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“This painting depicts the view from Stokenchurch toward the power stations at Didcot, now defunct and to be knocked down eventually. They have been part of Oxfordshire landscape for so long, that they are invisible to the local eye, and that is what I painted! The atmosphere of the rural landscape with 20th century man made impact is a theme that affects most of the landscapes I see.” - Peronel Barnes
Samuel Burns, a self-proclaimed perfectionist, spends hours and days perfecting his landscapes. Based in Australia, Samuel works “with a particular focus on experimenting with long exposure techniques and large format cameras. I enjoy everything about landscape photography. I enjoy chasing good light... and chasing bad light.” Samuel specialises in long exposure techniques using large format 5x4 cameras that allow him to achieve the quality and fluidity of a painting even when printed large. Samuel is the winner of Five awards for art photography in Prix De La Photographie, Paris.
“This is a small painting with lovely dramatic light, inspired by the work of William Nicholson, an English edwardian painter known universally for his effortless still life paintings.” - Jane Kell
The recurrent concept of Yuki’s artwork is to offer an opportunity for the audience to look within themselves and reflect. Through her thoughtful and playful words, Yuki wants her audience to dig deep to their conscious and find that something they might have forgotten while busy living.
“This painting is of a girl lost in thought, and was inspired by a quote from Haruki Murakami - ‘Memories are what warm you up from the inside. But they're also what tear you apart’.” - Hannah Adamaszek
“There is much awe and beauty to be found in the microscopic or subatomic. This series, ‘microscapes’, contains motifs inspired by the natural world of botanicals and unicellular organisms, while others are a visual re-imagining of theories like gravity and string theory. “Lines on Holiday” is lively and playful. The combined complimentary colours - various hues and saturations of pink and orange - result in an unconventional palette. Each line appears to be bursting with joy. The random paint build-up and serendipitous drips that coat the sides of the deep edge canvas are meant to be seen.” - Jamie Gray
“The Jaguar and the Leopard are often confused with one another in zoos. Their coloring and markings are so similar that it is difficult for people to distinguish them. The difference lies in the center of the Jaguars rosettes, because unlike the leopard, the Jaguar has spots inside of its rosettes! The Jaguar is also a much stockier animal than its cousin, with shorter legs and tail – giving it more of a pit bull type appearance. The name Jaguar comes from the ancient Indian name “yaguar” which meant “the killer which overcomes its prey in a single bound.”” - Stephen Hodgetts
“This is the first in my series of oil paintings entitled ‘Copa’, which looks at the summits of some of Snowdonia’s most well know mountains, cropped and composed with equal amounts of negative space and landscape. This one is an impressionistic view of Tryfan, which is part of the Carneddau mountain range, painted with thick oils on a Tintoretto board.” - RP Roberts
“Titled ‘Fifteen’ after the restaurant nestling into the cliffside, this painting captures Watergate Bay, north Cornwall on a bright March morning. I used a deep pink acrylic wash before I began building up the layers of oil paint. My brushwork is more detailed and intentional in the foreground, with looser, more suggestive movement to the back. I think this helps to create a sort of photographic finish, with the detail ‘in focus’. It also emulates the massive expanse of sand and shore. Allowing the pink wash to show through unifies the piece, but also creates a surrealistic quality and timelessness.” - Sarah Manolescue
“Lack of communication between lovers leads to power-play, manipulation and pain. What interests me is the roles people then assume, their intricate psychological reactions to each other and to their troubled relationships. I’ve chosen a cold monochrome tonality to depict silence and the resulting emotional distance between two contrasting, disintegrating figures.” - Paola Minekov
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