Inside Artists - Issue 15

Page 1

Contemporary Artists & Exhibitions

Issue 15 spring/summer 2019


18 & 19 MAY 2019 10am - 5pm

Admission £4, Concessions £3, U16s & LAC Members FREE Ferry Road, Teddington, TW11 9NN 020 8977 7558 Image: Nadia Day



Registered Charity No: 1047080

The power of nature is all around us, affecting our lives as humans in strange and unexpected ways. Sometimes physical, sometimes profound, we have all experienced those moments at the hands of nature. The feeling deep within our souls when we see a sunset that stirs a thousand memories, unexpected rain that soaks through to the skin and the exhilaration from the sound of fierce, crashing waves. It is little surprise that nature provides a constant source of inspiration for many artists, whether that is found visually - in the shapes and forms of trees and rocks, the flowing lines of rivers and the colours of a changing sky - or spiritually - in the emotion felt in places of wild, natural beauty -holding onto these elusive moments through paint, clay and photograph. We are all connected to nature, whether we accept it into our daily consciousness or keep it on the edge of our peripheries. The work of these artists brings it to the fore, and as viewers we can all find a common balance as we consider our place within the natural world.

Worth a journey










John Piper: Eleven and a Half


51 leading UK Galleries: 5000 works

Sculpture Exhibition 20th Anniversary Celebration 10 May - 30 Sept 2019

Kindly sponsored by:

A stunning collection of contemporary sculpture displayed within a historic garden setting, featuring works in stone, bronze, resin, metal, glass and ceramic. | 01444 450326 | West Sussex, RH16 1XP

EDITORS Kieran Austin Toby Oliver Dean COVER IMAGE By Rodney Durso Black Flower View, 2018 acrylic and mixed media on paper 59 x 45 cm PROOF READER Daisy Francome FOLLOW US InsideArtists InsideArtists ONLINE ENQUIRIES +44 (0)1273 649 724 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.

"This work is one of three similar pieces that I created that day in the studio. Black Flower View is the strongest of the three and to me shows good balance of color, and formal usage of division of space on the page. What does it mean? good question. My art comes more viscerally and from energetic, physical movements and less from planning or ideas. The work happens quickly and with little thought, and then later I start to think "hmmm.. I wonder what that one meant?" " Rodney Durso

Exhibitions 10 Talented Art Fair 12 FLUX Exhibition 14 Fresh: Art Fair

18 Borde Hill Garden Sculpture Exhibition 19 Landmark Spring Art Fair 2018 20 Sussex Art Fairs (West)

Interviews 24 Rodney Durso 54 Jean Louis Frenk

76 Laura Carter

Artist profiles 32 34 36 42 46 58 60 62 64

Charlotte Fraigneau Karenina Fabrizzi Daniel Tidbury Kate Holden Diana Malivani Johanna Bath Pedro Sousa Louro Ana Junko Ben Mosley

Artist showcase 114 Beate Tubach 116 Shua’a Al-Muftah

Artist exhibitions 122 Upcoming artist exhibitions

72 Cecilie Neumann Hansen 74 Siobhan Purdy 82 Marc Bowditch 84 Mandy Racine 86 2bplusphoto 94 Scott Curtis 100 Moksha Kumar 102 Tyler Fenn 106 Bianca Berends

10 EXHIBITIONS Talented Art Fair

Jessie Woodgate

Nicola Hart

Talented Art Fair 1 – 3 March 2019 | Old Truman Brewery, London


eturning for its third edition for spring 2019, Talented Art Fair brings 100 gifted artists to the fore across the first weekend of March, with over 2,000 original artworks and limited edition prints. Since its inception in 2017, it has become one of the most successful independent art fairs in London, and a must visit in the arts calendar. Organised by Lemon Art, who are also the founders of the highly popular New Artist Fair, their knowledge and experience ensures an exciting and expertly curated event, which continues to be a real success for both art collectors and exhibiting artists. This year’s Talented Art Fair will feature a bar, music and live painting alongside the impressive list of exhibiting artists, which includes Sky Arts Landscape Artist of the Year 2017 Finalist John Ball, Art Gemini 2018 Overall Winner Lubna

Speitan, re-exhibiting Professional artist Oliver Winconek who was featured on Sky Arts Portrait Artist of the Year 2017, exhibiting at the Saatchi Gallery and Royal Academy, and multiple award winning Photographic Artist Marcus Jake. With a ceiling price cap of £5,000 on individual artworks, and most originals for sale ranging from £300 to £1,500, it’s an enjoyable event for both new and established collectors looking for high quality yet affordable artworks to invest in. London’s iconic Old Truman Brewery is the art fair’s established home. Tickets for the private view on Friday 1st March are available to purchase (£10). There’s free entry across the weekend (Saturday 2nd – Sunday 3rd March); registration is open online for those wishing to attend.

Talented Art Fair EXHIBITIONS 11

Jana Nicole


FLUX Exhibition 14 – 17 March | National Army Museum, Chelsea


f you’re looking to discover the big names of tomorrow then FLUX is the place to start, having established itself as a leading platform for contemporary artists to be discovered. During this exceptional, inspirational event you’ll find work and performances from over 100 of the most talented and dynamic artists across four days.

Exhibiting artists include painter Iva Troj, mixed media photographer Marcus Jake and Charles Salvador, formally known as Charles Bronson. Smaller artworks by FLUX artists will also be available as part of the popular ‘Mini Masterpieces’ feature; a great way for new collectors to invest in art with each piece priced at £300 or less.

Taking place at Chelsea’s National Army Museum this March, FLUX represents an opportunity to gain access to a vast and diverse group of gifted artists working across all mediums including painting, sculpture and performance. The famous opening party sees the exhibition come alive with musical guests, performance art and site specific installations. Showcasing international talent in a collaborative, inclusive show; FLUX celebrates artists on the precipice of wider accolade and fame.

FLUX kicks off with its ticketed opening party on Thursday 14th March, and continues across the weekend of 15th – 17th March with free entry. Full opening times and ticket information can be found online.


14 EXHIBITIONS Fresh: Art Fair

Fresh: Art Fair

Founders: Anthony Wardle & Eleanor Wardle

26 – 28 April 2019 | Cheltenham Racecourse


ollowing the success of 2018, Fresh: Art Fair returns for its third year at Cheltenham Racecourse, bringing along new exhibitors and its trademark dose of fresh ideas to appeal to an ever-growing number of art lovers. While London may remain the art capital of the UK, art fairs like Fresh: are going above and beyond to give worthy competition to the city’s event calendar. This year will see Fresh: hosting 51 leading UK Galleries, showing 5,000 works by 500 national and international artists, with exciting new work from emerging talent, established artists and Royal Academicians.

