Inside Artists | Issue 2

Page 1

Events & Exhibitions | Artist Profiles | Interviews

ISSUE 2 | 2015 | ÂŁ6


Art is often used as an escape. It is interesting this issue to observe many of the featured artists tackle concepts of reality and fantasy in their own unique way; whether it is a key influence in their practice or an unintentionally added layer of intrigue to their work. While cover artist Stephanie Ho takes observed aspects of reality and uses them to create alternate worlds not dissimilar to our own, artists such as Aleksandra Laika present work based on folklore and fiction, using elements of reality more as an embellishment to enrich than to validate. Even Holly Rozier’s sculptures which appear completely alien as they engulf their surroundings are based on human forms; though engorged and exaggerated they are born from Rozier’s real-world experiences. When observing a work that is new and exciting, we are presented with a world different to how we know it, and we become free to look past the everyday of our own surroundings. We are free to ponder alternate universes, truths and ideas, and to decide ‘what’s real anyway?’


EDITORS Kieran Austin Toby Oliver Dean COVER IMAGE Stephanie Ho, What A Wonderful World, 2008, oil on canvas, 90 x 90cm PROOF READER Daisy Francome FOLLOW US ONLINE InsideArtists InsideArtists WRITE TO US Inside Artists 35 Holland Mews Hove, East Sussex BN3 1JG INSIDE ARTISTS ONLINE ENQUIRIES +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.

"It is one of the most loved pieces from my Still Frames series. Like many of my other works, the painting relates to my interest in observing human activities of city lives. The limited contextual details of the white background provides the perfect setting for viewers to appreciate the choreographic patterns formed by the people, living together in harmony." Stephanie Ho



EVENTS & EXHIBITIONS Great Dome Art Fair 06 New Artist Fair 08


INTERVIEwS Stephanie Ho 10 Holger Martin 28 Alexander Johnson 48


ARTIST PROFILES Helen Wells 14 Max Werner 18 Anna Ravliuc 22 Wayne Grace 24 Charlotte Gilliatt 32 Mark Lloyd 34 Imogen Reid 35 Paul Maguire 36 Toby Messer 38 Holly Rozier 40 Lalie S. Pascual 46 Komal Madar 52 Kerry Rogers 56 Miranda Trojanowska 57 Aleksandra Laika 58 Arie Vardi 60

62 Gina Brown 64 Lynne Douglas


ARTIST SHOWCASE 68 Jason Clarke 70 Simon Kirk 72 Liz Lloyd


GALLERIES 74 The Bramfield Gallery





Rob Wilson - fine artist © Photographer Tony Blake & Wash Design

18 & 19 July | Devonshire Dome, Buxton


ow in its 8th year, the Great Dome Art Fair is a prestigious highlight of the Peak District Artisan’s event calendar. Taking place on the 18th and 19th July with a preview on the 17th in Buxton’s iconic Devonshire Dome, the fair has continued to grow in public recognition and popularity with a reputation as an accessible event that allows visitors the opportunity to meet the artists and appreciate the range of skills they have to offer. Established in 1991, Peak District Artisans is a professional association that has successfully brought together some of the very best professional fine artists, designer makers and contemporary artisans based in and around the Derbyshire Peak District, selected for their outstanding creative works. The association now has 65 members, and for the Great Dome Art Fair a diverse range of talent within

the group will be exhibiting, including painters, jewellers, ceramicists, furniture makers, designermakers and contemporary artisans. As well as revealing their latest works a selection of members will be delivering a range of demonstrations and talks throughout the weekend, giving insightful examples whilst focusing on their individual styles. A silent auction will also be taking place throughout the weekend, with eleven members donating either a piece of artwork or a place at one of their unique workshops. The auction will be raising money for local charity Lane End Farm. The Great Dome Art Fair seeks to make buying art an enjoyable, accessible and inspiring experience, whether you’re a first time buyer making that important first purchase, a returning buyer, or a discerning collector.


20th century art, winning the admiration of everyone from Marcel Duchamp and the Surrealists, to Robert Motherwell and the Abstract Expressionists, with echoes of his work felt in Pop and Minimalist art. The theme of travel was central to his work, as his love for European culture sparked his imagination to create his signature glass-fronted boxes filled with paper ephemera and miniature objects, transformed into spellbinding treasures. Jackson Pollock, 1912-1956, Yellow Islands 1952 Oil paint on canvas, 143 x 185 cm, © The Pollock-Krasner Foundation ARS, NY and DACS, London 2015.

JACKSON POLLOCK: BLIND SPOTS 30 June – 18 October Tate Liverpool, Liverpool Jackson Pollock is widely considered as one of the most influential American artists of the twentieth century, famous for pioneering action painting, a process that saw him drip paint on canvases resting on the studio floor to create lyrical and non-figurative paintings. Blind Spots is the first exhibition in more than 30 years to focus on Pollock’s black pourings, a lesser known body of work that marked a major turning point in his style. This is a unique opportunity to gain a new perspective on the artist’s work, with drawings from the same period, as well as a number of virtually unknown and rarely seen sculptures presented alongside the black pourings.

JOSEPH CORNELL: WANDERLUST 4 July – 27 September Royal Academy, London This landmark exhibition of the work of Joseph Cornell brings together 80 of his extraordinary ‘shadow boxes’, many of them never before seen outside of the USA. Though self-taught, Cornell rose to prominence as one of the most original voices in

David Bailey (b. 1938), Jerry Hall and Helmut Newton, © David Bailey

BAILEY’S STARDUST 18 July – 19 October Scottish National Portrait Gallery, Edinburgh Following its 2014 staging in London, David Bailey’s landmark exhibition will be on show in Edinburgh this summer, featuring hundreds of the distinctive photographer’s images. Throughout his 50 year career he has captured everyone from icons from the worlds of fashion and the arts, writers, musicians, filmmakers, designers, and models, to people encountered on his travels in East Africa, Papua New Guinea, Australia, Delhi and the Naga Hills. From the glamorous to the impoverished, the famous and anonymous are treated as equals through the eyes of Bailey’s lens.


