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Contemporary Artists & Exhibitions

Issue 10 autumn 2017

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Collection In Bloom Main Gallery 16th September to 31st March 2018

Floral expression through painting, drawing, ceramics, costume and textiles from within the collections.



ART FAIR 14 & 15 October 10am - 5pm Admission £4 Concessions £3 Under 16s & LAC members FREE



Landmark Arts Centre

Ferry Road, Teddington, TW11 9NN : 020 8977 7558

Sometimes a certain place can take hold of us, stirring emotions as we connect with our surroundings. But how would you describe this place and this feeling to others? Could you put it into words? Could you put paint to canvas, brush to page and pen to paper? For some artists it is their life’s work to be able to convey this sense of location to their viewer, through sweeping landscapes, expressive abstracts or photographs that capture a new way of looking. Cover artist Senem Oezdogan creates weavings and works on paper inspired by the imposing architecture of New York. She phrases her interest with the world around her perfectly when she says; ‘I don’t want to copy nature and create perfect replicas of what I see, but rather observe the forces that shape it’. For some it is the emotion felt which holds them to a location and fuels their need to reproduce this in their chosen medium; to convey to the viewer how it felt to walk a coastline, to breathe in the scents of a forest or the sounds of the street in a bustling city. Whether faithfully reproducing each tree and cloud in paint or exploding emotive brush marks in shades of the sky across a canvas, it is exciting as an observer to experience a small part of what the artist must have felt.

EDITORS Kieran Austin Toby Oliver Dean COVER IMAGE Senem Oezdogan Like a Fish Between Two Cats, 2017 acrylic on canvas, 132 x 102 cm PROOF READER Daisy Francome FOLLOW US InsideArtists InsideArtists WRITE TO US Inside Artists 35 Holland Mews Hove, East Sussex BN3 1JG ONLINE insideartists.co.uk ENQUIRIES info@insideartists.co.uk +44 (0)1273 748 630 Inside Artists is a registered trademark. All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publishers. The magazine can assume no responsibility for unsolicited manuscripts, photographs or illustrations.

"Like a Fish between Two Cats visualises thoughts of inner conflict and indecisiveness arising from opposing demands or impulses." Senem Oezdogan

Exhibitions 10 WMA Costume Trail 14 Barry McGlashan: The Glass Mountain

16 Landmark Autumn Art Fair 17 Chelsea Art Society Open Exhibition

Interviews 18 Senem Oezdogan 46 Tiffany Scull

72 Kyle Skor

Artist profiles 24 32 36 38 42 50 52 56 60

Meng Zhou Larry Graeber Matteo Varsi Maria Aparici Nina Baxter Isabelle Pelletane Anita Ford Alfred Huckett Sooeun Baik

62 Jane Gottlieb 70 Alison Johnson 78 Michelle Parsons 80 Cynli Sugita 82 Lola Donoghue 90 Drew Whitemore 94 Michelle Hold 96 Stephan Reichmann 100 Caroline Hall

Artist showcase 104 106 108 112 118 120

Diana Kirova Philippe Thelin Simon Kirk Jessie Pitt Henrik Hytteballe Isabelle Beaubien

Artist exhibitions 134 Upcoming artist exhibitions

122 124 128 130 132

Philip Hearsey Alan Sbaffi hERO Kerry Rogers Adam Binder

08 EXHIBITIONS demonstrates how thoughts that have been put in words can be transformed into sequences of non-speech sounds and experienced as musical abstractions, while 12 colourful digital prints from the series ‘Every word is an image’ show how words, phrases, and sentences can be encoded as colourful images. The prints have been created by manually combining thousands of visual motifs. Each motif stands for the letters of a specific word, phrase, or sentence and has been generated by custom software for language representation. krasidimtch.ca Alien forms reveal the meaning of life, 2017 quadriptych, 4 prints on Pexiglass, 188 x 188 cm

Krasi Dimtch: Every Letter is a Sound... Every Word is an Image Until 16 September Gallery Luz- Belgo, Montreal, Canada Canadian multimedia artist Krasi Dimtch’s latest solo exhibition focuses on the development and use of atypical means for representing the symbols of Language through digital, conceptual, and sound art. ‘Every letter is a sound... every word is an image’ will feature language-based artworks that can be read, heard, or looked upon, all of them differently representing the linguistic contents of hopes, fears, and disbeliefs about art, death, and the meaning of life. Highlights of the exhibition include ‘Death-free universes… points of entry’ which is presented in the form of a poetry book, illustrating how the thesaurus-like organised structure of the English language can be used to formulate poetic thoughts. The book documents the transformations of sequences of interrelated English synonyms into poems. The sounds work ‘Every letter is a sound’

Basquiat: Boom for Real 21 September – 28 January 2018 Barbican Art Gallery, London The first large-scale exhibition in the UK of the work of pioneering American artist JeanMichel Basquiat (1960—1988) comes to the Barbican Art Gallery this autumn. A prodigy of the downtown New York art scene, Basquiat came to the media’s attention in the late 70s with his enigmatic graffiti statements across the city, before swiftly becoming one of the most celebrated artists of his generation. barbican.org.uk

Artist Rooms: Roy Lichtenstein 22 Sep – 10 Jun 2018 Tate Liverpool, Liverpool From his early interest in landscape to his iconic pop paintings influenced by comic strips and advertising imagery, Roy Lichtenstein’s career is explored. This exhibition will also display Lichtenstein’s three-screen installation, his only work with film, which was made after spending two weeks at Universal Studios in 1969. tate.org.uk

EXHIBITIONS 09 twist. The new works are displayed alongside some of Rego’s other works inspired by the sea, including sculptures. jerwoodgallery.org

Reflection, 2017, acrylic and resin on canvas, 122 x 151 cm

Isabelle Beaubien: No Brushes No Borders

Anita Ford

27 September – 15 October Macaya Gallery, Miami Florida


Isabelle Beaubien’s ‘No Brushes No Borders’ will see her dynamic mixed-media paintings exhibited solo for the first time in the US. The artist is known for creating work (as the show’s title suggests) without brushes; instead using her own handmade tools to create pieces that sing with movement and vivid colour, adding glossy resin mediums to the paint to heighten texture and form. The show opens at Miami’s Macaya Gallery on 27 September. isabellebeaubien.com

Paula Rego: The Boy Who Loved the Sea and Other Stories 21 October – 28 January 2018 Jerwood Gallery, Hastings The first major exhibition of new work by Paula Rego in the UK for 10 years, The Boy Who Loved the Sea and Other Stories brings together works inspired by the sea and stories that we know and love, all with Rego's signature dark

Alfred Huckett

24 October – 3 November Menier Gallery, London UK artists Anita Ford and Alfred Huckett present their joint show 'Hidden Messages', which opens at Menier Gallery, London on October 24th. Ford’s mixed media works, which reflect on her highly personal struggles living with cancer and hearing loss include drawings, photographs, sculpture and prints, while Huckett will be showing work from his ‘Vestments’ series which explores his transvestism through paintings and collages from the mid-90s, and recent large scale mixed media works. Both artists explore ideas of personal identity in their work, and the exhibition offers a chance to see previously unseen pieces. meniergallery.co.uk


Worthing Museum and Art Gallery Costume Trail Until Summer 2018 | Worthing, West Sussex


orthing Museum and Art Gallery has been celebrating its extensive costume collection - which is the third largest in the country – with an exciting first-of-its-kind costume trail which sees displays spread across the whole town. From sumptuous 19th Century dress to the glamour of the 1930s, to fabulous 1970s fashion, there’s a diverse range of marvellous accessorised costumes on display which will surprise and delight. Funding from the Heritage Lottery Fund last year helped the West Sussex museum to launch the trail, which presents items from the costume archive in state-of-the-art glass cases in nine popular, diverse venues across Worthing.