New buyers and established collectors alike will enjoy viewing pieces in a wide range of styles and mediums, with original prints and paintings, sculpture, glass and ceramics from £100 to £20,000. Alongside the exhibitors, this year’s fair will also include new talks and demonstrations for visitors to enjoy. They include leading London framemaker Darbyshire, who will explain the intricacies of framing and art conservation, Interior designer Dee Campling talking about the world of art and interiors, and international painter and print-maker Jim Starr, who will demonstrate the mysteries of print-making; in fact there will always be at least two artists demonstrating their skill. Once again

Fresh: Art Fair EXHIBITIONS 15

Charlie O'Sullivan

Fine Art Auctioneer Bonhams will also return to advise visitors on selling their old art, and will give some informal talks on art valuation. Fresh: Art Fair takes place from Friday 26th – Sunday 28th April 2019, with a Preview from 5.30 to 9.00pm on Thursday 25th. Weekend tickets are just £6, available on the door, or £8

for two when bought online. Children under 16 are admitted for free. Cheltenham Racecourse is just 10 minutes from the M5 with unlimited free parking and the Park & Ride shuttle to the town centre and station.

16 EXHIBITIONS Fresh: Art Fair

Cyril Croucher

Iryna Yermolova

Chris Gollon

Fresh: Art Fair EXHIBITIONS 17

Alison Rankin

18 EXHIBITIONS Borde Hill Garden Sculpture Exhibition

Brendon Murless

Will Carr

Borde Hill Garden Sculpture Exhibition 10 May – 30 September | Borde Hill Garden, West Sussex


his summer the historic Sussex garden at Borde Hill will be once again transformed into a stunning outdoor gallery, giving new perspectives to the stunning outdoor space. This year marks the 20th anniversary of their Sculpture Exhibition, a landmark which will be celebrated with towering kinetic wind art and mythological figures. With over 80 pieces in the exhibition, the carefully selected sculptures will be strategically placed throughout the 17-acre formal garden, working in harmony with the renowned horticultural collection that has put Borde Hill on the map. Some highlights amongst the diverse display of figurative and abstract works will be Will Carr’s kinetic wind sculpture ‘Transfiguration’, located in front of the Elizabethan Mansion, as

well as a figurative bronze piece, ‘Narcissus’, by Teresa Wells and Adrian Gray’s nature-defying stonebalancing art. Works in resin, glass and ceramic are all to be found while exploring the garden’s many hidden spaces, while smaller pieces will be exhibited inside the Glasshouse and Green Tree Gallery, encouraging visitors to explore every nook and cranny of the historic garden and grounds. The Sculpture Exhibition will run daily from 10th May – 30th September 2019, with admission included in the standard entry price.

Landmark Spring Art Fair 2018 EXHIBITIONS 19

Jennie Ing

Evelyn Polk

Landmark Spring Art Fair 2018 17 - 19 May 2018 | Landmark Art Centre, Teddington


he Landmark Arts Centre in Teddington hosts two art fairs each year, with the Spring Art Fair taking place between 17th – 19th May; celebrating the return of warmth and light through art. The Centre, a 19th century former church and Grade II* listed building, makes a unique setting for showing the best in contemporary fine art. From painting and sculpture to printmaking, a wide range of styles and mediums are represented at the fair, where you’ll also be able to meet the artists in person. With prices ranging from £40 to £6,000 visitors can find artworks

to suit all budgets as they discover new pieces to fall in love with. Amongst the exhibiting artists are local talents Nadia Day, who paints views of nature, linocut printmaker Jennie Ing, and photographer Nigel Willoughby. With a café at the arts centre serving tea, cake and lunches you can make a day of the fair. The centre is also fully wheelchair accessible. Admission to the fair is just £4 (concessions £3, under 16s and members free), with no need to book in advance.

20 EXHIBITIONS Sussex Art Fairs (West)

Joanna Loftus

Lesley Tayor

Sussex Art Fairs (West) 17 – 19 May | Goodwood Racecourse


first of its kind within the Sussex Counties, Goodwood Racecourse will become host to the inaugural Sussex Art Fairs (West) this May, a new contemporary art fair located in the heart of the picturesque Downs. With 100 exhibitors throughout the two main halls, including 20 carefully selected galleries and artist collectives alongside 80 established and emerging independent artists, you’ll find thousands of exciting artworks available for purchase. The opportunity to meet the artist you’re buying work from is a truly special experience, as you learn about their influences and artistic process, discovering the intention behind the final piece.

Prices for the art start from as little as £50 for prints and smaller works, to over £5,000 for an outstanding masterpiece, with something to suit every budget whether you are beginning or expanding your fine art collection. Sussex Art Fairs (West) will take place between 18th – 19th May 2019, with general admission tickets just £5. A private view will take place on Friday 17th May, 6-9pm, tickets for which are £12, allowing free re-entry throughout the weekend. A second Sussex Art Fairs (East) is planned for autumn at Brighton Racecourse, taking place 11th – 13th October.

Sussex Art Fairs (West) EXHIBITIONS 21

Quintessential 25

22 EXHIBITIONS Sussex Art Fairs (West)

Louise McNaught

Sussex Art Fairs (West) EXHIBITIONS 23

Robert Owen Bloomfield


Rodney Durso


odney Durso’s career in fine art has been informed by a prolific background in graphic design. He started creating art in 2006, when he moved into his New York City based studio. Since then, his work has taken on new depth and meaning, and he has created a 400+ strong body of work, but his painting and collages are still grounded in a strong sense of graphic organization, colour, type and imagery that speaks to his earlier work as designer. Stories organically unfold as he works, finding a narrative that comes to life with the freedom of creating something new, finding a balance in the unstructured, where nonsensical bits of text, symbols and strokes of colour come together with no purpose other than to elicit feeling. Exploration of self, self-reflection and inner discovery are recurring themes, and Durso considers each piece as a kind of self-portrait. A key part of the artist’s process is naming his pieces; the language and words coming directly from what he sees and senses in the work. It is the final act which makes the piece or series complete. Durso has exhibited at prominent art fairs and galleries around the world. He currently lives and works in Chelsea, one of the centres of the art world in Manhattan. Having worked as a graphic designer, what was the catalyst for turning to fine art? The catalyst was that I was quite literally burnt out from running my own design agency — having employees, and weekly payroll for a staff — and felt like I wasn’t really able to do anything new from a design perspective. I felt creatively tapped out and needed to do something different. Working with commercial clients is a mixed blessing, you have some room for creative expression but inside a set of fairly rigid, preexisting brand parameters. Those ‘guard rails’ are very useful in that you know there are certain limitations about what you can do, but ultimately the client’s appetite for pushing the creative envelope is really the only limitation. What really pushed me in the end was a confluence of situations both personal and professional. I had achieved what I set up to accomplish, including a four year stint teaching at Parsons School of