Gary Roberts

Edison 'de Bismarck'

NEW ARTIST FAIR 4 - 6 September | The Old Truman Brewery, London


ounded in 2011, the New Artist Fair is an artist-run organisation providing a platform for the best emerging and recently established contemporary artists to sell their work directly to art lovers, buyers, investors and collectors in Central London gallery locations. The Summer Exhibition will be taking place between September 4th-6th, showcasing 120 of the best emerging and recently established artists from the UK and around the world at London's iconic Old Truman Brewery. Exhibiting artists include Edison 'de Bismarck', whose collages are hand-cut from paper sources and skilfully pieced together to create surreal 'dreamscapes' filled with vivid colour and various

themes of decadence, fantasy, eroticism, romance and tragedy. Dymphna Lonergan will be exhibiting her paintings of landscapes and abstracts, while portrait artists Gary Roberts and Heloise Toop, who are both available for commissions, will be painting live at the event while exhibiting previous works. With no tickets needed the New Artist Fair is free for all to browse, with over 1,000 originals and prints at prices ranging from ÂŁ20 to ÂŁ2,000. All of the art will be affordable and of the highest quality, enabling a wide range of buyers to invest in art whilst supporting new talented artists. The aim of the fair is to give the artists back the power over how their art is promoted and sold, cutting out gallery level commission charges by selling their work direct.


THE WORLD GOES POP 17 September – 24 January Tate Modern A different side to the artistic and cultural phenomenon is revealed as the Tate Modern aims to tell the global story of Pop Art. Featuring work produced around the world during the 1960s and 70s, the exhibition explores how different countries and cultures responded to the movement in a huge range of media, from canvas to car bonnets and pinball machines, all in eye-popping technicolour. Politics, the body, domestic revolution, consumption and public protest will all be explored as the exhibition looks at how pop was never just a celebration of western consumer culture, but was often a subversive international language of protest.

Portrait of Ai Weiwei © Harry Pearce, Pentagram 2015

AI WEIWEI 19 September – 13 December Royal Academy, London Celebrated influential Chinese artist Ai Weiwei will be taking over the main galleries of the Piccadilly institution this autumn in the first major institutional survey of his work in the UK. Curated in collaboration with Weiwei from his studio in Beijing, the show will feature important works from the last two decades including new works created especially

for the Royal Academy and large scale installations such as Remains and Straight, a 90 tonne sculpture created from steel rods salvaged from buildings destroyed by the 2008 Sichuan earthquake. During the exhibition in an effort to spread his work as widely as possible, including to his homeland, the Royal Academy is urging visitors to take as many pictures as they like and post them online.

TURNER PRIZE 2015 1 October – 17 January Tramway, Glasgow The prestigious Turner Prize visual art award which sees £40,000 of prize money awarded to a British artist under 50 is this year hosted by Glasgow’s Tramway gallery, bringing it to Scotland for the first time since its inception in 1984. Another first for the prize this year is the inclusion of a collective in the nominations, with London based group Assemble chosen for projects including their ongoing collaboration with local residents in Liverpool. Other nominees are Bonnie Camplin for her installation The Military Industrial Complex, Janice Kerbel for her operatic work DOUG, and Nicole Wermers for her exhibition Infrastruckur.


Frozen Planet 21, 2015, oil on linen, 100 x 70 cm





tephanie Ho creates intriguing works, filling canvases with swarming figures that meander in groups and as solitary figures, a lack of defining background making unclear the true purpose of their congregation, if any.

Ho began painting in oil at a very young age, and through training at various London schools has developed her unique distinct style, creating visual poetry with her positioning of figures across her paintings, manipulating scenes based on a combination of photographs and real life into visions of alternate universes. Typically favouring a limited palette, at first it seems as though each figure may be a carbon copy of another; however on closer viewing it is clear that no two are alike, a notion not dissimilar to real life. What was your influence behind starting to paint your crowd scenes such as in your Still Frames and Human Planet series? I was born in Hong Kong and have lived in London for over half of my life. Having always lived in metropolitan cities, the human activities here fascinate me, which in time has become the subject of my artwork. I enjoy people spotting, be it in a train station, at a public square or in a museum. It's like watching fishes swim, looking at the river flow, very calming and therapeutic. This also contributes to the composition of my works in the Human Planet series.

Your paintings often feel like looking through a mirror into an alternate reality, things seem much more calm and ordered than reality can be; do you find there’s a sense of escapism in your work? In my works, I choose to use a very limited palette to enhance the melancholic and surreal atmosphere of the paintings. I purposely omit the contextual details so viewers can concentrate on the details of each figure, allowing space for imagination and the viewer to relate themselves to the painting. All of these features might have created a perfect setting of escapism, reflecting how city people long for a getaway from their busy life.


Cheers, 2008, oil on canvas, 90 x 90 cm

At what point did the crowds in your paintings start to become more ‘choreographed’ in their composition? In my Still Frames series, the figures in the paintings fill up the whole picture, like a canvas being flooded by people, they are always crowded. Viewed from a distance, the paintings look like patterns. In my Human Planet series, the people shrunk in size but there are more details. The figures in my paintings appear to be floating liberally on the canvas, yet ironically more thoughts have gone

into the positioning of the people. This is when the crowds became less crowded and more ‘choreographed’. This sense of ‘order’ must come through in your process too, with so much repetition and painstaking detail; do you find there’s a rhythm in your method of painting? In my current series, the figures in the paintings may look very similar from a distance; in fact, none of them are the same. Some of the paintings can take up to weeks and months of planning and execution.


