. When I adopted her in Los Angeles seven years ago, the vet said she must've been born in a house, because she's so docile. They found her under a bush with a litter of kittens. Her peaceable nature hopefully comes across in my drawings. She is an elegant, refined creature. I, on the other hand, am usually covered in charcoal -- I certainly end up having more of it on me than on the paper -- my aim is to use as few lines as possible.”

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"Happy go lucky #5, 2009" by Wayne Mok

“Working in short series of acrylic paintings allows me to explore the beauty of spontaneity as well as the power of automatism, drawing on the artistic and philosophical history of my Chinese heritage and the palpable Western influences in my current home city of London. Here, at this psychic and physical colliding point of East and West, the subtlety of ink and wash painting meets with the seeming chaos of the Abstract Expressionists to allow the creation of paintings born of both intuition and process. In the Happy Go Lucky series, heavy impasto is contained within the geometric shapes of the canvases. The tension between the gestural and the simple geometric forms can be interpreted as a struggle between logic and passion.”

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"Stockghyll Woods, 2013" by Deleted Artist

This painting is one of a series of woodland scenes I completed earlier this year. It was inspired by a place in the Lake District, near Stockghyll Force, a waterfall amongst very old woodland. I liked the composition of this piece, being lower to the ground and the trees rising high up on the ridge. I started off working very abstract, blocking in key shapes and lines, and then refined it to create all the details. I focussed on the beauty and atmosphere I wanted to create, whilst staying as true to reality as possible. I mainly used three greens; Cadmium Green, English Light Green and English Green Deep, which give it the vibrant, bold colour. This has become one of my favourite paintings and the scale of it certainly adds to its effect.

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"Facing East, 2012" by Deleted Artist

“I am filled with a sense of wonder at the scale and beauty of the world we live in. The vastness of the vista before us invites exploration of the hills laid out ahead. Soft fronds of treetops in the foreground, pink blush in the sky above, and the mystery of the peaks in between, all entice the viewer to look deeper into the subtle scene and imagine themselves standing under the trees on top of the ridge, facing the sunrise in the east.”

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"Penmaen Bend, 2013" by Emma Cownie

“Penmaen is in the Gower Peninsula, near Swansea. This painting is a ‘peeking out’ view from a car, slipping out of a parking area which serves as a place to park and then walk down a rubbly, sole stabbing, twisting lane, to either the bays, Three Cliffs or Tor. I seek to paint the ‘experience’ of light on colour and form - I am interested in how light invigorates, resonates, generates or dare I say it animates colour and form, rather than simply dressing or caressing it. The light is thus generated in this painting, almost coming from within not from without. This effect is underscored by my use of drawing lines around colours and form, as with the fauvists. I want colour to be the product of being generated, animated by light as if light was the genesis of colour.”

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