Worthing Museum and Art Gallery Curator Gerry Connolly explained how the idea to take pieces from the collection outside of the walls of the museum while also including the local community began; ‘In the time I’ve been here the idea of taking the costumes out of the museum and displaying around the town has come up quite a few times. We are very conscious of the fact that we have this amazing collection and limited display space’. With over 30,000 pieces in the museum’s collection selecting the garments for display has been a huge undertaking, and the second phase of the trail is now in place with nine new historical dresses being added, as well as an original 1930’s Chanel dress which is on display at the museum. The 1932 Chanel Evening



Afternoon Dress circa 1910 Dinnages Volvo

Dress, which is made of blue silk tulle and small matching sequins, is currently on loan from the Victoria and Albert Museum, where it was given by the Loelia Duchess of Westminster. An exciting aspect of the trail is the opportunity to make new discoveries about the town’s social history and lives of people that lived there when viewing the pieces outside of the gallery setting. The pieces on display show how changes and trends in fashion can be linked with the history of Worthing, while creating a visual reminder of the people who lived during various periods. One piece in particular, the tarlatan Walking Dress, dates back to the 1840’s. Produced in 1845, it features a seaweed and coral like pattern with shades of grey, aubergine and copper brown. This type of dress was worn for outdoor occasions when one wanted to see and be seen, and were often referred to as promenade dresses. Another highlight is a 1915 homemade three-piece Day Dress, consisting of a thick cotton bodice, skirt and

belt. This clothing reflected the transformation of women’s roles during the First World War, with many participating in the war effort as nurses or ambulance drivers behind the lines in France, whilst many other women replaced the men who had gone to fight in the heavy industries and factories. ‘The public's response to the costume trail has been amazing’, adds Gerry Connolly. ‘The engagement of visitors, residents and our supporting venues staff with the costume trail has been very positive. Following on from the success of the first trail map we are very excited to launch the second phase of the costume trail’. The Worthing Museum and Art Gallery Costume Trail runs until summer 2018. Trail Maps are available to collect from Worthing Museum and Art Gallery For more information visit: worthingmuseum.co.uk


Evening Dress circa (1925) - Connaught Theatre

Chanel Dress circa (1932) - Worthing Museum - Victoria and Albert Museum, given by Loelia, Duchess of Westminster


The Custodian

Barry McGlashan: The Glass Mountain 6 - 30 September 2017 | The Scottish Gallery, Edinburgh


he Scottish Gallery is host to Aberdeen artist Barry McGlashan’s latest solo show ‘The Glass Mountain’ this autumn. The exhibition will showcase an exciting body of work from the artist, with highly detailed canvases filled with expansive imagined landscapes which draw on the idea of Weltlandschaft or ‘World Landscape’. Paintings in the exhibition include ‘The Custodian’, a piece rich with symbolism which attempts to preserve moments of otherwise forgotten culture, referencing items and artefacts

from throughout history. ‘Weltlandschaft’ takes inspiration from 15th Century Flemish artist Joachim Patinir and his unusually high horizon lines. As the world appears to vanish into the distance the viewer is left to contemplate the undiscovered lands beyond. Fields, oceans, treetops, caves and, of course, mountains fill McGlashan’s canvases giving us an elevated experience with a creator’s eye view. As the artist explains, ‘We don’t just look at the picture: we need to read it, to take our time, exploring the landscape of the painted surface and discovering what there is to be found’.



McGlashan studied painting at Grays School of Art, graduating in the mid-90s before returning to teach in the drawing and painting department until 2005 when he left teaching to pursue painting full time. A scholarship from the Royal Scottish Academy allowed him to travel the United States, and he has since continued to be influenced by his extensive exploration of America. He has exhibited widely in both solo and group exhibitions with his work being held in many private and public collections both in the UK and abroad. ‘The Glass Mountain’ opens in Edinburgh September 6-30th. More information can be found at scottish-gallery. co.uk/barrymcglashan. For more information visit: scottish-gallery.co.uk/barrymcglashan

The Lighthouse


Darren Dearden

Landmark Autumn Art Fair 14 – 15 October | Landmark Art Centre, Teddington


he Landmark Art Fair’s focus on showcasing individual artists, including recent graduates and new talent, gives visitors the opportunity to meet and buy directly from the artist rather than via a gallery, and has proven to be hugely popular with both visitors and artists alike. The Autumn Art Fair is the second to take place this year, housed in the magnificent surroundings of the Landmark Arts Centre, in Teddington, south-west London. Visitors will find a huge variety of fine art, with all mediums represented including painting, sculpture, graphics, print, illustration and mixed media plus high quality ceramics, jewellery and textiles, all within the unique setting of the Grade II* listed building. A particular highlight of the Autumn Art Fair will be the intricate work of Darren Dearden, who incorporates a playful humour into the everyday, expertly using found objects, animals and general

occurrences as subject matters; finding intrigue within the things we encounter in our daily lives. Speaking about the fair, Darren said; ‘Landmark for me is one of my favourite art events I attend, it has a great atmospheric venue, and excellent organisation with a fantastic footfall'. Visitors will get the chance to meet Darren along with all of the other artists showing work, giving them the opportunity to engage with the artists and art work, and to learn a little about the skills and ideas behind it. Buying exciting new artworks directly from the creator also avoids gallery commission charges, which is particularly good for new collectors. The Landmark Art Fairs are firmly established major events in the visual arts calendar, with the Autumn Art Fair taking place on the 14-15th October. For more information visit: landmarkartscentre.org


Patrick Cullen

Marysia Jaczynska

Chelsea Art Society Open Exhibition 2017 26 – 30 October | Chelsea Old Town Hall, London


his year marks an important milestone for The Chelsea Art Society as it hosts its 70th Annual Open Art Exhibition, taking place from Thursday 26th – Monday 30th October in Chelsea Old Town Hall, which has been home to the exhibition for many years. Over 500 innovative paintings and sculptures from both established and aspiring artists will be on view during the four day exhibition, covering a wide range of styles including figurative, abstract, oil, watercolour, print and sculpture. There will also be many awards presented during the exhibition, including the Wedlake Bell Award for a Young Artist (35 years or under), as well as a demonstration by a Chelsea Art Society member and a competition for under 12s.

Founded in 1910, The Chelsea Art Society is the oldest and sole survivor of the many art groups that blossomed in the area around that period. There are currently around 100 members, with artists invited to join having shown exceptional work at the exhibition over a three year period. The Annual Open Exhibition is open to anyone who wishes to submit works and exhibitors are encouraged to apply from all over the UK. Admission to the Open Exhibition is free and opening times are from 10am to 7pm daily (Sunday 10am-5pm; final day, Monday 30th: 10am to 2pm). For more information visit: chelseaartsociety.org.uk

18 INTERVIEW Senem Oezdogan

Senem Oezdogan


he city of New York seeps into Senem Oezdogan’s architecture inspired artworks as she visually reworks the sense of place, inviting the viewer to observe the world through form and colour. Taking the form of woven fibre pieces, paintings and works on paper, the artworks explore depth, flatness, tension and structure through geometry, straight edges and solid shapes. The emotions evoked through each artwork is a key aspect of Oezdogan’s practice, and informs everything from composition to material choices, such as cotton and silk on wood panels, selected for their accessible and tactile qualities, combining them into compositions that are complete and harmonious. Repetition is a strong theme in the artist’s work, as she revisits familiar motifs and investigates the emotional depths these basic shapes and forms can open up.