Linked In, 2013, oil on linen, 100 x 100 cm

I don't think there’s a particular rhythm in my method of painting, as every character is different, there’s no repetition, which makes the painting process interesting and keeps me motivated. There is always such a beautiful, poetic balance to your work, how much planning goes into each painting? Do you find yourself meticulously arranging composition or is it a more organic process? Every piece of my works goes through the long process of setting the scene, identifying the

characters, studying their details, picking the right surface, positioning them on the canvas and giving them souls by adding the shadows. To me, painting is like music. The process of placing figures carefully and precisely on the white background resembles the composition of beautiful melodies. From afar, the tiny figures in my paintings look like small dots on an empty sheet of music, just like notations hanging across the stave.


The Holiday, 2014, watercolour paint and ink pen on watercolour paper, 41 x 31 cm

Connected Planet, 2014, watercolour paint and ink pen on watercolour paper, 41 x 31 cm



ased overlooking the sea on the South Coast of England, the water is a constant presence and source of inspiration for mixed media artist Helen Wells, who takes elements from nature and blends them into beautifully intricate abstract works. Combining mediums such as ink and watercolour paint on paper, Wells works instinctively and intuitively, finding rhythms in her process while she paints. The repetitive flowing motion of her line and mark making mirror the patterns in nature which often act as a catalyst for new paintings; from the patterns of the water left in sand, to textures on shells and fossils, the structures of snowflakes and the marks on feathers and wings.

Utilising the transparency of her medium to create bright and clear other-worldly scenes, Wells builds up layers of colour and pattern, each one revealing elements of what lies underneath, before adding complex details in paint or ink. Wells’ artworks can be found in private collections all over the world from America to New Zealand, and having recently won Winsor and Newton’s Watercolour Revolution competition, her work Still Waters - a watercolour painting of an ornamental pond in St Leonards on Sea - was exhibited in The Saatchi Gallery, London.


Deep Water, 2014, watercolour paint and ink pen on watercolour paper, 41 x 31 cm


Life's Rich Tapestry, 2014, watercolour paint and ink pen on watercolour paper, 41 x 31 cm


Ocean Flower, 2014, watercolour paint and ink pen on watercolour paper, 31 x 23 cm


Early Morning Round Up in the Pampas, 2012, acrylic on cavas, 66 x 100 cm

Max Werner


elgium born painter and print maker Max Werner studied Fine Art at Byam Shaw and the Slade, later teaching printmaking in both schools until 1990 when he set up his own etching workshop in London. Having since lived in Argentina and the USA, his extensive travels across different regions have seen him inspired by the landscapes, Gauchos and their horses and rural activities such as cattle auctions that he has observed. Preferring now to work with acrylic on canvas, Werner’s paintings have a certain oxymoronic quality when it comes to pinpointing their exact style, as they blur the lines between realism and surrealism, the figurative and descriptive. Werner’s method of

creating paintings rarely sees him working ‘on the spot’, but rather several weeks after encountering the location in real life, giving him the opportunity to sketch, photograph and immerse himself in the surroundings, often exploring on horseback. The landscapes depicted in paint therefore are not always an exact representation, as elements subsequently observed are pieced together and added to the scene. The common theme throughout the artist’s paintings is their ability to tell a wordless story, each one communicating with the viewer a narrative of Werner’s design.


Monsters at the Museum, 2010, acrylic on cavas, 175 x 116 cm


The Little Red Man, 2013, acrylic on cavas, 50 x 30 cm


The Passing of Time, 2011, acrylic on cavas, 125 x 90 cm


Title, YEAR DATE, medium, H x W cm

Impressions of Sentiments, 2015, oil on canvas, 60 x 65 cm



hen viewing the surreal fantasy worlds which painter Anna Ravliuc portrays on her canvases, it may not be your first thought that they are inspired by ‘daily life’; however it is this simple topic that the London-based artist cites as her main influence. Working in oil on canvas, Ravliuc’s paintings illustrate her own vision of the world, where the human drama of the everyday is heightened through the prism of personal feelings and experience.

She compares her painting process to being in love, using colour, form and texture to create a conversation with the viewer in which her body and soul is laid bare. In the last ten years Ravliuc has exhibited around the world in over one hundred group shows, from London and across the UK to New York and Canada, Ukraine, Jordan and Romania, where in 2012 her work could be seen at the Palace of the Parliament.


Wind in the Mane, 2014, oil on canvas, 75 x 140 cm

Elements of Articulated Reality, 2015, oil on canvas, 70 x 75 cm


Patience Skull, 2015, technical drawing pens on water colour paper, 100 x 70 cm

Cone, 2015, technical drawing pens on water colour paper, 100 x 70 cm



ayne Grace creates visually striking works, taking seemingly everyday objects and elevating them to fine art status reproducing them in monochrome with photo-realistic precision. Grace’s foundations in art started at a young age with an interest in graffiti and comic book art. Despite moving into portraiture and realism following studies in Graphic Design, these early influences are still evident in the artist’s work today, seen in his choice of subject matter which often depicts urban imagery. Although Grace’s works may appear simplistic in composition and style, each work can take in excess of sixty hours to complete,

painstakingly building up layers of tone to create the large scale artworks using high quality technical pens on watercolour papers. When starting a new work there are two main criteria that affect his decision making; a deep personal connection to the subject – whether it be a reminder of times, places, people or a particular experience – and the challenge it presents technically, the bigger the better. Grace’s work has been exhibited across London and the UK, most recently as part of Candid Arts Trust's Outsider exhibition.


