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Events & Exhibitions | Artist Profiles | Interviews

ISSUE 3 | 2015

Image courtesy of 2015 entrant Chris Sinden


CALL FOR ENTRIES The David Shepherd Wildlife Foundation’s annual art competition

SEVEN CATEGORIES TO SUIT ALL ARTISTIC STYLES Short listed work exhibited at the Mall Galleries, London June 27 - July 2, 2016

£10,000 top prize

Entry from now until 15 Feb 2016 For full details and rules please see: or call 01483 272323 The David Shepherd Wildlife Foundation is a UK registered charity (1106893) working to protect endangered mammals in the wild

image Š Yiannis Roussakis

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Voted best art website of the year 2015

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Each year the Art and Framing Awards are held by the Fine Art Trade Guild, of which Point101 is a printer member. Up against several other nominees we are thrilled to have received the recognition and won the award. Visit our website to upload and preview your images or call us to see how we can help you fulfill your projects.


Art is like the pages of a book. Whether the artist has created their own fantasy, drawn from their personal autobiography or left clues for the viewer to piece together; there is always a story to be found beneath the layers of paint. The smallest mark can tell a story clearer and louder than a ten thousand page tome. For photographers Aitor FrĂ­as and Cecilia JimĂŠnez, who we have interviewed for this issue, there is an ongoing narrative which weaves its way through their work; each new image revealing a further glimpse of an as yet incomplete story. We are drawn into their world which lies on the edge of fact and fiction; their work is a breathing organism, living out the course of its own life. For other artists the stories they tell through their work are more of a personal insight; a reflection on a moment, an emotion or experience in their life. Their art is a memoir; a lasting monument in the fleeting passages of human history. This issue we ask you to look beyond the surface; find the story beyond the canvas and choose your own adventure.


EDITORS Kieran Austin Toby Oliver Dean COVER IMAGE Aitor Frías & Cecilia Jiménez, Time of Silence, 2015, digital photography, 51 x 76 cm PROOF READER Daisy Francome FOLLOW US InsideArtists InsideArtists WRITE TO US Inside Artists 35 Holland Mews Hove, East Sussex BN3 1JG 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.

"Time to silence tells a complex story with a very simple aesthetic. With clear references to Everett Millais‘ Ophelia, the photograph evokes that dramatic silence - the sound of the water, the breathing of the woman - that we could associate to those kind of moments that remain etched in our memory forever." Aitor Frías & Cecilia Jiménez



EVENTS & EXHIBITIONS Wildlife Artist of the Year 08


INTERVIEWS Aitor Frías & Cecilia Jiménez 10 Richard Starbuck 22 Karen Thomas 40 Dan Lane 52 Artfinder CEO Jonas Almgren 70


ARTIST PROFILES Omar Obaid 14 Ruth Addinall 16 Linda Lasson 18 Leah Oates 20 Claudia Etcheverrito 26 Adam Binder 28 Mikael Ackelman 30 Paul West 34 Rachel Carter 42 Radan Cicen 44 Alex Bland 46 Gennadiy Ivanov 58 Gosia Poraj 64

66 Laurence Perratzi 68 Henrik Hytteballe 69 Ronald van der Ligt


ARTIST SHOWCASE 72 Simon Kirk 74 Helen Wells




Images: Sky Creature by Sarah Soward and Freeze Frame, Anna’s Hummingbird by Sandie Sutton from the 2015 shortlist

David Shepherd Wildlife Foundation



ith a revised look and feel, the 2016 Wildlife Artist of the Year competition is now open for entries. There are seven new categories this year designed to inspire and to suit all artistic styles with everything from original prints and sculpture to mixed media and installations welcome. “In all categories the judges - made up of fellow artists, conservationists and art critics - are looking not only for beautifully executed original works but also imaginative interpretation, moving away from the purely photographic to compositions with great characterization, showing imagination, originality and genuine creativity,” says event organizer, Nina Neve. As well as prizes in each category the overall winner takes home £10,000 – a prize purse sponsored

by supporters of the David Shepherd Wildlife Foundation keen to encourage wildlife art and a wider awareness of the issues facing endangered wildlife across the world. The shortlist of 150 entrants will be hung for sale at a week-long exhibition at the Mall Galleries, London from June 27 - July 2, 2016 providing the perfect opportunity to buy beautiful, original art that contributes to wildlife conservation. Entry is from now until 15 February 2016 and is open to anyone 17 years old and over. For full details, including rules of entry and helpful hints please see: or call 01483 272323


archive and international collections to tell the story of one of the most influential fashion magazines in the world.

Alexander Calder in his Roxbury studio, 1941 Photo credit: Calder Foundation, New York / Art Resource, NY © ARS, NY and DACS, London 2014

ALEXANDER CALDER: PERFORMING SCULPTURE 11 November – 3 April 2016 Tate Modern, London Alexander Calder’s fascination with movement brought sculpture into the fourth dimension. As the pioneer of kinectictupture, which brought movement to static objects, the American sculptor’s dynamic works brought life to the avant-garde. This exhibition brings together Calder’s major works from around the world, as well as showcasing his collaborative projects in the fields of film, theatre, movement and dance.