Design and winning several design awards, so I thought, time to try something else. Where do you draw inspiration from when creating new work? Is there a research stage to your process? I draw my inspiration from many things, and my work is created in a number of ways. Sometimes viscerally — with brush in hand — fuelled by loud music, emotion and caffeine, other times it’s more meditative, working in a deliberate fashion. Either way, the work is pulling from feelings and influences from current events, ideas, design, architecture, and music. In fact, I have always been influenced by these many disciplines, especially in the abstract form. For example, I see similarities between the work of Klee, Miro or Kandinsky and free-form jazz, both expressing similar ideas in different mediums — aural and visual. I also find great


Stery-oing, 2008, acrylic and mixed media on paper, 57 x 43 cm


Just Above the Waist, 2015, mixed media on paper, 37 x 26 cm

comfort in the form and shape of good design, and I sometimes bring that love of organization, methodology and hierarchy into my work. As far as research, I have no formal process; in fact I enjoy the not-knowingness of the process. My work as a creative director was very much driven by research, but my fine art is much more spontaneous. Many of your works feature collaged elements; what’s your approach to using found artefacts? Do you have an archive of images to use, or is it more of a spontaneous decision when you see an image - you know you want to use it within an artwork? For me, collage is one of the most expressive and interesting mediums. I use magazines and newsprint and stick to a few specific titles including: The New York Times, Wall Street Journal, DWELL magazine, i-D magazine, and

Prince of Kings, 2015,mixed media on paper, 37 x 26 cm

a handful of the other visually rich and esoteric art and design mags. What I look for is large swaths of colour and texture, usually nonspecific imagery that lends itself to the narrative of a piece without directing the viewer overtly. I also love type and find the use of modern typefaces work well with my art. It may be interesting to note that I only tear paper and images when I’m working. I never use scissors and don't like clean cuts. When I’m working in collage, I feel like I’m channelling some energy, I get into a zone of sorts. I work very quickly and rarely know what I’m creating until it reveals itself as something recognizable, like a face, or body form, or creature of some kind. As far as archives, I do have archives (large envelopes) filled with pieces of cuttings, but tend to ignore them in favour of what’s latest on the news stand.


Pink Face Antlers, 2015, acrylic, house paint, photo transfer & plaster on plywood box, 30 x 30 cm


Disfashionate (Green), 2015, acrylic, house paint, photo transfer & plaster on plywood box, 20 x 20 cm

Disfashionate (Orange), 2015, acrylic, house paint, photo transfer & plaster on plywood box, 20 x 20 cm

When viewed together there is an eclectic range to your artworks, however there is a clear visual language that links pieces; do you tend to work on several pieces at once or do you feel you’ve developed a way of making work that flows to each new canvas? Yes, I work on several pieces at once, usually in a grouping of three, and occasionally four. What happens is that the idea needs to work itself out. I have to put it down on paper multiple times in order to see where it’s going. To an outsider, it might not make sense, but when I see the visual idea there three or four times side by side in front of me, it more or less shows me what the next move is. It’s like the work is telling me what to do, and how to proceed. It’s all very intuitive — the flow — or seems to be.

working fast and creating lots of new pieces. At the moment, I am exploring painting branded objects — that’s still just an experiment. I’ve also founded a nonprofit arts organisation called ArtBridge (, that just celebrated its 10 year anniversary. ArtBridge exhibits the work of emerging artists on construction scaffolding. And, in 2009, I co-founded a sister organisation in Italy called OffSiteArt (, which turned L’Aquila, an earthquake ravaged city, into a beautiful public showcase of local, emerging artists using similar display and installation techniques that we developed here in New York. What I’m mostly doing now is participating in a lot of group shows and fairs. My Studio Manager keeps me very busy submitting my work to art fairs and group shows here and abroad. In the last months I’ve had work shown in Washington DC, Brooklyn, Venice, Italy, ArtBasel Miami and ArtBasel, Switzerland. I’ve also had recent press coverage in British Vogue

What are you currently working on? Do you have any upcoming exhibitions? Currently, and for the last months, I’ve not worked on anything new. My work comes in spurts, my residency at the American Academy in Rome in 2016 was particularly productive,


Candy Plant (1), 2017, mixed media on paper, 96 x 66 cm



Rocket Man, 2011, acrylic and mixed media on paper, 33 x 43 cm

32 ARTIST PROFILE Charlotte Fraigneau

Drowning, 2018

Charlotte Fraigneau


curiosity runs through French photographer Charlotte Fraigneau’s work, both in her subject matter and her approach to shooting new images. Working in both analogue and digitally creating portraiture and documentary images, her photographs explore human conditions and psychology. Her current ongoing series, 'Deluge', in particular explores the mental, physical and emotional responses of being overwhelmed. Through underwater photography and digital manipulation, the series shows a single figure subjected to the suffocating consequences of

drowning, being buried alive and set on fire. The intense images portray the metaphysical human experiences of extreme circumstances; the moments where time stands still through a heavy affliction. Based in Cambridge, where she recently graduated from Cambridge School of Art, Anglia Ruskin University, with a Photography degree, Fraigneau has had work included in group shows in Cambridge, London and Prague. Her Photographs have been shortlisted in several art prizes.

Charlotte Fraigneau ARTIST PROFILE 33

Burning, 2018

34 ARTIST PROFILE Karenina Fabrizzi

Green portrait, Y2018, oil & ink on canvas collage, 60 x 92 cm

Karenina Fabrizzi


lora and fauna feature prominently in Karenina Fabrizzi’s nature inspired paintings, where plants and flowers are enlarged and exaggerated, interacting and entwining with mysterious figures; sometimes even becoming part of their form, replacing human features for leaves and petals. Working with a subtle oil colour palette, delicate graphite lines and ink on rice paper, her works are a dreamy blur of the ordinary and the fantastic. The figures, animals and plants are of the actual world, although when amalgamated together we glimpse slices of the artist’s subconscious mind; like fairy tales filled

with impossible realities, a sense of human vulnerability, fragility and a touch of a strange darkness. Born in Buenos Aires, Argentina where she later studied her Fine Art and Graphic Design Degree, Fabrizzi now lives in Spain, with her studio in Barcelona. She exhibits regularly internationally, and her work can be seen in galleries in London, New York, LA and Scotland.