Heinz 3310, 2014, technical drawing pens on water colour paper, 76 x 54 cm


Two Left Feet, 2014, technical drawing pens on water colour paper, 126 x 60 cm

My Left Foot, 2014, technical drawing pens on water colour paper, 126 x 60 cm


Thinking Cap, 2014, technical drawing pens on water colour paper, 76 x 54 cm





hotographer Holger Martin has travelled the world in search of landscapes that are raw traces of nature and society. He aims to present more than what can be physically seen at a location in his photographs, taking the viewer to a new reality past the technical limitations of the medium and his choices as a photographer. There is a continuing theme of change and time in Martin’s work, from the views of the high-speed trains of Japan to the slow-motion transformations of the

volcanic landmarks of Iceland he seems to observe the inevitability of change; both natural and manmade. Do you find it increasingly difficult to find the locations you describe as ‘raw landscapes’, that is to say untouched by humankind? In my view, there are no landscapes that are entirely untouched by humankind. There is a sliding scale of human involvement in all aspects of our environment. At one end our involvement is indirect, for example through global warming. Showing how a glacier has carved the rock is possible because the glacier


Shinkansen Station, 2003, Archival Print on HahnemĂźhle Photo Rag, 13 x 35.5 cm / 82.5 x 30.5 cm

has already retreated. At the other end, much of humankind’s involvement is very direct, when we shape the environment to suit our needs, and a lot of landscapes that we see as natural are not that at all. There is the added complication that humankind is of course also part of nature. When talking about raw landscapes, I am referring to landscapes that are not picturesque in the traditional sense. Some landscapes that are shaped through events unrelated to human intervention appear quite industrial, for example.

What it is about these locations that you are trying to convey to the viewer? My interest in the photography of raw landscapes lies in showing the traces that humankind and natural processes leave in the environment. However, the actions or events that led to the formation of those traces are rarely still visible, such as the fire caused by a camper, which devastated a Patagonian forest or the volcanic eruption that blackened the normally clean glacial ice. The visible traces are then stand-ins for what is not directly visible anymore and I have been concentrating on this aspect of landscape photography in a lot of my work.


Mýrdalssandur 4, 2010, Archival Print on Hahnemühle Photo Rag, 25 x 37.5 cm / 57 x 38 cm

You speak of trying to capture ‘the unseen’ in your photography; do you think this is truly possible? What is your process for this? Recently, I have been thinking about this more and more. Making a photograph generally results in a two-dimensional representation of a particular situation, whether that situation is found or staged, or both. Arriving at that representation is limited by constraints, such as the properties of the recording apparatus (e.g. camera, film, sensor, print paper or screen). Diane Arbus for example speaks about her fascination with physical darkness, which cannot be seen in a photograph. The representation of a situation is also framed by the choices a photographer makes (e.g. framing the original exposure and maybe reframing in the darkroom). David Hockney experimented with capturing multiple perspectives of the same situation in his photography.

It would be technically possible to capture what people cannot see, for example through infrared photography, although this has not interested me so far. In a lot of my existing work, I have thought about capturing events through the traces that they leave, where the event itself remains unseen. I am now considering how much more about a situation I remember compared to what appears in the photograph of that situation. The visual aspects are the easiest to consider. For example, what was to the sides, above, below and behind me, when I pointed the camera ‘forwards’? But maybe one should also consider sounds, or the air quality or temperature, although these cannot appear in a traditional photograph.


Voyage 5, 2013/14, oil on canvas, 123 x 123 cm

4-Reihige Höckerlinie, 2013, Archival Print on Hahnemühle Photo Rag Baryta, 30 x 30 cm / 42 x 42 cm

Do you have any particular projects you’re currently working on? At the moment I am putting the finishing touches to a project around Lake Ontario that covers a particular situation from two different angles. The result is pairs of photographs that belong together but show quite different things. Through experimentation I am now finding that each pair of these photographs can

have graphical interest in itself when put side by side, while the project overall maintains a coherent story.

32 | ARTIST PROFILES | Charlotte Gilliatt

Fanny Street, 2014, Fotospeed Platinum Baryta archival paper, 22 x 22 cm

Charlotte Gilliatt


aving grown up in London’s East End, the city that raised her has become somewhat of a muse for photographer Charlotte Gilliatt, whose haunting monochrome images capture glimpses of the capital not usually seen. Taking advantage of the solitude of night and the early hours of the morning, the streets and landmarks which are usually found bustling with the chaos of modern city life are caught eerily empty. You can almost hear the sound of silence through the images, interrupted, perhaps, by footsteps in the dark. Gilliatt’s work is just as much an ode to light as it is to the dark, as she beautifully utilises the illuminations of street lights, office blocks and the setting sun to create atmospheric and emotive images. In contrast

to her shots of the city, there is a serene softness in the photographer’s depictions of land and sea; where the shadows of bricks and concrete are replaced with glowing, salty skies and fog-tinged landscapes. As a self-taught photographer, Gilliatt clearly holds a natural talent behind the lens which has led her to success in the ‘Urban’ category of Landscape Photographer of the Year 2013. Recently she has favoured shooting with film and vintage medium format cameras over digital photography, preferring to embrace the imperfections and authentic feel that can be achieved with film, something she feels is difficult to emulate with a digital sensor.

Charlotte Gilliatt | ARTIST PROFILES | 33

Whisper III, 2014, Hahnemuhle cotton rag fine art paper, 22 x 22 cm

Our Rock, 2014, Ilford Delta 400, Hahnemuhle cotton rag fine art paper, 22 x 22 cm


Eternal singularity II, 2015, Oil, acrylic, spray paint, marker, enamel, resin, pigment made from ash of burnt artwork on canvas, 180 x 150 cm

Mark LLoyd


hilosophy, science and science fiction are all key ideologies that underpin the work of artist Mark Lloyd, whose paintings cast a gaze at ideas of consumption, the search for God, dystopia, evolution and human advancement in the age of technology. Lloyd’s works are as richly layered as his influences, synthesizing the past and future by combining Renaissance compositional theory and established oil painting methods with modern practices such as printmaking, collage and digital technology;

repeating, remixing, editing and layering to create a diversity of forms from a selected principle. Recent works have seen Lloyd re-interpret the Hindu practice of ‘Antiyesti’; informed by the notion of the loss of the soul from art, the process sees Lloyd burning objects, artworks or prints of art, turning the ash into paint pigment with which he creates new paintings, thus reintroducing the aura.