Can you tell us more about your practice and your process for new work? Before I get started on new work there is always a period where I create a lot of studies. I make drawings and collages with torn and cut-out paper to create relationships in colour and form. When the relationship of elements becomes more than the individual parts, and the shapes move across the surface, everything finds its place. Once I move to the canvas I usually have a clear idea about how I want to place elements and the colours I’m going to use. The sketches and collages are very loose and I leave a lot of room

for experimentation. Working on the canvas is the opposite—it is a very controlled environment. Tell us about your artistic journey since studying at Fashion Institute of Technology; have you always worked with the mediums you use now? What has changed about your work in the last few years? I always liked fibre art and weaving but wasn’t really interested in working on a loom. I worked on a series of paper weavings and really enjoyed the process of combining different materials. When I wanted to go up in scale I needed stronger materials and started including

Senem Oezdogan INTERVIEW 19

Public Square / 03, 2016, acrylic on canvas, 51 x 41 cm

20 INTERVIEW Senem Oezdogan

Momentum I & Momentum II (Diptych), 2015, wood, rope & cotton, each panel 61 x 46 cm

wood and rope. The biggest change is that my work has significantly gone up in scale - in the past years I really enjoyed venturing out from the safety of a small frame. While your artworks may appear simplistic in form at first glance, there’s such a fantastic balance of colour and shape that implies a higher level of complexity in construction. Do you find you work by a set of visual rules, or does composition come in a more organic, intuitive way when creating new works? They may appear simplistic but each shape is placed carefully with intention. How does one form relate to another? Does it touch, exclude, or frame it? Where is the visual tension? Even though I am not a figurative painter there are a lot of references to figures, nature, and architecture in my work. Human emotions, actions and urban landscapes are translated into extremely simple forms. I draw a lot of

inspiration from my surroundings especially from a place like New York. Shapes are constantly built up, torn down, the old is merged with the new and in between all of that – I find myself surrounded by a lot of people. I’m interested in primary structures and ways to visualise depth, flatness and tension. Combining all of these elements into compositions that feel complete is the challenge and beauty of abstract art. It forces me to constantly re-evaluate my artistic vocabulary when creating meaningful work that communicates emotional depth. Each piece is an invitation to observe, and investigate the choices that have been made. Your paintings and works on paper sit so beautifully together with your fibre works; do you find the two practices inform each other, and in what way particularly? The thing that may connect the work are the abstract formal elements. Even though the rope

Senem Oezdogan INTERVIEW 21

Seitensprung, 2015, wood, rope & cotton, H x W cm

pieces are slower to make, the reality of texture, time and surface is shared in the paintings. The rope work is more physical, it feels like building a sculpture. The wrapping of the rope and the time it takes for the image to emerge gives the work a physical and temporal experience. In the paintings, the openness of the canvas and the composition is an abstract landscape in which the viewer creates the narrative when looking at the relationship between the forms. The balance, movement and hierarchy of shapes drives the narrative, but that too takes its own time to emerge. How do you balance the two processes? Do you find yourself working in paint and then switching to fibre, or are you able to work on the two simultaneously? The fibre pieces are very time intensive. After finishing one I usually like to take a break and

My Turn, 2017, acrylic on canvas, 132 x 102 cm

focus on paintings for a while. It’s a slow process and it can takes days for a form to take shape whereas on the canvas I can do that quickly and see the result almost instantly. There is a sense of instant gratification when painting, while it can take days or weeks until the image takes shape on the rope pieces. What are you currently working on? Do you have any upcoming exhibitions? I’m currently working on a new series of paintings and I look forward to showing work at the PULSE Contemporary Art Fair in Miami in December. senemoezdogan.com mail@senemoezdogan.com

22 INTERVIEW Senem Oezdogan

Untitled, 2017, acrylic on canvas, 51 x 43 cm

Senem Oezdogan INTERVIEW 23

Burlap, 2017, acrylic on canvas, 91 x 76 cm


Meng Zhou


hrough his multi-discipline practice which spans painting, sculpture, installation and film, Meng Zhou investigates personal dream-world spaces of the mind; re-enacting narratives charged with poetic allusions to being. His work merges and transforms traditional Chinese symbolism and imagery with Western styles and techniques, and it is this conversation between tradition and modernity which is at the heart of his practice. Time spent producing work as an artist in both China and in Europe has influenced the way Zhou creates new pieces both conceptually and in terms of his techniques, which tie together the experiences of both places. The use of ink in his works on paper is an important aspect as he engages in methods of layering, dripping

Anonym 2, 2017, mix media, 100 x 120 cm

and mixing; embracing the iridescent qualities of the material. Twisted bodies emerge from the dispersing pigments, and while these works may seem figurative in parts his subjects are always born out of fiction and composites drawn from a combination of dreamscapes, collected images and anatomical research. Now based in London, Zhou is currently completing an MA in Moving Image at Royal College of Arts. This year amongst his solo and group shows he has exhibited his solo show ‘Overtone’, which was part of Art Night, and this autumn will see his work exhibited as part of the Florence Art Biennale 2017. meng-zhou.com admin@meng-zhou.com


Anonym 7, 2017, acrylic and butterfly on paper, 150 x 120 cm


Bamboo Yuan, 2017, video, 3min


Anonym 5, 2017, liquid acrylic on paper, 120 x 100 cm


Anonym 10, 2017, liquid acrylic on paper, 120 x 100 cm


Overtone-Wild Poppy, 2017, video, 2min 15s


Mr Lei. Rain Rain Rain, 2017, video, 3min


Regret, 2015, liquid acrylic on paper, 55 x 76 cm

VVS2, 2016, liquid acrylic on paper, 46 x 61 cm

32 ARTIST PROFILE Larry Graeber

Larry Graeber


he phenomena of shared encounters and ideas of approximations are running themes through Larry Graeber’s artworks. Having studied many artistic disciplines throughout his career, painting, sculpture and works on paper are now his predominant practices. Graeber considers his approach as a painter to be straightforward; using oil on canvas, brushes, sticks and trowels to create the works. When working on paper he often incorporates collaged elements along with grease pencils, pastels and oil sticks, and when it comes to his sculptural

Stage, 2017, oil on canvas, 50 x 60 cm

works the materials can be more unconventional; although configurations of cardboard, twine, tape and paints are recurring elements. All three practices come together to form a cohesive body of work from the artist; who strives to create resolute and coherent artefacts which are intuitively accessible for the viewer. Based in Texas and creating work from studios in San Antonio and Marfa, Graeber has had many solo and group shows since the early 70s across Texas and the United States. larrygraeber.com larrygraeber@icloud.com

Larry Graeber ARTIST PROFILE 33

Fork, 2017, oil on canvas, 81 x 63 cm

34 ARTIST PROFILE Larry Graeber

Opening, 2017, oil on canvas, 81 x 81 cm

Larry Graeber ARTIST PROFILE 35

Bishop Window, 2017, oil on canvas, 132 x 99 cm

36 ARTIST PROFILE Matteo Varsi

graffity 33, 2017, composition of 4 images, each 8.5 x 10.7 cm

Matteo Varsi


xpired Polaroid film and pinhole cameras are Matteo Varsi’s primary tools of investigation as he navigates the world through his analogue lens, capturing instances of human connections to nature. The absence of modern equipment in his work has resulted in an utterly beautiful, haunting collection of photographic images from the artist.

time are delicately captured on film, becoming fragile artefacts that have an almost temporal quality visually - as if the image could slip or fade from the frame at any moment.

Varsi’s work explores the shades, colours and sensations of his natural surroundings which are central to his practice. The human subjects of his photographs interact with the environment, looking for their own personal way to stay in contact with nature. Fleeting, intimate moments of

matteovarsi.com info@matteovarsi.com

Based in Levanto, Italy, Varsi’s work has been exhibited at events such as the Festival of Photography in Rome and the Photo Festival in Milan.

Matteo Varsi ARTIST PROFILE 37

graffity 34, 2016, 8.5 x 10.7 cm

graffity 35, 2016, 8.5 x 10.7 cm

38 ARTIST PROFILE Maria Aparici

Donald Trump, 2016 oil on canvas, 40 x 40 cm

Maria Aparici


panish artist Maria Aparici navigates the modern world in paint, reflecting on recent increases in terrorism, the war in the Middle East and the refugee crisis and choosing to depict them with an attitude of positivity as she points out the negative. She considers the making of art to be a powerful form of communication, expressing the nature of the human condition.

truthfulness and an autobiographical honesty as she frames the current moment both in her own life and in the world. Her portraits of political figures, film stars and loved ones sit beside canvases formed from true emotion.

Aparici constantly takes creative risks in her practice as a Figurative Expressionist. She paints portraits, animals and women, depicted with

mariaaparici.com artist@mariaaparici.com

Recent exhibitions have seen the artist’s work shown in India, Italy and the UK, as well as Spain where she has had pieces in both group and solo shows.