Karenina Fabrizzi ARTIST PROFILE 35

Pink ensemble, 2018, oil & ink on canvas, 100 x 100 cm

36 ARTIST PROFILE Daniel Tidbury

Teal Sunrise, 2016, acrylic, 60 x 60 cm

Purple Haze, 2016, acrylic, 60 x 60 cm

Daniel Tidbury


lossy pigments swirl and disperse in Daniel Tidbury’s textural works in resin and acrylic; colliding with dramatic waves of colour across deep, dappled layers of paint. Finding inspiration in his surroundings, travels and life experiences, his vivid mixed media paintings evoke a sense of energy, drama and mood, with titles such as ‘Abyss’ and ‘Lost in Space’ perfectly balancing the tone of each piece. His earlier works, which often feature abstract seascapes and skyscapes, are equally bold and colourful; with animated brush strokes in bright tones of pink, orange, green and blue, layered with expressive splashes of paint. This free-flowing method of painting allows the artist a physical, creative release away from daily life.

With household tools, knives and brushes, Tidbury’s techniques are constantly evolving. His latest works explore the effects and unpredictable beauty of acrylic pouring and chemical dispersion. He allows the materials to flow onto the canvas, mixing acrylics with PVA, water, methylated spirits and resin, perfectly timing his manipulations before letting the work settle into its final formation. Creating work from his garden studio in Hampshire, Tidbury continues to develop and explore techniques, while exhibiting and taking commissions.

Daniel Tidbury ARTIST PROFILE 37

Morning Glory, 2016, acrylic, 100 x 100 cm

38 ARTIST PROFILE Daniel Tidbury

Big Blue, 2018, acrylic, 30 x 100 cm

Abyss, 2018, acrylic, 30 x 100 cm

Daniel Tidbury ARTIST PROFILE 39

40 ARTIST PROFILE Daniel Tidbury

Earth From Space, 2018, acrylic, 60 x 60 cm

Daniel Tidbury ARTIST PROFILE 41

Coast, 2018, acrylic, 100 x 100 cm


Kate Holden


hether found amongst nature or in bustling urban spaces, Sussex based photographer Kate Holden finds inspiration in her surroundings; capturing slices of silence in a world filled with sound. Her organic process sees her exploring new locations with camera in hand; often not stopping to think about what might entice her to document a certain place or moment. This approach allows for the discovery of new perspectives of familiar environments, and the little things you may not usually notice. This idea of new perspectives can also be seen in her images of Brighton’s Booth Museum of

The Booth Museum Archives, 2014, 35mm film

Natural History, where she has regularly shot items from the archives, giving the viewer the opportunity to see hidden pieces of the museum. Although shooting with a mixture of both film and digital, a love for vintage cameras - passed on from her grandfather- sees the photographer favouring an analogue approach. Recently she has been re-discovering medium format photography, after previously experimenting with the medium a few years ago. Based in Brighton, Holden has exhibited locally, and is often found documenting the city’s creative events.


The Barbican, 2018, digital


The Georgian, 2016, digital


Slab City, 2016, digital

46 ARTIST PROFILE Diana Malivani

Diana Malivani


ature in all its beautiful glory bursts into life on Diana Malivani’s canvases as she passionately shares a reflection of her soul in paint. Flowers and landscapes – both figurative and abstract – are principle themes of her artworks; bold, bright and filled with calming energy, the paintings convey the great feeling for nature which enhances her life. Inspiration is all around the artist in music and nature; the two combining in a melody of colour and form; the rhythms of the universe constantly enticing her to put brush to canvas as the sounds and sights of the world work in perfect harmony. The mood to create is always within Malivani,

Lilac, 2018, oil on canvas, 70 x 100 cm

the happy inclination and impulse arising spontaneously within her. Her process sees her listening to classical and modern music as she paints, allowing herself to be transported with the sounds to a special place where images appear; bright splashes of colour responding to each other which she transfers to canvas. Based in Cyprus, via Russia and France, Malivani’s paintings are exhibited in a number of local galleries. Her work also appears regularly in exhibitions worldwide, and has been published in international art journals.

Diana Malivani ARTIST PROFILE 47

Bloomy Eucalyptus Tree, 2018, oil on canvas, 80 x 60 cm

48 ARTIST PROFILE Diana Malivani

Bloomy Lemon Tree, 2018, oil on canvas, 150 x 100 cm

Diana Malivani ARTIST PROFILE 49

Summer Jazz, 2018, oil on canvas, 90 x 90 cm

50 ARTIST PROFILE Diana Malivani

Strelitzia, 2018, oil on canvas, 120 x 90 cm

Diana Malivani ARTIST PROFILE 51

Green Olives, 2018, oil on canvas, 90 x 90 cm

52 ARTIST PROFILE Diana Malivani

Mimosa, 2018, oil on canvas, 150 x 120 cm

Diana Malivani ARTIST PROFILE 53

Garden Roses, 2018, oil on canvas, 61 x 76 cm

Tea Roses, 2018, oil on canvas, 61 x 76 cm

54 ARTIST INTERVIEW Jean Louis Frenk

Jean Louis Frenk


orking both in paint and clay, Swiss American artist Jean Louis Frenk creates otherworldly objects and images, using them as totemic portals to document his studio practice. Visually appealing to the viewer, there is balance and poise and a sense of organic growth in his work, seen through forms that curve and bend; elegantly reaching or spilling over like hot lava. Although taking a different approach with each, the artist’s two mediums are interlinked and coexist within his practice. The repeating patterns, shapes and colour palettes of the paint translate from the page into the tactile ceramic vessels which make up his main body of work, while often exploring spaces not possible in clay. Frenk is based in Brooklyn and Coxsackie, New York. Where do you draw inspiration from when making new works? Do you find this differs whether creating ceramics or works on paper? Yes, it’s very different whether I work on paper or creating ceramics. The work on paper is imagined, related to the principles advocated by surrealist artists, drawing from an inside and / or a beyond place, a magical world that I would like to call the realm of my art. This process is then repeated with variations as a form of meditation, where in this practice I become a vessel to express some forms of universal truth about beauty and art. The work in ceramics is balanced and grounded with Earth. It is a secondary contemplation, one with the material

and the craft: The realization of drawings becoming totemic objects radiating and filling the space. Tell us more about your sculpting process; do you make preparatory sketches for your ceramics, or are the forms created more organically? As mentioned earlier many of my drawings are ideas for my painted sculptures. At first, I mount the object like a vessel with coils, following literally the dimensions created by the lines of the drawing. The piece is then slowly dried during a period of months, and then glazed before multiple firings at high temperatures. Once the