Title, YEAR DATE, medium, H x W cm

Return to the Hive, 2014, oil on linen, 30 x 40 cm



ften for contemporary artists it is the traditional techniques and materials that can be overlooked, however for Imogen Reid it is central to her practice which sees her creating artworks through Plein Air painting and drawing, as well as life drawing. It is her skilled underpinning of these methods that give her work a structured, composed quality, in contradiction to their loose, stylised first impression.

can be seen. Barriers, monuments and special relations between humans and nature hold particular significance in the artist’s exploration of how our relationship with the natural landscape around us informs our responsibility for it.

Influenced by the realist genre, landscapes are the dominant focus of Reid’s paintings, principally those with a human presence where structures or buildings

Reid has exhibited regularly across the country since turning to painting full time in 2005, particularly in London and Bristol, where this year her work was selected for The Royal West of England Academy’s 'Drawn' exhibition.


13095, 2013, acrylic, mixed media on paper, 28 x 38 cm



here is a spontaneous, intuitive quality to the working style of painter Paul Maguire that sees his artworks leap from the canvas; using fluid techniques that give the paint movement, energy and life.

Accidental marks and unconscious impulses are embraced as part of the painting process, which sees Maguire adopt a kind of meditative state when working; using uncontrolled freehand gestures to apply acrylic paint and varnish to create black and white abstracts. This transfer of energy and emotion

is felt in every brushstroke, and the result is artworks that feel animated and atmospheric. Based in Sheffield, Maguire has exhibited regularly since 2009.


150401, 2015, acrylic, mixed media on paper, 38 x 28 cm


Queenstown Road, 2015, acrylic on cavas, 61 x 61 cm



part from an intensive oil painting course at Central Saint Martin's School of Art, Toby Messer is a largely self-taught artist. Based in Barnes, South West London, he has spent the last twelve years developing his practice, creating a unique style that sees mundane aspects of modern landscapes such as pylons, cables and industrially scenic wasteland heightened from reality through the use of abstract forms and pops of vibrant colour. Richmond Park is a particular muse for Messer, a subject he returns to time and time again, discovering new perspectives on the magnificent

landscapes from trailing paths to dark and untouched areas. Through his depictions the lines of reality and imagination become blurred and familiar scenes of rural and urban landscapes appear surreal and dreamlike. Alongside his landscapes, Messer’s Gumball Machine series also takes on an almost surrealist gaze. Influenced by nostalgic memories of amusement arcades the brightly coloured gumballs appear enlarged and exaggerated, almost as if seen through the eyes of Messer’s younger self.


Autmn Path Near Robin Hood Gate, 2015, acrylic on cavas, 61 x 61 cm

Gumball Brighton Blue, 2015, acrylic on cavas, 31 x 31 cm

40 | ARTIST PROFILES | holly Rozier


Unnatural Forms (series of 10), 2014, Textile Mixed Media, (Various Sizes) 20 x 20cm - 3 x 3 cm

ith the want for perfection placed in high regard within modern society, Holly Rozier’s work feels all the more poignant in its desire to equally repel the viewer as well as attract.

Poppy-red abrasions ooze from taught split seams with all of the glistening viscosity of bodily matter; however it is only on closer inspection that the true beauty of the shining glass beads and intricate crochet techniques which create this illusion can be appreciated. The fact that such luxurious and seemingly beautiful materials can cause such immediate repulsion is a poignant contradiction, and one that leads the viewer to contemplate the emotions that instigated their creation.


Using an intriguing mix of materials such as hessian sacking, nylon tights and rich, silky fabrics, Rozier creates visually arresting soft sculptures that see environments transformed into breeding grounds for mutated humanesque hybrids. Veined forms are manipulated, enlarged and exaggerated, appearing at once human and alien, organic and engineered, alive and dead. Although in reality there is little of true organic matter in Rozier’s sculptures, it is the immediate reaction of the viewer to feel repulsion as we are confronted with her striking, fleshy visions of bloody mortality.

Each cut and stitch is a conscious and controlled mark created by Rozier. They are wounds which she has created and repaired; each visible stitch evoking the memory of scars both physical and mental.

holly Rozier | ARTIST PROFILES | 41

Bleeding Scabby Blob, 2013, Textile Mixed Media, 40 x 40 x 150 cm

42 | ARTIST PROFILES | holly Rozier

Untitiled (detail), 2014, Textile mixed Media, 130 x 100 x 50 cm

holly Rozier | ARTIST PROFILES | 43

Untitiled (detail), 2014, Textile mixed media, 130 x 100 x 50 cm

44 | ARTIST PROFILES | holly Rozier

Knobbly Bobbly, 2014, Textile Mixed Media, 40 x 40 x 50 cm

holly Rozier | ARTIST PROFILES | 45

Separation, 2015, Textiles Mixed Media, 120 x 80 x 30 cm

46 | ARTIST PROFILES | Lalie S. Pascual

Lalie S. Pascual


alie S. Pascual combines versions of the actual and imagined in her work to create installations that balance between the virtual and the real. Through the intricate layering of captured video, digital prints, projections, and painting, unexpected configurations and combinations of evolutionary potential are explored. The fractured images together present a story of both fact and fiction; of what has been and what could be. The artist’s most recent work Seasons of Time, gathers fragmented video stills which have been recomposed together with digital imagery captured over different periods of the year. When combined,

Seasons Of Time, 2015, inkjet, acrylic collage, 120 x 180 cm

fragile equilibriums are created where the macro meets the micro and the past meets the present and future. These pieces speak of an ambivalent world in a constant state of regeneration, suggesting other histories, new encounters, and endless possibilities. Currently based in Switzerland, Pascual studied for her Masters in Fine Art at Central St Martins and has since shown work regularly in London, as well as internationally in the States, Hong Kong, Singapore and Canada in both group and solo exhibitions.