Maria Aparici ARTIST PROFILE 39

La Sardana, 2015, oil on canvas, 162 x 130 cm

40 ARTIST PROFILE Maria Aparici

Walking Humans, That´s What Women Do, 2017, oil on canvas, 162 x 130 cm

Maria Aparici ARTIST PROFILE 41

La Majisima, 2016, oil on canvas, 170 x 160 cm


Harmony, 2017, paper collage, 29 x 42 cm

Nina Baxter


reating work from her studio in Peckham’s Bussey Building, London based artist Nina Baxter produces geometric abstract paintings that focus on the interaction of colour.

Her large scale canvases draw inspiration from landscape, architecture, photography and music. Exploring the relationships between different art forms, she often uses collage as a drawing technique and method of arranging compositions. A new project has seen the artist exploring poetry and painting, creating visual representations of

work by poets such as Byron, Keats and Rimbaud through the symbolic power of colour. Baxter graduated from The Courtauld Institute of Art with a BA in Art History. Recent exhibitions include The Royal Arts Prize 2017 IV Edition at La Galleria Pall Mall, London, and The Sunny Art Award 2017 Exhibition for which she is a shortlisted artist. ninabaxterart.com ninabaxterart@gmail.com


The Wall, 2017, acrylic on canvas, 101 x 76 cm


Moonlight, 2017, paper collage, 42 x 30 cm


Harmony, 2017, acrylic on canvas, 60 x 60 cm

46 INTERVIEW Tiffany Scull

Tiffany Scull


eramic artist Tiffany Scull combines her love of drawing with unique decoration techniques to tell the story of fleeting moments in time in clay. Art Nouveau and the Arts and Crafts movement are particular design influences, while birds, fish and the natural world are often depicted upon her vessels. Each of her forms are wheel thrown using white stoneware clay, turned and then decorated with coloured slips which the artist develops herself. The ceramic pieces are then defined and heightened with her beautiful sgraffito drawings, a technique which sees Scull cutting through the clay at the leather hard stage of drying to reveal the contrasting colour beneath the slip. This is a complex and time consuming process, and is all created freehand with spectacular results after the final firing. This year Scull will be exhibiting pieces at Handmade at Kew, as well as part of the Art in Clay show at Hatfield, Hertfordshire.

Tell us about your journey into ceramics & particular the Sgraffito technique? I first discovered ceramics during a module on a HND in Design and this began my life time obsession. The path into my present form of making started at a small pottery on the Isle of Wight where I learnt to throw, it wasn’t until I set up my first studio in 2001 that I began working with slips and drawing on to clay. Up until this point my drawing and ceramics had been very separate but as I fell in love with the technique of Sgraffito the lines blurred between paper and clay. Your work is very process-heavy as each piece is made by hand before being decorated; how does the decoration influence the way you build and form the ceramics and vice versa? My decoration and thrown ceramic forms are

completely intertwined and I always visualise the two as one final work. Different sizes and shapes suit different subject matter and making sure there’s enough space on the piece for the sgraffito decoration to breathe is very important. I compress the clay a lot when I throw as this helps to reduce the chances of cracking which is crucial as my detailed decoration is completed before being dried and fired. There is a fine line to be explored between craft & fine art; do you feel it important to make this distinction in your work? I feel my work crosses over between craft, fine art and sculpture so I do find it difficult to give myself a definitive title. The forms are of course ceramic but the way in which I decorate the surface involves drawing, painting and carving taking many hours to complete before the final stages of

Tiffany Scull INTERVIEW 47

Blue Birds of Paradise & Golden Keeled Orchids, 2016, high ceramic vessel with sgraffito slip decoration, 27 cm

48 INTERVIEW Tiffany Scull

Cattleya Orchids, 2016, high ceramic vessel with sgraffito slip decoration, 15.5 cm

firing and glazing. My work is purely decorative and holds no other function than to be enjoyed as a beautiful object. Birds & fish are recurring motifs in your work, how does the natural world inspire you when creating new work? Since being a small girl I have enjoyed trying to capture on paper images of nature which excited me. This connection with the natural world has continued to grow and develop into my adult life as a ceramic artist. When creating new work I usually set a theme such as English wild life or life in the tropics. From here I select specific photographic images which go on to become detailed pencil and ink drawings. I study both the main themes and the habitat they live in giving a feeling of realism to each work. During this research I build up a deeper understanding of how the creatures interact with each other and their environment which is important as I move on to the clay stage of my making process.

Ruby Throated Hummingbirds & Cattleya Orchid , 2016 ceramic wall art with sgraffito slip decoration, 37 cm

Can you tell us about any new pieces you’re currently working on? I’m currently working on a very large Angelfish vessel and taking the carving between the fish to a much deeper level creating a very pronounced 3D effect which I plan to develop in future pieces. I shall also continue to work on some more Bird of Paradise pieces which I designed at the beginning of the year. These magnificent birds hold a true fascination for me and I have been in close contact with a bird tour company in Papua New Guinea who have been very kind in sharing information on the habitats of these beautiful birds. tiffanyscullceramics.com tiffany.scull@btinternet.com

Tiffany Scull INTERVIEW 49

Water-lily , 2016, ceramic vessel with sgraffito slip decoration, 19 cm

50 ARTIST PROFILE Isabelle Pelletane

Boraly, 2017 acrylic on canvas 100 x 100 cm

Isabelle Pelletane


nternal landscapes are represented in splashes of acrylic in Isabelle Pelletane’s dynamic works, where abstract visions of brightly coloured flora convey her resolutely optimistic vision of a world where man and nature could live in perfect harmony.

Pelletane puts her whole self into her painting. It is an instinctive, physical and energetic process which sees her exploding colours on her canvas, releasing them as a continuation of herself. From this frenetic expression her abstract representations of organic forms are born; flowers in hues of pinks and reds, swirls and accents of

yellow and sky blue, and sprawling drips in moss green that spread across the canvas in leafy formations. Originally from the Paris area of France, Pelletane now lives and works in Poitiers. Last year she participated in an artist residency in Venice, Italy, and her work has been exhibited throughout Europe and China including several art fairs in France. isabellepelletane.com info@isabellepelletane.com

Isabelle Pelletane ARTIST PROFILE 51

Palm Spring, 2016, acrylic on canvas, 116 x 89 cm


Anita Ford


It’s There When You Need It 6, 2016, silkscreen monoprint, 35 x 48 cm

ighly personal experiences are shared and reflected upon in Anita Ford’s powerful mixed media works, as she deals with the adversities and joys of life through art. She confronts her misfortunes head-on, challenging her situation with a mixture of displeasure, indignation and a large dose of grim humour.

laminating and finally drawing detail with a graphite pencil.

This autumn sees the artist showing work as part of a joint exhibition with Alfred Huckett entitled ‘Hidden Messages’. The pieces which form the show are presented in a variety of media including drawing, photography and printmaking. Her ‘Paper Drawings’ use the paper itself as a drawing medium, and see her ripping,

While Ford’s works may be specific to her own struggles, she creates with the knowledge that the viewer may relate to similar issues, but may not have the means to express themselves.