Jean Louis Frenk ARTIST INTERVIEW 55

cat#051, ceramics & encaustic, 34 x 28 x 23 cm

56 ARTIST INTERVIEW Jean Louis Frenk

cat#031, ceramics & encaustic, 38 x 21 x 21 cm

ceramic has attained the glazed appearance of finished stoneware the décor is applied with pigments in wax to allow a polychrome transformation. To paraphrase the painter Josephine Halvorson who said colour is what gives identity to form, encaustic paint enables me to create what I imagine as polychrome sculpture from my ceramics, giving a reality to my imagined pictorial worlds. In addition, I think my ceramics look very organic and handwork with coils certainly qualifies as a living process. However, formally the objects are always built after the instructions of the drawing given as blueprint. Through social media you have been sharing new works daily; can you tell us more about this and how it informs your practice as an artist? As for many artists it all starts for me with a

cat#032, ceramics & encaustic, 44 x 21 x 21 cm

drawing. Furthermore, in my views the core of one’s practice is often rendered visible through the drawing. During Frank Stella 2015 retrospective in the Whitney in New York I was stunted by how tellingly his drawings were. In my opinion everything of Stella’s art is in it. My hope that my feed is likewise readable by my audience on social media,, without precondition. In a way I would like to share my work at the ideation, at the source. This task can leave me vulnerable and push me to refine continuously the meaning of my content through the practice of drawing. Is there a piece of work you’ve created that particularly stands out in your mind, and why? Ceramics pieces like #050 or #051 are landmarks in my practice as they open for me a viable path for the realisation of my concepts related to polychrome sculpture. It is a journey where colour contributes to the spatial discourse

Jean Louis Frenk ARTIST INTERVIEW 57

cat#1081, oil & tempera on paper, 56 x 75 cm

of my objects. In addition, I like to imagine those surfaces as abstract paintings extending the conversation. Are there any pieces you’re currently working on? Do you have any upcoming exhibitions? We spent time talking about drawing and their meaning to me. In terms of ceramics production, I work on many pieces simultaneously. Some are at coils level, some are drying, some are in the glazing stage and others are painted with encaustic colours. For most of my pieces the process of production can last a few years from start to finish. Next to this practice I also paint, draw and collage, working with oil, tempera and encaustic.

With regards to showing I will be participating at the Superfine Art Fair in New York upcoming May and I am planning an exhibition in the city for the fall.

58 ARTIST PROFILE Johanna Bath

Beam, 2018, oil and spray paint on canvas, 60 x 50 cm

Everything I’ve ever touched, 2018, oil and spray paint on canvas, 60 x 50 cm

Johanna Bath


s it possible to make the concept of time visible? For artist Johanna Bath her artworks are an attempt to do just that; creating a visual representation in paint of something without any concrete form or shape but yet carries so much feeling and emotion.

Whether working in mixed media or paint, her works have a collage-like effect visually, with figures, abstract shapes and glimpses of personal landmarks composed and overlaid, while soft strokes of paint fill in the negative space in tones of grey and pink. A sense of tenderness is important to the artist, allowing the viewer to feel the moment; still and intimate, as they pause with the paint.

Based in Hamm, Germany, Bath has been creating artworks over the last decade, having studied illustration at BildKunst Akademie, and design at Hochschule fĂźr Angewandte Wissenschaft, both in Hamburg. She is currently preparing for a solo exhibition with Part2Gallery in DĂźsseldorf this spring.

Johanna Bath ARTIST PROFILE 59

Presence, 2018, oil and spray paint on canvas, 60 x 50 cm

60 ARTIST PROFILE Pedro Sousa Louro

Untitled, 2018, mix-media and textiles on wood, 140 x 110 cm

Without Doubts, 2017, mixed media on wood, 155 x 125 cm

Pedro Sousa Louro


lifelong attraction to Cubism has been a central influence for Pedro Sousa Louro, who works with mixed media on handmade wooden panel canvas, combining paint with found objects and multiple techniques in his abstract artworks. Although visually his works are grounded in geometry, the artist always finds an emotional connection to each work through the process of creation. His canvas is a conduit to the soul, portraying feelings and perceptions which occur both knowingly and unconsciously. After developing the idea for the artwork he begins to source the materials, combining mediums and

objects to add a playful, tactile quality to the work. In his more recent studies he has found himself combining both cubism and abstract expressionism into a single artwork. Originally from Portugal, Louro moved to London over 26 years ago to study his passion for art, graduating from Chelsea College of Art and Design in 1997, and further continued a second degree on Abstract Vision and Abstract Expressionism at Kensington and Chelsea Art College University. His work has collectors around the globe including Europe the Middle East and the USA.

Pedro Sousa Louro ARTIST PROFILE 61

There is a stone in my heart, 2018, mixed media on canvas, 153 x 123 cm


Ephemeral Symphony 7, 2018, 42 x 63 cm

Ana Junko


he emotional impact of an image is photographer Ana Junko’s catalyst for making work; using this sense of feeling as a means of visual communication.

Inspired by her days in the darkroom, there is a strong analogue aesthetic that runs throughout her portfolio of work, which she creates in emotively titled series’ such as ‘Ephemeral Symphony’, ‘In Honour of the Shadows’ and most recently, ‘Synthesis’. The monochromatic photographs are washed in elements of over-exposure, motion blurs and blank space; all adding to the poetic language of the artist.

Based in Santander in northern Spain, Junko attended the prestigious art school of Oviedo, and her studies in drawing and painting still influence her photographic compositions. She exhibits her work in Spain, with two planned exhibitions for 2019.


Ephemeral Symphony 1, 2018, 50 x 34 cm


Ben Mosley


ith canvases filled with bold and animated graphic lines depicting buildings, portraits and sporting moments, Ben Mosley has made his name as one of the UK’s premier live painters. Merging styles into pieces that are at once figurative, cubist and abstract expressionist, he takes on the role of conveying the energy, emotion and dynamic movement of the moment. To depict such a myriad of changing emotions seen at sporting events – joy, sorrow, aggression, courage – through victory and defeat is no simple task, and the artist’s skill of finding and preserving a moment in time is seen through his confident use of line and composition. His paintings have shown the jubilation of a winning goal, the camaraderie between father and son as they watch a game and encapsulated the

London Sunset, 2018, acrylic, 24k gold, palladium and copper on canvas, 100 x 200 cm

electricity of a crowd making their way to the stadium – all the realities of the human narrative while hinting at the underlying emotions that being part of a community can bring to many. As well as depicting sporting and live events Mosley finds inspiration in architecture, creating works which depict the shapes and patterns of buildings from the world’s most famous skylines. His practice sees him combining mono-printing and contemporary painting techniques, using these methods to develop his individual style. Mosley has worked for a number of prestigious clients creating commissions, for live events, and as artist in residence, including at Wembly Statium. He is the official artist of Barnsley Football Club and has work in both public and private collections, as well as exhibiting regularly in group and solo shows.