Lalie S. Pascual | ARTIST PROFILES | 47

Seasons Of Time, 2015, inkjet, acrylic collage, 60 x 40 cm


Life in Tokyo 3, 2015, silkscreen edition of 4, 65 x 45 cm



Alexander Johnson


ased in the South-East of England, painter Alexander Johnson creates work which exposes and celebrates human mark-making through raw, abstract canvases. His confidence with paint and ink and unique use of colour calls to mind the work of the abstract expressionists of the 1950s.

Often working with images that are in danger of being forgotten such as black and white images from childhood and photographs taken by his father from a Spitfire in WW2, Johnson takes inspiration from the way things are remembered in visual terms. Through this there is a distinct element of storytelling in the works, although ultimately no prior knowledge of the paintings’ origins are needed for them to be understood aesthetically. What are you currently working on? I'm currently working on new paintings for a solo show in September. I have a dozen canvasses of various sizes stretched up and they are all in the process of being painted, either on the wall or in the drying room. I work on different paintings simultaneously. With each one, eventually I admit defeat, or the painting comes alive and I manage to stop painting before I kill it. Tell us about your upcoming exhibitions, will you be showing new works? I've had three pieces selected by The Towner Gallery for the SEO exhibition in Eastbourne, which runs from 10 July to 4 September, these are works already completed. Then from 3 - 30 September I have a solo show of new work at the Project Gallery in Arundel and in November another solo at Gallery 40 in Gloucester Road in Brighton, which will be a mixture of older

and new work. I usually have representation at the Affordable Art Fair in Battersea in October. It is interesting that you are able to create work with such a striking contemporary aesthetic using largely traditional techniques, is this juxtaposition of the old and new a conscious aspect of your process? As a painter, you don't start from nowhere; there is a weight of history that is impossible to ignore. I acknowledge this by using traditional techniques because I see no need to abandon them. I was trained traditionally and we have oil paintings from the fourteenth century that are still in superb condition, so we know oil paint lasts and still looks great. Having said that, equally I see no point in trying to paint like Turner or Rembrandt, they already did it so well - and painting photo-realistically just bores me to death, what's the point? Just take a photo! Instead I try to create my own language, which after a lifetime studying art-history obviously


Memento 3, 2014, oil on canvas, 123 x 123 cm

AMSTERDAM, 2015, oil on canvas, 46 x 46 cm

has references from the past, but hopefully has enough of my own personality to be recognisably mine. Abstraction itself is quite old-fashioned now, Malevich invented it around 100 years ago, but I've always thought and remembered things in an abstract way, so for me it feels fresh and honest. I like to think I'm slowly getting better at it.

painting in favour of abstraction, in order to find my own voice. I am so much happier with my work now and find my work practice more challenging and interesting than before. These days I paint pictures that I would want on my own wall, rather than what the majority of people would probably be happy with.

You speak of wanting to show the hand of the artist in your work, how has this affected the way you make work? I used to spend time 'tidying up' images, repainting areas that were painted roughly or just sketched in and trying to make them look more slick. It's a terribly bad habit, because as with drawing, the first marks you make are inevitably the most expressive ones and the ones that are truest to your own vision. I looked at early paintings by Matisse who obviously realised that when you go back and re-do areas and straighten-up all the wobbly edges, you just snip away at their power until they look lifeless. It's the irony of being a painter all my life that, when I finally learnt to paint things 'properly', I realised that it was a total dead-end, my work just looked like everyone else's. That was when I abandoned figurative

Do you have a set of rules you tend to follow when you paint? The great thing about art in the twenty first century is that there aren't any rules. But the best artists have always broken the established rules of the day anyway; that's why they are still interesting. I have to guard against falling into that formulaic way of working that so many contemporary artists seem to succumb to, making the same painting over and over again. Thankfully I get bored easily and to keep myself interested I constantly challenge my established ways of working. I want a finished object that has strength rather than prettiness and I am wary of making things that 'look nice' in a comfortable middle-class way - as Picasso famously said, "Taste is the enemy of creativity." Some people are very nervous about what the neighbours may


Voyage 5, 2013/14, oil on canvas, 123 x 123 cm

think. I tend to appeal to people who know their own minds and have confidence in their own sense of style. A lot of designers and architects buy my work for that reason. How do you decide when a work is complete? I'm not sure if I really decide, I think the work tells me. It's really a matter of getting to the stage where nothing that I add or take away increases the power of the piece. But ultimately it's about coming up to the studio in the morning and my gut instinct telling me 'leave it, it's done'. Sometimes it never gets to that stage and I un-stretch the canvas and start again. The goal is to make a work that looks like it was done in five minutes and has that feeling of a spontaneous act; in fact that is never the case. On average, I work on paintings for at least a month often longer, usually in day-long bursts, then leaving them to rest. I need time in between actually painting

to let the ideas brew in my head. It's like doing a crossword, often you make a good start, then things slow down and you convince yourself you can't get any more words so you leave it. Two days later you pick it up and fill in five more almost immediately – the brain processes things without you being aware. I think that instinct and experience play a big part in how I work, as well just intellect. I find that artwork which comes from the head rather than the heart is often superficial; whilst it may seem initially 'clever' it rarely holds a place in our heart long-term. A lot of digitally produced art is like that for me, I can find it fascinating but it's ultimately soulless, you can't see the hand of the person who made it so there's a disconnect for me.


To the Point of Blue, 2015, acrylics, mixed media, swarovski crystals and glass crystals on canvas 87 x 87 cm



hemes of nature and erotica are intrinsically linked and central to the work of West London based artist Komal Madar.

Gathering inspiration from her experiences, surroundings and dreams, Madar paints instinctively; evoking emotions through her work as she experiments with new and different styles and materials. This investigative method gives a personal exploratory energy to her paintings; the abstract forms allowing the viewer a glimpse into her own subconscious as patterns from nature are depicted with vibrant passion, wrapping around the forms of figures twisted in pleasure.