The show will also feature sculptural works, including pieces from the ‘Talisman’ series. These small resin figures are engaged with her fight with Cholangiocarcinoma, and are presented as decorative necklaces and brooches, with the intention of adding an extra disturbing dimension.

anitaford-art.co.uk info@anitaford-art.co.uk


It's There When You Need It 3, 2016, silkscreen monoprint, 40 x 30 cm


I am listening 4, 2014, painted and unpainted tea bag paper and archival tissue, 54 x 38 cm


Wings of a Dove, 2017, mixed media with resin, 13 x 10 cm

56 ARTIST PROFILE Alfred Huckett

Cruciform, 1996, watercolour collage, 44 x 30 cm

Differences, 1996, pen and watercolour, 45 x 31 cm

Alfred Huckett


hemes of identity and gender run through Alfred Huckett’s works from the mid-90s, which were born from a background in theatre design and above all a desire to express a hidden part of himself in paint – his transvestism. The artist’s upcoming joint exhibition ‘Hidden Messages’ with Anita Ford at the Menier Gallery, London, will see some of these paintings and collages exhibited for the first time. Alongside these archive pieces Huckett has created works on larger canvases in mixed

media for the show, which continue to explore ideas of dress. His interest in the way garments can affect the substance and identity of a person, through concealment, isolation and transformation has led to these expressive pieces. His paintings are a way of creating an open dialogue, but there is also a degree of playful humour in the works as he visually translates the fun of dressing up; of transforming and changing style. alfredhuckett.com alfredhuckett@hotmail.com

Alfred Huckett ARTIST PROFILE 57

Statement, 2017, textile painting, 152 x 122 cm

58 ARTIST PROFILE Alfred Huckett

A Walk On The Wild Side, 2017, textile painting, 152 x 122 cm

Alfred Huckett ARTIST PROFILE 59

Song, 2017, textile and paint on canvas, 152 x 122 cm


Longing, 2012, mixed media on paper, 65 x 90 cm

Sooeun Baik


magined landscapes are explored in paint across Sooeun Baik’s canvases, as she establishes inspirational environments rich in the joy of creation and discovery. It is easy to get lost within the details of her works; as different brush techniques, colours and textures open up new areas of exploration for the viewer.

microcosms of wonder and emotion; a place where her internal and external worlds relate and intertwine.

Within her paintings Baik mirrors aspects of the natural world, although through abstraction of perspective, form and tone the places she presents are heightened above reality. They are

sooeunbaik.com sooeunbaik@gmail.com

Originally from Seoul, Korea, Baik now lives and works in London where she completed both her BA and MA in fine art at Chelsea College of Art and Design, and exhibits regularly.


Days and Nights, 2012, mixed media on paper, 84 x 59 cm

62 ARTIST PROFILE Jane Gottlieb

Jane Gottlieb


ane Gottlieb’s fascinating artistic career has spanned across 4 decades, adapting and evolving with new technologies and advances in technique while remaining true to her extreme colour aesthetic. Long before Photoshop Gottlieb began altering images, using her skills as a painter as well as a photographer to begin hand colouring Cibachrome prints with layers of retouching dyes. In this way she was able to express her new version of reality, saturated with vivid fantasy-world colours. The past 25 years have seen the artist scanning her one-of-a-kind hand painted prints along with her library of 35mm Kodachrome colour transparencies taken over her lifetime, which she now paints, collages and enhances using

Brancusi Head, 2017, 76 x 101 cm

Photoshop; creating extensions of her own idyllic world and using colour to evoke mood enhancing emotions within the viewer. Gottlieb considers paint, shapes and colours as a way of expressing her ‘joy of art’. Based in Santa Barbara, California, she has participated in countless group exhibits, Art Fairs and solo shows around the world over the last 30 years, and has work collected by museums, foundations, corporations and individuals worldwide. Recently she has had work installed in many public spaces, including large artworks on aluminium at the UCLA Young Graduate Library. janegottlieb.com jane@janegottlieb.com

Jane Gottlieb ARTIST PROFILE 63

Miro Playground, 2017, 89 x 127 cm

Bali High, 2016, 76 x 101 cm

64 ARTIST PROFILE Jane Gottlieb

IMPei, 2015, 101 x 152 cm

Jane Gottlieb ARTIST PROFILE 65

66 ARTIST PROFILE Jane Gottlieb

Daydream, 2010, 152 x 101 cm

Jane Gottlieb ARTIST PROFILE 67

HollywoodPool, 2015, 152 x 101 cm

68 ARTIST PROFILE Jane Gottlieb

My Bilbao, 2014, 101 x 228 cm

Jane Gottlieb ARTIST PROFILE 69

70 ARTIST PROFILE Alison Johnson

Blue Crash, 2016, copper leaf and oil on canvas, 80 x 120 cm

Alison Johnson


he atmospheric paintings of Alison Johnson are a powerful expression of light and dark as she portrays the sublime and mysteriously surreal side to the natural world.

Working in oil, her paintings are dramatic abstractions that beautifully portray the atmosphere and emotion of a place, be it a wild coastline, an imagined seascape or a faraway landscape sweeping beneath an infinite sky. Flashes of piercing light emerge from behind dark and brooding forms of colour as the artist creates a sense of movement, revealing shapes

the viewer may recognise as waves or clouds while being captivated by their dreamy, abstract quality. Based in Warickshire, Johnson works from her studio in Coventry and has exhibited across the UK including Brighton, London, Chester, Wales, Yorkshire, and various Galleries in the Midlands. Her work has also reached international scale with work hanging in Italy, America, France, and the Middle East. alisonjohnsonartist alison.johnson@ymail.com

Alison Johnson ARTIST PROFILE 71

Twister, 2016, oil on canvas, 100 x 80 cm

72 INTERVIEW Kyle Skor

Kyle Skor


merican artist Kyle Skor creates dreamlike storybook canvases filled with symbolic talismans and enigmatic narratives. His childhood growing up in the prairie snows and forests of the upper Midwest seeps into his works, as well as time spent skipping class at Harvard to read poetry and visit the museums of Boston. His paintings are playful and unexpected, giving the viewer the opportunity to escape the norms of reality in their everyday surroundings. Skor is represented by Ying Gallery in Asia, and Beijing has been host to a number of solo and group exhibitions for the artist. Your paintings often appear to tell a story; do you ever write a narrative before putting paint to page? They do appear that way, but not in the kind of traditional sense where I have some ultimate, clear script with a set of actors meant to play predictable roles. I've a basic vocabulary of forms, characters, interactions, and moods that collectively serve as a kind of conversational catalyst. Rather than tales with established endings, lessons, and morals, I'd like my paintings to serve as springboards for daydreaming and further inquiry.

Your path to becoming an artist didn’t come through the traditional route of art school; how do you think, if at all, your previous studies have influenced your work? My prior work took the form of doctoral studies in human development at Harvard directly after my undergraduate work. While I would never want to go back and continue my studies there, I think the hypotheses or propositions I examine in my current work are extensions of the kind of rigorous thinking and research methodology honed back then. Just as strongly, it's impossible for me to consider making a painting if it doesn't in some

Kyle Skor INTERVIEW 73

Polaroid from the Floating World, 18, 2016, mixed media on canvas, 30 x 20 cm

74 INTERVIEW Kyle Skor

Labyrinth, XVII, 2017, watercolor and ink on paper, 19 x 21 cm

fashion assure fundamental developmental questions, such as "how did she get to be this way?", "how can they consider doing this?", "will there ever be substantive over here/there?", and so on and so on. That said, all the time spent skipping classes in my final year before dropping out provided ample time for sketching and flipping through painting books. Can you tell us more about the recurring blue colour pallet in your paintings? It's no secret to any who have looked at my work at even a cursory level that I use a great deal of blues...my palette is certainly no Caribbean holiday sunset fever-dream, and that's arguably largely a product of growing up in a state

bordering the wilds of Canada; Minnesota is a northern land with harsh, biting winters and thousands of lakes. As a boy I grew up in the country and we didn't have many neighbours. My time was often spent outside, in all seasons, but with the winters representing such a great portion of the calendar year, one could argue that the cold and snow were two of my closest friends. I know them as intimately as I know any human. To me this is not about negative affect or the traditional connotations of a cooler palette. Blue, when it is seen in its wholeness, or through the eyes of a man who spent several formative seasons communing with icicles and the like, can be as emotionally rich - it can produce and reflect

Kyle Skor INTERVIEW 75

Labyrinth, II, 2017, watercolor, pencil, and ink on paper, 10 x 15 cm

a kind of passionate ecstasy - as any warmer colour. What are you currently working on? Do you have any upcoming exhibitions? Right now I'm very much into the production of larger oil canvases for my second Solo exhibition at Ying Gallergy in Beijing sometime in early 2018. For this year I'm finishing some recent paper works for shows in Kassel, Germany and Tokyo, and possibly Berlin if things work out. I've been working on a series of "Labyrinths", for the whole of the year, and yet I occasionally feel the stirrings of a new body of work in me. Sometimes the seed of a new series comes to me, and in that moment I'm completely in thrall

of the jubilation of that. The danger of this lies in the frequency of these "revelations". They need to be written down, considered thoroughly, and inspected more critically at a more sober time, so to speak. If every artist were to follow the Siren song of every fleeting fancy, there really would be no compelling oeuvres, as such. So: negotiating the balance between creative effulgence and clear-eyed deliberation: this is always "what's on tap". But envisioning various manifestations of my labyrinths still excites me greatly; I wouldn't be surprised if I were still working on them several years from now. kyleskor.weebly.com kyle.skor@gmail.com

76 INTERVIEW Kyle Skor

(Un)Still Life, 35, 2016, gouache on paper, 10 x 15 cm

(Un)Still Life, 36, 2016, gouache on paper, 10 x 15 cm

Kyle Skor INTERVIEW 77

(Un)Still Life, 14, 2014, gouache on paper, 19 x 21 cm

(Un)Still Life, 17, 2016, gouache on paper, 19 x 21 cm

78 ARTIST PROFILE Michelle Parsons

Lobster Blue, 2016, oil on canvas, 120 x 100 cm

Lobster Orange and Blue, 2017, oil on canvas, 120 x 100 cm

Michelle Parsons


rganic forms, fish and lobsters are Michelle Parsons' primary subjects and source of inspiration for her works, which are painted from life.