Team Spirit Barcelona, 2017, acrylic and 24k gold leaf on canvas, 100 x 100 cm


The National Anthem Of England, 2006, acrylic on canvas, 150 x 150 cm


Rubix Girl, 2018, acrylic and 24k gold leaf on canvas, 140 x 160 cm


66, 2018, acrylic, 24k gold leaf and palladium on canvas, 100 x 100 cm


A Tale of Two Wembleys (part of Wembley stadium mural), 2012, acrylic on canvas, 100 x 100 cm


Asian Jazz, YEAR, acrylic and gold leaf on canvas, 100 x 100 cm


Soldier Boy, 2015, acrylic on canvas, 80 x 100 cm

72 ARTIST PROFILE Cecilie Neumann Hansen

The White Erosion, 2018, silver gelatine print, 26 x 21 cm

Cecilie Neumann Hansen


lements of nature are brought into the gallery space by Danish artist Cecilie Neumann Hansen who seeks out remote areas with no human presence, allowing the unconscious to guide her as she attempts to mimic the landscape, creating her own interpretations of the land. Drawn to patterns and structures in vast landscapes, immense mountains and wide plains, she observes how they meld together, capturing abstract perspectives and using them to create carefully considered tonal images that vibrate with an otherworldly sense of melancholia. Alongside her photographic works she presents boxes containing natural elements such as earth,

moss and flower petals. The artist seeks to create a space for discovery of both the spiritual and earthly elements of natural phenomena as well as bringing recollections of memories to the viewer. Based in Copenhagen, Neumann Hansen studied Fine Art Photography at the Glasgow School of Art, formally having trained at Copenhagen School for Film and Photography. She has exhibited regularly since 2013 in Denmark and the UK, and last year her work was included in the Pingyao International Photography Festival in China.

Cecilie Neumann Hansen ARTIST PROFILE 73

The Skull, 2018, ink-jet print on sugar paper., 26 x 21 cm

74 ARTIST PROFILE Siobhan Purdy

Dreamaway Tree, 2017, oil on canvas, 152 x 122 cm

Black Bunny, 2014, oil on canvas, 80 x 60 cm

Siobhan Purdy


n Siobhan Purdy’s work a play of both vulnerability and strength is found within the paint; the dreamy surface merely hinting at the history of earlier layers. While the viewer may simply see figures draped in flowers and foliage interacting with objects and animals, there is a suggestion of further layers of symbolic meaning, and a sense of story beyond the painting’s edge. Working with oil on canvas or board, composition is an important part of the artist’s process, often moving the canvas around several times to find the perfect structure. Her technique often creates a crayon-like effect in

pant, enhancing the childlike quality she aims for. Children and animals are the protagonists of her paintings, with features that combine to create a feeling of extended reality. There is a narrative to each piece, existing from memories and personal experience. Purdy’s studio is based in Redruth, Cornwall. Her work can currently be found at Hidden Gallery, Bristol, Beside the Wave Gallery, London, and Byre Gallery, Millbrook.

Siobhan Purdy ARTIST PROFILE 75

King Fishing, 2018, oil on canvas, 30 x 30 cm


Laura Carter


ines of different viewpoints run across Laura Carter’s photographs; skylines, shorelines, lines from tracks in snow and towering tree trunks. She considers each space and how it is experienced differently by each individual, questioning laws of geometry in which horizon lines are established as a boundary, and yet full of possibilities. Her practice is a physical exploration of our perceptions of subject matter, through an experimental approach to her medium in terms of how a photograph establishes as an object. Based in Bath, Carter’s photographs have been exhibited in the UK, including at the OXO Tower in London. She has been shortlisted for this year’s Royal Arts Prize with ‘2.42 Miles’, a series of landscapes taken at her personal eye level.

Tell us about your journey using photography; has it always been your main medium? I had always been sketching and painting in my spare time and first became hooked by the beauty of the digital photographic medium six years ago. I found it during my fine art studies; it became a private process that could involve no one but myself and the landscape always as my subject. But it was in my final year of my diploma that I decided to take it a bit more seriously and study photography at Bath Spa University. During my later studies, I noticed that my photographic style became much more particular in terms of subject and I was producing work which followed the theme of the landscape but with the confidence to explore it further whether that be in an abstract, experimental form or as large format images of technical practice. Since only just recently graduating as a Bachelor of Photography from Bath Spa University, I have

noticed that it has cemented my artistic style and given me the confidence in my practice to continue creating and showcasing my work. You speak of photography in relation to painting; can you explain a bit more about this and how it informs your practice? During my degree studies I found that my passion for American Abstract Expressionism heavily began to influence my photographic work. My landscape practice took on themes relevant to the work of modern artists such as Mark Rothko, with simplified fields of colour similar to Rothko’s ‘Multiform’ work. Much like the ideas that surround such painting works, I’ve always thought photographs do not depict complete reality, only a fraction of reality. The same moment can never be reproduced. I feel like my minimalist landscape approach allows the viewer to explore what is important about an image, instead of having it right in front of them. My experimental


Shoreline, 2018, 467 x 312 cm


Shoreline, 2017, 297 x 420 cm

series from 2018 ‘Materiality’ took this even further and where I really found the link, by physically exploring the medium both in terms of subject matter and perception. Creating works that use methods and materials to abandon traditional values of what the photograph ‘should’ represent; to discover the plurality that can be achieved through the perception of a photograph. Your photographs are studies of places; from the smallest unseen doorways to familiar seaside vistas. What draws you to a location and inspires you to document these perspectives? When out with my camera, I will only photograph what I find in situ, nothing is ever staged in my landscapes. I think that that is really

important for me, spending hours just walking around alone with my camera exploring the landscape is as much a part of the process for me as seeing the final outcome. Spending time thinking, looking and simply appreciating what surrounds you. I am always looking for a minimal scene that can be made beautiful through the photographic elements of composition and light. As a landscape photographer, one thing that I find fascinating to capture is the rhythm of the common horizon line as which became the basis for my series ‘2.42 Miles’ As a basic feature that is forever present, yet not always noticed, it provides possibility as well as a boundary in every image.


2.42 Miles, 2017, 64 x 96 cm

I find it a challenge to find small moments in an unembellished landscape in order to make an image of subtle beauty. This type of process I feel provides my work always with a sense of quiet which I feel reflects back to my process itself, providing an overall minimalist aesthetic that is apparent in each of my series.

well as vast stretches of volcanic soil would be an incredibly unique aesthetic to explore.

What would be your dream location to shoot at? I have always wanted to visit Iceland's South Coast. This part of the country where glaciers can be found would be a fascinating place to capture. Exploring that unique environment would be a completely new experience, patterns and textures that have been created by years of layers of aged ice; each with a different colour tone as

What are you currently working on? It's been an exciting start to the year, preparing work to be part of the Royal Arts Prize 2019 in London.


2.42 Miles, 2017, 80 x 120 cm


82 ARTIST PROFILE Marc Bowditch

Moonshine, 2018, watercolour on paper, 100 x 71 cm

Other way round, 2018, watercolour on paper, 30 x 21 cm

Marc Bowditch


orking primarily in watercolour, Marc Bowditch’s recent paintings oscillate between the poetic and the material.