Madar’s Indian heritage is another key influence to her work, seen visually in her use of materials such as Indian textiles, pigment powders and henna, and in her sprawling, intricate patterns which add depth and texture to her canvases. Madar studied Fine Art at Central Saint Martins and Byam Shaw, and has since become a full time artist exhibiting work nationally and internationally, as well as creating works for clients in London and Cambodia.


Holi: The Garden of Pleasure, 2007, mixed media on canvas, 180 x 116 cm


Fallen Cries, 2015, mixed media on canvas in a floating box frame, 88 x 68 cm (framed dimensions)


C_Space, 2014, mixed media, swarovski crystals, fabric and acrylics on canvas, 166 x 120 cm


Infection, 2011, clothes sewn together to form a blanket with hand prints, 112 x 153 cm



sing medical illustrations to form the basis of her sculptural works, mixed-media artist Kerry Rogers plays on texture and colour to mimic the blistering scars caused by allergies, eczema and other skin conditions; magnifying them to a giant scale to confront the viewer with their imposing rawness.

used medically to soothe the skin is a harsh irony which can be felt in the raw, visceral quality of the works. Although based in Aberdeen, Rogers’ work has been widely exhibited across the States; featuring in group shows in New York and Miami.

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. The fact that these products are usually

Miranda Trojanowska | ARTIST PROFILES | 57

Catharsis, 2010, oil on canvas, 50 x 40 cm

Explosion, 2011, oil on canvas, 60 x 40 cm

Miranda Trojanowska


iranda Trojanowska took up painting following an academic career as a research scientist in biochemistry, and continues to make new work whilst lecturing in biology and forensic science. For Trojanowska the link between her academic training as a scientist and work as an artist is clear, and not as contradictory as one may think, as both aim to achieve an understanding of the world. Her impasto canvases are layered thick with abstract forms, favouring uncomplicated shades of bold primary colours, softly fading ombres and monochromes. Each of the expressive visible brush

marks are traces of the transfer of energy the artist experiences while painting. Much of Trojanowska’s creative process is a personal self-exploratory experience as her creative actions help in her understanding and expression of the world, while simultaneously conveying some of her scientific, artistic and emotional experiences to the viewer.

58 | ARTIST PROFILES | Aleksandra Laika

Stymphalian bird (Jealous Lover), 2014,
acrylic, ink and pastels on paper, 72 x 82 cm

Aleksandra Laika


ondon based Aleksandra Laika was born in Russia where she grew up drawing, finally studying figurative art in Moscow before relocating to the UK. Her highly detailed work takes inspiration from the intricate patterns of Slavic arts and crafts, and the rich colours found in Russian iconography. In Laika’s work, a fluid duality of fact and fiction is represented together on the same canvas, with the elements of reality represented in the fragile medium of graphite while fantastical visions appear in bold paint and ink. It is interesting to observe how it is the glimpses of reality which display a

certain insubstantiality and transparency, shrouded by a more tangible and vivid fantasy. It is perhaps this subtle imbalance of power which creates an underlying feeling of displacement when viewing the works. Each of Laika’s canvases form part of a story, and are presented together in collections of work that follow a narrative, from the re-interpretation of creatures from Russian folklore, to visions of metamorphosis and icons.

Aleksandra Laika | ARTIST PROFILES | 59

Sirins (Apathy), 2013, ink, acrylic, graphite on paper, 122 x 91 cm




lthough born in Chile, Arie Vardi has been based in Scotland since 1991 where he creates emotive paintings in response to the landscapes surrounding him and others he has encountered, particularly around the West Coast of Scotland, the Negev desert and Chilean Patagonia. Painting in acrylics, oil and mixed media, Vardi’s works are expressive explorations into nature, accentuated by the use of colour in an experimental way such as in his use of gold metal leaf, which enhances the quality of the paint to make it brighter and more translucent. His spontaneous way of

On route to Petra, 2015, mixed media on gessobord, 30 x 40 cm

painting does more than capture the scene in front of him, as he almost appears to look into the future to give his landscapes a sense of imminent change. His use of light is a key aspect of this, as he plays with depicting light moving across the image, just moving into the scene or just about to fall into shadow. Vardi’s artworks can be found in both private and public collections. He also designs and creates silver jewellery inspired by the Scottish landscape, echoing the shapes and forms of rocks, flowers and water.


In full moon, 2015, mixed media on linen, 40 x 50 cm

Red-Cliffs / Patagonia, 2015, acrylic on wood panel, 45 x 92 cm


May Queen, 2014, oil on canvas, 51 x 76 cm



here is a haunted, ghostly quality to the work of Gina Brown, whose paintings reflect on the fleeting quality of memory and the objects we collect in order to remember details of our lives and moments passed.

Working with an archive of old photographic material, Brown translates the faded portraits into paint, purposefully omitting key features of the images, most notably the facial details of the figures that fill the canvas, deconstructing their identity and claiming the images as her own. It is as if we are viewing the paintings through a blurred passage of time; certain details remain clear while those that can never truly be seen again are erased and

distorted as the paint invades these memories and what we think is real becomes blurred. The idea of a photograph or postcard having almost as much sentimental attachment as the person themselves is a poignant influence in Brown’s work as she questions the compulsion to collect keepsakes and mementos. Mirroring the photographs she works from, Brown’s paintings are of both the present and the past; fragments of a world in transition.


Lina, in White, 2014, oil on canvas, 51 x 41 cm

64 | ARTIST PROFILES | Lynne Douglas

Skyestorm I, 2015, Limited Edition giclee print, Canson Rag Photographique 310gsm paper, 50 x 75 cm

Lynne Douglas


alancing the influence of the Impressionists with a deeply felt instinct for evocative images, Lynne Douglas' photographs explore the play of light and colour on the Scottish landscape. Having moved recently to the Isle of Skye in the Scottish Highlands to focus on remote landscapes, she continues to strive towards capturing the elements of nature in this dramatic setting. Working in the low light conditions of late evening or early morning, Douglas uses long exposure photography to depict sublime moments in time when a feeling of oneness and connection with the landscape overwhelms the senses.