With her crustacean protagonists often depicted as close ups, composition is a key element to the artworks as she creates a sense of depth through blurred backgrounds and loose brushstrokes; contrasting this with sharp details and tighter representational mark-making to create an abstracted expressive surface based on space, light, colour and texture. Although indeed painted from life, the artist’s use of vivid pigments and

suggestive brushstrokes heightens the form from a realistic portrayal; resulting in works that are a celebration of colour and expression. Based in Essex where she also teaches organic art workshops, Parsons creates commissions alongside her personal work. easelandcanvas.co.uk easelandcanvas@gmail.com

Michelle Parsons ARTIST PROFILE 79

Crab Study, 2017, oil on canvas, 30 x 30 cm

80 ARTIST PROFILE Cynli Sugita

no.488 girl, 2017, digital photomontage, 11 x 15 cm

Cynli Sugita


ollage and digital montage artist Cynli Sugita uses her online blog as a platform for sharing her artworks, which reflect on each passing day as part of a 1,000 piece project.

aim is to create a new harmony that builds upon the original energy of the images. The changing seasons of the natural world – which is also one of her sources of inspiration - is also reflected in her works, as the series changes with the passing of time.

Based in Tokyo, Japan, her works are inspired by various daily experiences and emotions; moments that may appear mundane but hold a place in the artist’s memory.

This year Sugita has shown work in the UK in two group exhibitions in London and Carlisle.

Her ethereal photomontage works are created digitally using old photographic images. Her

cynlisugita.com cynli.sugita@gmail.com

Cynli Sugita ARTIST PROFILE 81

no.506, 2017, digital photomontage, 20 x 14 cm

82 ARTIST PROFILE Lola Donoghue

Lola Donoghue


haracterised by a predominantly white-on-white palette layered with a mix of muted colours and splashes of bright neon, Lola Donoghue’s paintings are personal reflections and interpretations on the social milieu. There is a beautiful visual softness to each canvas, created with an inherent sensitivity that projects a feeling of serenity onto the world. Through her work Donoghue explores everyday contemporary culture and society, using paint to represent the unseen internal emotions. For both artist and viewer the negative space of the paintings can be just as important as the positive, with details hidden amongst the subtle, delicate washes that that draw the eye and hint at the exploration

Heirloom #26, 2017, oil on canvas, 127 x 183 cm

of the unconscious. Donoghue describes her practice as a ‘subtractive process’; starting with colour and bold, vigorous brushstrokes with muted tones and finer detail slowly added. Working backwards with both thick and transparent layers allows the foundation colours to shine through, while accidents during painting are embraced by the artist, often allowing them to dictate the direction of the painting. Based in Galway in the West of Ireland, Donoghue graduated at the top of her class with a first class honours degree in Fine Art from Limerick School of Art and Design. Her work is held in private collections all over the world. loladonoghue.com info@loladonoghue.com

Lola Donoghue ARTIST PROFILE 83

Heirloom #11, 2017, oil on canvas, 102 x 76 cm

84 ARTIST PROFILE Lola Donoghue

Heirloom #3, 2017, acrylic on canvas, 102 x 102 cm

Lola Donoghue ARTIST PROFILE 85

Heirloom #2, 2017, acrylic on canvas, 127 x 127 cm

86 ARTIST PROFILE Lola Donoghue

Heirloom #22, 2017, acrylic on canvas, 61 x 61 cm

Lola Donoghue ARTIST PROFILE 87

Heirloom #5, 2017, acrylic on canvas, 102 x 102 cm

88 ARTIST PROFILE Lola Donoghue

Heirloom #7, 2017, oil on canvas, 183 x 152 cm

Lola Donoghue ARTIST PROFILE 89

Heirloom #18, 2017, oil on canvas, 102 x 102 cm

90 ARTIST PROFILE Drew Whitemore

Drew Whitemore


Genesis 1:The Matador, 2014, drillwork aluminium panel, paint and lacquered, led's, 95 x 120 cm

t first glance, Drew Whitemore’s large scale artworks may appear imposing and industrial; a portrait of man and machine. However as we consider further the symbolic quality of what he presents, it is clear there is no source of hope greater than the light, and each piece is a personal search by the artist for beauty and illumination in a complex world.

thin sheet of material substrate. Before adding back lighting he often finishes the works by burning and waxing, painting, lacquering or applying liquid metal coatings. The final result is a beautiful illumination; a source of light in a dark place which sees brightness seeping out of every drill hole to project the artist's vision into the world.

Created using a technique the artist developed himself, each piece is made from thousands of holes which have been hand-drilled through a

drew@drillworks.co.uk drillworks.co.uk

The award winning artist is based in Suffolk, where he creates his unique work.

Drew Whitemore ARTIST PROFILE 91

Vision of Omnipolarity, 2016, drillwork aluminium panel, led's, 120 x 90 cm

92 ARTIST PROFILE Drew Whitemore

Origin, 2014, drillwork painted and lacquered mdf panel, led's, 122 x 122 cm

Drew Whitemore ARTIST PROFILE 93, 2004, drillwork stained lacquered panel, fluorescent lights, 122 x 122 cm

94 ARTIST PROFILE Michelle Hold

Emotional Shift, 2017 pigments, acylics on canvas 120 x 150 cm

Michelle Hold


eelings, emotions and the scarcity of beauty in current times inspire Michelle Hold to paint, creating abstract works which she hopes will hold a special connection with the viewer; a personal moment frozen in time where all is possible. Time spent studying architecture has influenced her construction methods, creating images with multiple layering, while her experience working in the textile industry has informed her equilibrated use of colour. Her paintings, which vary in size and scale, are created with what she describes

as ‘dance like gestures’. They are dramatic yet peaceful, loud and vibrant with space for quiet contemplation. They are the artist’s visual representation of the invisible, eternal energy that pervades in the universe. Born in Germany but now based creating work in Italy, Hold has exhibited solo shows throughout Europe, and has participated in international art fairs in Miami, Athens, Milan and Berlin as well as group shows worldwide. michellehold.com michelle@michellehold.com

Michelle Hold ARTIST PROFILE 95

The Dreamer's Dream, 2017, pigments, acrylics on canvas, 140 x 220 cm

Onemore Step, 2016, pigments, acrylics on canvas, 160 x 240 cm

96 ARTIST PROFILE Stephan Reichmann

Im Garten Eden / Garden of Eden (detail), 2017, lacquer on acrylic glass, 97 x 117 cm

Stephan Reichmann


or Stephan Reichmann it is an important aspect of his practice that interpretation of his artworks is left free for the viewer; even leaving titles ambiguous and open for translation.