His process sees him painting lines in veiled hues, then contouring, cutting and folding paper, discarding and adjusting until he arrives at the final mosaic assemblages. Signs of manufacture withdraw from the completed works, leaving restless and ecstatic colour fields of translucent pigment that engage the viewer’s imagination. Through the use of his diaphanous medium, which is delicate and precise, he modifies the

surface and space of the artwork, creating a proximity of colour that suggests a formal construction as much as a state of emotive coincidence. Born in Johannesburg, South Africa, Bowditch studied Art and Architecture in Canada and Italy. He is presently based in Berlin, Germany, and has participated in group shows in London, Amsterdam and Hong Kong.

Marc Bowditch ARTIST PROFILE 83

Heidelberg (big watercolour mosaic #3), 2017, watercolour on paper, 178 x 124 cm

84 ARTIST PROFILE Mandy Racine

Altar 2 Color Study, 2018, acrylic on canvas, 60 x 40 cm

Assumption, 2018acrylic, plaster & pastel on canvas, 60 x 40 cm

Mandy Racine


plashes of Rococo flair form across Mandy Racine’s canvases in expressive, experimental brushstrokes as she creates work that places a contemporary twist on the works inspired by the old


While the artist’s inspirations may come from the past, her techniques and compositions are firmly in the present; as the traditional art forms are interpreted in new, expressive ways. Abstract elements are found and explored amongst the figurative subjects and the spaces between with vivid colour borne from dreams. With layers of

thick brushstrokes and an experimental mix of media which may include charcoal, acrylic, plaster, latex and varnishes, the figure is both hidden and revealed upon the canvas. Throughout her artistic career Racine has exhibited widely across the UK and Europe in group and solo shows, as well as having her work regularly published. Her work can be found in private collections around the world – from Europe, the US and Canada to United Arab Emirates, South Africa, Puerto Rico and Mexico.

Mandy Racine ARTIST PROFILE 85

Marie, 2018, acrylic, charcoal & pastel on canvas, 50 x 50 cm

86 ARTIST PROFILE 2bplusphoto



nder the moniker 2bplusphoto, Tobias Meier specialises in high end storytelling, creating glossy images used for fashion editorials and advertising.

Starting with an idea that turns into a concept, he creates beautiful and elaborate sets which bring his vision to life, with digital enhancements added to complete the vision and go beyond what is possible in reality. Fashion is a central element in his photographs, which frame and enhance the shapes, colours and fabrics of the garments. The photographer’s background is in visual effects for feature films, and his experience means that he is able to fully produce editorials from

Her Precious Terrarium, 2018, 33 x 50 cm

concept and art direction to final retouching. His intention is to always make images that visually entice the viewer, giving them more and more details as they look, becoming entranced by the figures which hang suspended in space or within impossible glass cubes. Originally from Stuttgart, Germany, Meier is now based in Canada. Having studied Communication Design at Merz Academy, he went on to gain a Master Degree in Arts in New Media Film Theory from the University of Portsmouth, UK. His editorials have received awards and have been published in various magazines.

2bplusphoto ARTIST PROFILE 87

Her Precious Terrarium, 2018, 48 x 33 cm

88 ARTIST PROFILE 2bplusphoto

Old Worlds Looking at New, 2018, 33 x 48 cm

2bplusphoto ARTIST PROFILE 89

90 ARTIST PROFILE 2bplusphoto

Old Worlds Looking at New, 2018, 33 x 48 cm

Old Worlds Looking at New, 2018, 33 x 48 cm

2bplusphoto ARTIST PROFILE 91

Old Worlds Looking at New, 2018, 33 x 48 cm

92 ARTIST PROFILE 2bplusphoto

Models in Space: Paris, we have a Problem!, 2018, 33 x 48 cm

2bplusphoto ARTIST PROFILE 93

Models in Space: Paris, we have a Problem!, 2018, 33 x 48 cm

94 ARTIST PROFILE Scott Curtis

That Talk All Tongues, 2016, oil on wood, 57 x 91 cm

Scott Curtis


ith a playful eye and exacting technique, Scott Curtis takes an imaginative approach to portraits, landscapes, interiors and abstracts. Each piece is approached with a rigorous set of self-imposed obstructions or constraints which he then attempts to work and play within, creating the most resonant effects possible for that work. Working primarily with oil on wood panels, the artist’s process sees him using thick applications of paint and vivid uses of colour, particularly when creating his bold abstract pieces.

His distinctive portrait and landscape style incorporates exciting and inventive visual effects where figures and buildings are softly fragmented and mirrored, swirling and merging with their surroundings as if dissolving. Originally from Michigan, Curtis is now based in Durham, North Carolina. Over his thirty year career he has garnered recognition at the highest levels of fine art and design, with works in major collections as well as having exhibited in a wide range of galleries across the United States.

Scott Curtis ARTIST PROFILE 95

Facade II, 2016, oil on wood, 66 x 46 cm

96 ARTIST PROFILE Scott Curtis

In the Summer Noon, 2017, oil on wood, 76 x 56 cm

Scott Curtis ARTIST PROFILE 97

Through Griefs of Joy, 2018, oil on wood, 76 x 76 cm

98 ARTIST PROFILE Scott Curtis

Shadow Boat Four, 2016, oil on wood, 76 x 89 cm

Red Shadow Boat, 2017, oil on wood, 91 x 62 cm

Scott Curtis ARTIST PROFILE 99

Red Cafe II, 2018, oil on wood, 76 x 66 cm

100 ARTIST PROFILE Moksha Kumar

Sunsets in eternity, 2018, acrylic on canvas, 91 x 152 cm

Moksha Kumar


ontinually playing with perspectives, painter Moksha Kumar uses various shapes and lines to push and pull her compositions; creating surreal spaces through architectural elements such as staircases which give the illusion of levels, movement and direction. Places that the artist has travelled with increasing familiarity are abstracted in paint, usually in shades of primary red, yellow and blue, coalescing the sense of location into fused geometric forms; sharp, straight and strong with curved elements to ease the eye of the viewer. There are many ways one can enter into the

paintings, and we are invited to play with the forms, creating connections amongst them; it is the artist’s intention to show a state of constant flux. With a BFA in Fine Art from Pratt Institute in Brooklyn, New York, Kumar is currently studying for a Masters in Art History at The Maharaja Sayajirao University of Baroda, India, while continuing to work on her paintings and future projects.