Once satisfied with the digital format of the image, the artist continues her workflow by hand printing large format works using highly acclaimed Canson media; the final prints are produced to the highest archival quality resulting in images that sing with colour and texture. In recent years Douglas has had showings in New York and in Scotland, soon to be followed with an exhibition at the Oxo Tower Gallery in London this autumn as part of the Mistresses of Light joint exhibition.

Lynne Douglas | ARTIST PROFILES | 65

Silver Ebb, 2015, Limited Edition giclee print, Canson Rag Photographique 310gsm paper, 75 x 60 cm

66 | ARTIST PROFILES | Lynne Douglas

Lost in the Mist, 2013, Limited Edition giclee print, Canson Rag Photographique 310gsm paper, 75 x 75 cm

Lynne Douglas | ARTIST PROFILES | 67

Waiting to go, 2013, Limited Edition giclee print, Canson Rag Photographique 310gsm paper, 75 x 75 cm




irmingham based artist Jason Clarke uses his art as therapy to combat his Bipolar disorder. Using black ink, he creates intricate graphic monochrome drawings filled with personal visions representing his innermost thoughts and feelings. Clarke’s method is to continue drawing until his head is clear, resulting in large-scale works where lines and shapes fill the page. Although his

Watching You, 2013, drawing with gel pen, 56 x 76 cm

pieces may at first appear chaotic, there is a definite sense of a precise, organisational element to the drawings, mirroring the therapeutic nature of the artist’s practice.


Crosses, 2013, drawing with gel pen, 56 x 76 cm

4 O'Clock, 2013, drawing with gel pen, 56 x 76 cm




ondon based artist Simon Kirk works with paint and collage to create abstract, poetic works that play with ideas of the absurd. His works are layered with paint and collaged elements, and through the pairing of found text and image, playful connections are made with each piece forming its own narrative, often at once illogical yet profound.

Water, 2015, collage and mixed media, 15 x 10 cm

This year Kirk’s painting ‘Claude’ was selected for the prestigious Royal Academy Summer Exhibition.

Ball and Chain, 2015, collage and mixed media, 15 x 10 cm


Knees, 2015, collage and mixed media, 15 x 10 cm




fascination with light has been a major influence for Liz Lloyd, seen throughout her emotive works which use form and colour to depict abstract landscapes and seascapes, using the natural world as a starting point. Although her work has at times focused on the figurative, recently Lloyd has focused on developing

Stormtide, 2015, oil on canvas, 100 x 100 cm

abstract and semi-abstract pieces, using a heavily loaded brush to create texture on a smooth background. The landscapes of Wales and Catalonia continue to be a particular inspiration to the artist however, as she observes and replicates the contrasts of colour found in the two locations.


Citrine Lake, 2015, oil on canvas, 60 x 120 cm

Frozen Fire, 2015, oil on canvas, 20 x 50 cm


Untitled, Oliver Gaiger, 2002, oil on paper, 58 x 76 cm

The Bramfield GALLERY


he Bramfield Gallery was established in London in 2013 by gallery director Freddy Halliday. Specialising in British Contemporary art and photography, recent acquisitions to the gallery from Oliver Gaiger, Tim Woolcock and David Eustace demonstrate a broad range of styles, while reflecting the strong curated aesthetic found across all of the work on display. While each of the new works could be considered very different both visually and conceptually, there is a clear symbiosis between the abstract forms and muted pallets that fill the canvases of all three artists’ work.

Other works found at the gallery include Alice Neave’s ‘portraits of paint’ which apply classically constructed compositions typically used for painting figures, and reproduction prints of Helmut Newton’s iconic sun-soaked fashion photography. The Bramfield Gallery’s impressive roster of artists sees them selling work to clients, galleries and interior designers across the UK, as well as regularly hosting their own insightful exhibitions, such as this summer’s Revolutions, an exploration into the various forms of social, political and internal revolution that we experience in the 21st century.

Upcoming artist EVENTS & EXHIBITIONS | 75

Upcoming artist events & Exhibitions Aleksandra Laika Leyden Gallery, London Until 12 July 2015

Alexander Johnson South east open, Towner Gallery, Eastbourne 11 July - 10 September 2015

Liz Lloyd Solo Exhibition, Giles Gallery, Pontyclun 16 October – 6 November 2015

Lynne Douglas Mistresses of Light joint exhibition, Oxo Tower Gallery, London 8 - 13th September 2015

Solo exhibition, ‘Life in Abstract’, The Project Gallery, Arundel 4 - 30 September 2015

Mark Lloyd


The Factory Studios, Poole Centre of the Arts, Poole 4 - 25 July 2015

Cambridge Art Fair, Cambridge 1 - 4 October 2015

Arie Vardi Solo show / Three Continents, Castle Gallery, Inverness 3 - 24 October 2015

Charlotte Gilliatt Light & Land at the Mall, The Mall Galleries, London 1 - 10 August 2015

The Lighthouse Gallery Poole, Poole Dorset 4 - 25 July 2015

Boundaries, L'Artishe Gallery, Swanage 1 - 29 August 2015

Simon Kirk RA Summer Exhibition 8 June - 16 August 2015

Stephanie Ho New Artist Fair Summer Exhibition, London 4 - 6 September 2015

Mistresses of Light, OXO Tower Wharf, South Bank, London September 2015

Affordable Art Fair, Battersea 22 - 25 October, 2015

Komal Madar


Elevated Artfair 8 Leadenhall Market, London 6 - 10 July 2015

Liz Lloyd Clifton Fine Art Open Exhibition, Bristol July 2015 (Preview 4 July 2015) Art Scope Gallery, Reading From 17 October 2015 for one year

Wandsworth Artists Open House 2015 10 - 11 October 2015.

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