This sense of freedom carries through into his abstract expressionist works in paint, which are usually presented in series. Each canvas carries the marks of varied brushstrokes, layers of animated colour and nonfigurative formations of lines and splashes. Alongside his paintings Reichmann also creates three dimensional sculptural pieces and installations, usually created using old toys and

doll parts which have been modified with paint. Several years of extensive workings have led to two major large-scale installations, ‘Garden of Eden’ and the ‘Children’s Playgrounds’, which the artist is currently working on. Reichmann has exhibited regularly in his native Germany since 2013. He lives and works in Berlin and Leipzig. stephanreichmann.com info@stephanreichmann.com

Stephan Reichmann ARTIST PROFILE 97

title, YEAR, medium, H x W cm

Im Garten Eden / Garden of Eden, 2017, lacquer on acrylic glass, 97 x 117 cm

98 ARTIST PROFILE Stephan Reichmann

Im Garten Eden / Garden of Eden, 2017, lacquer on paperboard, 15 x 15 cm

Stephan Reichmann ARTIST PROFILE 99

Kinderspielplatz mit Pudel / Children’s Playground with Poodle, 2014, plastic, wood, paint, 40 x 40 x 40 cm

Kinderspielplatz mit Hund / Children’s Playground with Dog, 2014, plastic, wood, paint, 40 x 40 x 40 cm

100 ARTIST PROFILE Caroline Hall

Blue Sky Surf Day, 2017, oil and drill on aluminium, 50 x 100 cm

Caroline Hall


overing between figurative and abstract, Caroline Hall’s seascapes on her trademark aluminium sing with colour, light and movement. Her spontaneous painting style allows each work to glow with a loose, atmospheric freedom, taking inspiration from vistas such as the sea around Jersey where she grew up and the countryside in Hampshire where she now lives. The metal on which she paints is an integral part of the work, as her process sees her sanding, scratching and drilling into the surface; using colour, mark and material to recreate a sense of place and the feelings it evoked.

This year has been a particular highlight for the artist, with shows at Liberty in London and CCA Galleries International in Jersey, and a major retrospective spanning a decade of painting at one of the UK’s most prestigious public art galleries. Her paintings are with galleries in London as well as part of collections worldwide, and this autumn she will be showing work at The Other Art Fair and the Affordable Art Fair in London. carolinehall.net carolinehall.art@me.com

Caroline Hall ARTIST PROFILE 101

L’Etacq Sunset, 2017, oil and drill on aluminium, 50 x 100 cm

Watersplash Sunset, 2017, oil and drill on aluminium, 50 x 100 cm

102 ARTIST PROFILE Caroline Hall

Bluebells, Micheldever, 2016, oil and drill on aluminium, 90 x 140 cm

October Wood, 2016, oil and drill on aluminium, 90 x 140 cm

Caroline Hall ARTIST PROFILE 103

The view from Farley, Spring, 2016, oil on canvas, 50 x 100 cm

The view from Farley, Autumn, 2016, oil on canvas, 50 x 100 cm

104 ARTIST SHOWCASE Diana Kirova

FlyVI, 2016, acrylic on canvas, 40 x 50 cm

Diana Kirova


ramatic forms of ships and sails emerge as if flying from clearice blue backgrounds in Diana Kirova’s expressive works in paint.

With the exclusion of any form of horizon in her paintings she creates a space without limits, where the never-ending expanse of sky merges with the depths of a deep aquamarine sea. There is a vivid sense of energy within the paintings, bursting forth like the crest of a wave.

Originally from Bulgaria, Kirova is now based in Rome. She has had a passion for painting since childhood, although her varied life has seen her having to cease her practice many times. In 2008 she returned to the canvas, and has exhibited regularly in Rome throughout the last nine years, with three solo shows this year. dianakirova.it dianakirova.info@gmail.com

Diana Kirova ARTIST SHOWCASE 105

Storm, 2017, acrylic on canvas, 40 x 50 cm

106 ARTIST SHOWCASE Philippe Thelin

Dr Jeckyll and Mr Hyde, 2001, oil on canvas, 80 x 100 cm

Philippe Thelin


ainting is a form of self-expression for Philippe Thelin, who uses oils, acrylics, water-colours, pastels and charcoal to visually articulate his internal conflicts.

Escaping into his medium, Thelin’s painting technique mirrors his lyrical visual style. Using a combination of brush, knife and finger painting there is an essence of violence in his process, seen through his thick strokes and his frenetic scratching of the canvas.

Thelin started painting in the early 90s; however it wasn’t until 2012 that he started sharing his work outside of his studio. Since 2015 he has exhibited his work in many group and solo shows internationally, including exhibitions in Milan, Paris and New York. philippethelin.ch pthelin@bluewin.ch

Philippe Thelin ARTIST SHOWCASE 107

Tête rouge, 2001, oil on canvas, 100 x 81 cm


The Collector, 2017, acrylic, collage and image transfer, 15 x 10 cm

Time, 2016, acrylic, collage and image transfer, 152 x 102 cm

Simon Kirk


imon Kirk’s works are a synergy of poetry and painting, text and image, abstraction and figuration, combining influences from both the literary and art world alike. Influenced by haiku, humanist concerns and the philosophical ideas of ‘the Absurd’, Kirk’s mixed media pieces have become increasingly sought after by art collectors since the beginning of his career in 2007. Kirk has exhibited and sold at the Royal Academy Summer Exhibition in 2010, 2013

and 2015. He is a resident artist with the Turner | Barnes | Gallery and his work is regularly exhibited as part of their collections for the Hong Kong, Singapore and London Affordable Art Fairs. He has had solo exhibitions in France, Denmark and the USA. simonkirkartist.gallery simon@simonkirkartist.gallery


Cake, 2017, acrylic, collage and image transfer, 50 x 50 cm


The Three, 2017, acrylic, collage and image transfer, 50 x 50 cm


Souvenir Number 6, 2017, acrylic, collage and image transfer, 50 x 50 cm

112 ARTIST PROFILE Jessie Pitt

La Meije, 2016, mixed media on canvas, 100 x 150 cm

Jessie Pitt


deep connection to her surroundings in Austria is at the heart of Jessie Pitt’s work, with the mountings providing constant inspiration for her atmospheric paintings.

Using a blend of many different mediums such as charcoals, pastel, graphite, drawing ink and acrylic paint on un-stretched canvases; the artist’s own photographs of the mountains are used as reference, building each artwork up in layers to create depth and translucency. Soft yet powerful, her artworks masterfully depict the majestic and mysterious beauty of nature. Whether working in

shades of grey or with subtle touches of colour, the artist’s love for – and extreme familiarity with – the landscape is clear; as she creates atmospheric works that transport the viewer to a new location. Originally from Australia, Pitt’s work has been included in many group shows across Europe and Australia, as well as solo shows in Austria. jessiepitt.com jessiepittart@gmail.com

Jessie Pitt ARTIST PROFILE 113

Visible Yet Hidden, 2017, mixed media on canvas, 62 x 46 cm

114 ARTIST PROFILE Jessie Pitt

Earth, 2017, mixed media on canvas, 105 x 157 cm

Jessie Pitt ARTIST PROFILE 115

116 ARTIST PROFILE Jessie Pitt

Mystic, 2017, mixed media on canvas, 100 x 100 cm

Jessie Pitt ARTIST PROFILE 117

Light, 2017, mixed media on canvas, 76 x 105 cm

118 ARTIST SHOWCASE Henrik Hytteballe

Birch Wood 2, 2017, acrylic on canvas, 95 x 105 cm

Henrik Hytteballe


nspired by nature, music and the people he meets, artist Henrik Hytteballe’s visual works range from abstract compositions to partially figurative universes. Working in acrylic, Hytteballe’s technique sees him painting with both spatula and brush to create deeply layered and textured works; form and colour coming together to offer new perspectives on the world. Alongside painting Hytteballe is a composer and musician, creating

meditative music that plays on a combination of ambient soundscapes and articulate piano. It is his aim to bring the two artistic forms together, and the release of his newest record will coincide with a solo exhibition at Gallery Claus C in central Copenhagen in October. henrikhytteballe.com info@henrikhytteballe.com

Henrik Hytteballe ARTIST SHOWCASE 119

Iceland, 2014, acrylic on canvas, 120 x 80 cm

120 ARTIST SHOWCASE Isabelle Beaubien

Community, 2017, acrylic and resin on canvas, 122 x 151 cm

Isabelle Beaubien


sing handmade tools, Isabelle Beaubien’s dynamic mixed media paintings are created with layers of vibrant acrylic colour.