Moksha Kumar ARTIST PROFILE 101

Pythagorus, 2018, acrylic on canvas, 60 x 91 cm


Bone, bronze, 40 x 7 x 10 cm

Tyler Fenn


or over two decades sculptor Tyler Fenn has created works in steel, gradually developing a fascinating technique which sees him slicing the material with a welder’s torch, cutting through the material like a knife in clay. This process results in highly textured pieces, where every decision is seen and felt upon the surface of the sculpture. Taking inspiration from representing the world he finds around him, figures and animals such as cattle and horses, as well as architectural shapes are recurring motifs. He usually prefers to create smaller scale pieces which can be easily carried, adding to their tactile nature. Raw materials for the artist’s work are often gathered and collected from the environment

when possible, although the work itself is not concerned with the recycling or transcendence of materials, and Fenn is just as happy to work on store-bought pieces of steel. Most recently he has been selectively casting in bronze, using a traditional sand method. Fenn’s varied life of work and travel has seen him cross canyons, states and countries. He moved from the US to the UK in 2005, and now lives and creates work in Bath. His sculptures have been exhibited in the US, West Indies, Spain and the UK.


Bone, bronze, 40 x 7 x 10 cm


Centaur (back), mild steel, 20 x 7 x 30 cm


Poleplanter, mild steel, 40 x 40 x 83 cm

Antigua Black, mild steel, 33 x 33 x 33 cm

106 ARTIST PROFILE Bianca Berends

Happy in The Water Beach Girl, 2018, oil pastel and oil paint on linen , 40 x 60 cm

Bianca Berends


right, sun-soaked portraits are Bianca Berends speciality, characterised by her bold brush strokes, inventive backgrounds and strong uses of colour. She is continually inspired by scenes from everyday life, especially the innocence of playing children. A fascination with the play of light and shadow permeates through her paintings, as reflections of sun, sea and sand bounce and glow across the youthful figures. These paintings of children are part of her 'Beach Life' series, an ongoing project which sees the portraits combined with abstract backgrounds, collaged elements and enlarged prints of vintage postcards. Although working mostly with oils and pressed oil on canvas, 'Beach Life' has seen her

experimenting more with different materials and techniques such as using glass plates to print paint on paper, using the back of brushes, plastic wrappers and scrapers over paint to create texture. Born in the Netherlands, Berends has had a life of travel, and currently lives on the Caribbean island of Curacao where she works from her home studio. She has been recognized by The Portrait Society of America as one of today's leading artists, and her paintings have been exhibited in well-known museums and galleries in Canada, The Netherlands and the UK, including as part of the prestigious BP Portrait Award.

Bianca Berends ARTIST PROFILE 107

Beach Sisters With Fish, 2017, oil paint and acrylic paint on linen combined with mixed media, 40 x 30 cm

108 ARTIST PROFILE Bianca Berends

Girl in The Polkadot Beach Dress, 2018, oil paint and oil pastel on paper, 60 x 50 cm

Bianca Berends ARTIST PROFILE 109

Keenyah, 2019, painted with oil on linen, 160 x 110 cm

110 ARTIST PROFILE Bianca Berends

Pensive Beach Girl, 2017, oil paint on printed canvas with collage elements , 150 x 100 cm

Bianca Berends ARTIST PROFILE 111

Caribbean Sea Girl, YEAR, 2019, 160 x 200 cm

112 ARTIST PROFILE Bianca Berends

Happy Girl with Doll, 2014, oil paint on linen, 160 x 120 cm

Bianca Berends ARTIST PROFILE 113

Black and White Girl in Green,2018, ink and acrylic paint on linen, 40 x 50 cm

114 ARTIST SHOWCASE Beate Tubach

Dana, 2018, photography, 40 x 59 cm

Beate Tubach


igital photo editing has allowed ZĂźrich-based artist Beate Tubach to take her work to new and unexpected places, transforming the pieces into dreamy slices of other-worldly scenes, where plants and the natural world interact with mysterious and glamorous figures, crowned with flowers and expressive splashes of paint. Primarily a painter, a passion for photography has added depth to her practice, combining the two mediums on her mission to make known

the unknown for the viewer, as well as the artist. Both mediums influence and inform each other through her process of creation, resulting in bold and beautiful artworks filled with layers, swirling patterns and dazzling protagonists.

Beate Tubach ARTIST SHOWCASE 115

Astronauts Costume, 2019, photography (collage), 50 x 30 cm

116 ARTIST SHOWCASE Shua’a Al-Muftah

Graceful 1, 2019, acrylic on paper, 40 x 30 cm

Graceful 2, 2019, acrylic on paper, 40 x 30 cm

Shua’a Al-Muftah


ooted in the study of perception and its relation to emotion, Shua’a Al-Muftah’s paintings take inspiration from abstract expressionism, with juxtaposing colours and textures which progress in stages with abstracted, transparent, cumulative layers. The artist's practice is to approach the canvas with no preconception of what the final piece may look like, but to allow feeling to determine the direction.

highlighting their boldness and strengths through energetic and explosive brushstrokes and colours. The prominent overlapping of layers and strokes of paint accentuates the concept of the little fragments and experiences in life and how they build a bigger picture of one’s identity. The artist lives in Qatar in the Middle East and works from there, surrounded by the inspirations of the local culture and society.

Through her compositions the artist aims to draw out the sentiment of the viewer, evoking their thoughts and forming an expressive connection with them. Her latest series ‘Faces’ conveys the complex and striking beauty of women, while

Shua’a Al-Muftah ARTIST SHOWCASE 117

Graceful 3, 2019, acrylic on paper, 40 x 30 cm

118 ARTIST SHOWCASE Shua’a Al-Muftah

Graceful 4, 2019, acrylic on paper, 40 x 30 cm

Shua’a Al-Muftah ARTIST SHOWCASE 119

Graceful 5, 2019, acrylic on paper, 40 x 30 cm

120 ARTIST SHOWCASE Shua’a Al-Muftah

Graceful 6, 2019, acrylic on paper, 40 x 30 cm

Shua’a Al-Muftah ARTIST SHOWCASE 121

Graceful 7, 2019, acrylic on paper, 40 x 30 cm

122 artist EXHIBITIONS

Upcoming artist exhibitions Daniel Tidbury Emsworth Arts Trail, Tuppenny Barn, Emsworth 27 & 28 April 2019 4, 5 & 6 May 2019

Jean Louis Frenk Superfine Art Fair New York, NY, USA 1–5 May 2019

Johanna Bath Part2Gallery, Düsseldorf 15 March 2019

Karenina Fabrizzi Glasgow Contemporary Art Fair Glasgow, Scotland UK Preview Evening: 17 May 2019 Show : 18–19 May 2019

Mandy Racine The Other Art Fair, London 14–17 March 2019

Rodney Durso The Body Language, Venice, Italy Until 22 March 2019

Siobhan Purdy The Coast is Clear The Byre Gallery Millbrook Cornwall 13 July – 11 August 2019

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