Her unique aesthetic has seen her developing painting techniques that push the limits of texture and form; applying glossy resin directly onto the paint to enhance each canvas while giving a sculptural appearance to the completed work. In her studio, Beaubien adopts an alter ego while

painting, driven by emotion, spirituality and chance in an otherwise orderly world. Originally from Montreal, Canada, Beaubien gained her Master’s degree in Contemporary Art from The Villa Arson in France before moving to Florida (via London) to live and work. Her next solo exhibition opens in Miami in September. isabellebeaubien.com isabeau97@icloud.com

Isabelle Beaubien ARTIST SHOWCASE 121

Sugar Crush, 2016, acrylic and resin on canvas, 90 x 90 cm

122 ARTIST SHOWCASE Philip Hearsey

Some other Season, 2015, bronze, 186 x 47 x 29 cm

Philip Hearsey


hilip Hearsey’s sculptures in bronze are created by casting in sand moulds, an ancient technique which creates an individual one of a kind piece each time even when casting from the same pattern. His practice sees him cutting, carving, grinding and welding to create unique forms which engage the quality of bronze as a noble material in its own right. The surfaces of the works hold particular importance for the artist. Whether he exposes the natural bronze or oxidises the piece to produce interesting surface finishes, the patinations and small imperfections are celebrated for their inimitable quality.

Fastnet III, 2017 bronze / oxidised brass base, 75 x 23 x 23 cm

Interiors of homes, offices, hotels and yachts are the usual destination for Hearsey’s bronze sculptures, but many of the larger pieces are equally suited to outdoor life. Casting the bronze in sand moulds allows Hearsey an immediacy and freedom to create the many small pieces available from galleries across the UK as well as making larger work seen in exhibitions. philiphearsey.co.uk info@philiphearsey.co.uk

Philip Hearsey ARTIST SHOWCASE 123

Response V, 2017, bronze / oxidised brass base, 80 x 27 x 27 cm


Alan Sbaffi


reating new artworks is all part of Alan Sbaffi’s meticulous daily ritual, although his painting style allows him a break in the otherwise precise curation of his actions. His technique is abrupt and spontaneous, using gestures to create both powerful marks and empty areas where the canvas pauses to breathe. These blank spaces fill the void around his expressive marks in shades of black and grey and act as a frame for his maniacal gestures; forcing the viewer to examine the smallest of brushstrokes and appreciate their subtle three-dimensional nature.

There is an element of eclecticism in Sbaffi’s paintings, seen especially when viewing his entire body of work together. Abstract representations of the female nude are a constant theme throughout, and the one motif seen in most of his paintings which take the form of large-scale canvasses. alansbaffi.com alansbaffi@gmail.com


DEN 02, 2017, acrylic on cavas, 120 x 100 cm


DEN 22, 2017, acrylic on cavas, 120 x 100 cm


DEN 23, 2017, acrylic on cavas, 120 x 100 cm




DONUT in space, 2017, acrylic on canvas, 30 x 30 cm

reating work under the moniker hERO, Helen Roowalla’s visual style is characterised by bold lines and bright colours. Currently based back in her native Switzerland - having spent time living in the United States where she moved to complete her education - she has been actively painting since 2009, developing her signature pop art style over the years while embracing acrylic as her medium of choice. Drawing inspiration from a variety of life experiences,

such as her heritage, her travels, animals and nature, hERO paints in acrylic on canvas as well as on unusual surfaces such as mannequins and shoes, using curved, almost cartoon-like lines with colourful shapes full of movement. This year hERO has exhibited across Switzerland as well as Los Angeles, New York and Paris. hero-artist.com hero.artistinfo@gmail.com


PANDORA, 2017, acrylic on canvas with 3D eyes, 70 x 70 cm

130 ARTIST SHOWCASE Kerry Rogers

Landscape of the Skin, 2017, mixed media pastel, baby wipes,acrylic psint, ribbon, 25 x 19 cm

Kerry Rogers


atex, plasters, felt, cloth and zips are regularly used in Kerry Roger’s sculptural pieces as she experiments with texture and colour to mimic the blistering scars caused by allergies, eczema and other skin conditions.

Using medical illustrations as guides, her works magnify the representations of skin to a giant scale to confront the viewer with their imposing rawness. Rogers’ fascinations with the skin stems from her own personal allergies to the likes of

plasters and latex, materials she in turn uses to create her fleshy artworks. Although based in Aberdeen, Rogers’ work has been widely exhibited across the States; featuring in group shows in New York and Miami. kerry_rogers111@hotmail.co.uk

Kerry Rogers ARTIST SHOWCASE 131

Landscape, 2017, mixed media, 29 x 21 cm


Adam Binder


Robin, 2017, bronze, 69 x 13 x 13 cm

ecognised as one of the UK’s leading wildlife sculptors, award winning artist Adam Binder creates figurative sculptures of creatures great and small, primarily in bronze with earthy, rich patinas. His signature fluid style of simple lines and flowing forms is collected all over the world.

his sculpting process which involves time spent studying his subjects in their natural environment where possible. As an artist it is the very spirit of the animals that Binder aims to capture; and his observations allow for a deeper understanding of shape, form and character. He considers the emotional connection of his work as importantly as balance and composition.

For Binder nature and sculpture are the perfect marriage. His own passion for wildlife is seen in

adambindereditions.com info@adambindersculptures.com


Barn Owl, 2017, bronze, 64 x 21 x 21 cm

134 artist EXHIBITIONS

Upcoming artist exhibitions Alfred Huckett & Anita Ford

Hidden Messages Menier Gallery, London, UK 24 October - 3 November 2017

Caroline Hall

The Other Art Fair, London, UK 5 - 8 October 2017

Turning Inside , solo show Cultural Center Valenza, Italy 7 - 31 September 2017 Dreamers Tenuta Tenaglia Sieralunga di Crea, Italy 9 September - 30 November 2017

The Affordable Art Fair, London, UK 19 - 22 October

44 artworks Cavendish Center , London Mayfair ,UK Until 30 december 2017

Diana Kirova

Nina Baxter

Diana Kirova 2017, edited by Livia Compagnoni, "ARTHEKA 32" Lido di Ostia (RM), Italy 18 - 29 November PadovaArtFair, Contemporary Art Talent Show of Fair Padova, Italy 10 - 13 November 2017

Henrik Hytteballe

Henrik Hytteballe Solo exhibition, Copenhagen, Denmark 13 October - 15 November 2017


TAG The Art Gallery, Lugano, Switzerland 27 September - 19 October 2017

Isabelle Beaubien

Sunny Art Prize, London, UK Until 4 September 2017

Philip Hearsey

AAF, Bristol, UK 8 -10 September 2017 AAF Battersea, London, UK 19 - 22 October 2017

Simon Kirk

Roy's People Art Fair Candid Arts Trust, London, UK 14 - 17 September The Other Art Fair Truman Brewery, UK 5 - 8 October 2017

No Brushes, No Border Macaya Gallery, Miami, USA September 27 - October 15

Art Below Regent's Park Regent's Park tube station, UK September/October 2017

Larry Graeber

The Affordable Art Fair Battersea Battersea Park, UK 19 - 22 October 2017

Fiction Gallery 193, San Angelo, Texas, USA 2 October - 3 November 2017 Assorted Work, San Angelo, Texas, USA 9 October 2017 - 5 January 2018

Michelle Hold

Dreamers , Borgo di Moleto , Italy 2 & 3 September 2017

Tiffany Scull

Handmade at Kew Kew Gardens Richmond, UK 12 - 15 October Open studios St Georges studios Portland, UK 25 - 26 November

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Profile for Inside Artists

Inside artists - issue 10  

Sometimes a certain place can take hold of us, stirring emotions as we connect with our surroundings. But how would you describe this place...

Inside artists - issue 10  

Sometimes a certain place can take hold of us, stirring emotions as we connect with our surroundings. But how would you describe this place...