VOGUE 100: A CENTURY OF STYLE 11 February – 22 May 2016 National Portrait Gallery, London During the century since it was founded in 1916, British Vogue has showcased a remarkable range of photography. This celebratory exhibition brings together over 280 prints from the Condé Nast

Risk, installation view at Turner Contemporary. Photo: Stephen White.

RISK Until 17 January 2016 Turner Contemporary, Magate Over 60 works by major international artists such as Marina Abramovic, Eva Hesse, Yves Klein, Marcel Duchamp, Yoko Ono, Fischli & Weiss, and Ai Weiwei explore how artists have intentionally embraced the unpredictable and uncontrollable, taking huge creative risks to leap into the void and push art to its limits.


[IM]Perfection, 2015, digital photography, 63 x 63 cm





he work of Aitor Frías and Cecilia Jiménez is pure poetry. They started collaborating in summer 2014, with their collective desire to create art together leading them to photography. Recurring themes run through their work; nature, dreams, space, changing seasons, the

unconscious… sometimes colliding in one image or else appearing as a whisper at the edge of a frame. Their photographs appear as fragments; moments in time without all of the details filled in, allowing the viewer to piece together the story and fill in the blanks. Your collaboration process seems very organic, even from the way you met and just wanted to make art together; do you think this ease of working together has an effect on the aesthetics of your images? Yes, of course. We spend a lot of time talking about art and making up artistic theories, watching movies and listening to music. Always in an active way we are creating somehow, so it had to happen: remove all the conclusions from our minds and make them real. Before wanting to devote to photography, even before knowing how to use the camera, we had created something: a concept, a common project. A way to understand art. Since then, the rest was very intuitive, really.

Looking through your images it appears you work in two separate styles; you have the images that appear very staged with set up, lighting and costume, and then you have shots that have a more candid and spontaneous aesthetic. Both approaches lead to very beautiful images from you, but do you have a preference of how you like to work? This is a good question. Sometimes you need to create the scene, and plan the session to achieve the results you want. Planned pictures are more accurate and you can try lots of times and to get what you exactly want to. However, you must always be "ready" for catching a good picture in an unexpected moment or an unexpected place. These spontaneous


The wrong poem, 2015, digital photography, 51 x 76 cm

photographs are pure and authentic moments that add magic to the work of a Photographer. You describe your photographs as Stories, is there a running narrative through your work or does each piece tell its own tale? What comes first in your process, the story or the image? Yes, there is a running narrative through our work. Something we call "Landscapes of the Memory". We are very much interested in the collective imaginary, the memory that dwells in the subconscious of all of us thanks to globalization. As we always say, what interests us is not just something beautiful that is happening right now, in front of our camera, but to what extent it has always happened -and will always happen. Each story has its own substance, but they all are like moments recorded in our retinas since we were children, projected now outwards as photographs.

Do you plan to always work with photography as your medium? Well, we are very interested in audiovisual too, in making film. Probably we will try it soon but our main medium will always be photography, we think. It is so free, so suggestive. Do you think if you were to create films they would follow a similar fragmented storytelling as your photographs, or would the ability to add sound and dialogue lead to a more solidly formed narrative? There will be sound and dialogues, yes, but the projects we have on mind will keep the suggestion as medium, the mistery as narrative tool. Just imagine our photographs with little movements, very pure sounds (the wind, drops falling in a bathtub, distant steps) and even smells, being performed in a dark room.


Echoes, 2015, digital photography, 51 x 76 cm

Do you have anything you’re currently working on? Yes, we do. Since we discovered photography, we have been working on something new every day. There are some series which are upcoming, and also projects in construction like "Uninhabited Poem" which is a series that talks about human beings, but without human beings in them. We are even making a photobook with our pictures and all of our own theories about art we mentioned before. Of course, the book will be titled "Landscapes of the Memory".


Altitude, 2015, acrylic on canvas, 100 x 120 cm



ainting from his studio in London, Omar Obaid creates large scale canvases full of bold colours and shapes inspired by a mixture of real life and daydreams.

Working with acrylic, Obaid’s vivid imagination sees him using a variety of techniques to add texture and depth to his paintings, rendering his emotions from reality into abstraction in a way that words could not. The commotion of the city that surrounds him is another big influence, translated into strong, confident gestures in paint. In some works ghostly forms of figures appear from the paint as if from a

half-remembered dream, but for the most part it is the nonfigurative brushstrokes that dominate Obaid’s canvases. Although working as a completely self-taught independent artist, Obaid has been listed as a Bestselling and Influential artist in 2015, with his work displayed in private and commercial collections worldwide including the UK, USA and Hong Kong. He is currently working together with interior designers on a series of exclusive commissions.


Essence, 2015, acrylic on canvas, 120 x 100 cm


Boy Holding Bird, 2015, oil on canvas, 49 x 34 cm

Limestone Queen, 2014, limestone on granite base, 48 x 32 x 27 cm



he stylised paintings of Edinburghbased artist Ruth Addinall take glimpses of the seemingly mundane and heighten them to centre focus.

Finding inspiration in the solitary rituals of everyday existence, her figures are often depicted reading or writing, having coffee or immersed in thought. Though it may seem contradictory in definition to find poetry in the prosaic, Addinall does so in these images of everyday life. Connecting to their inner selves, her figures remind us of our essential isolation but do so by portraying moments we all recognise.

The artist’s depictions of still life, flowers and landscapes also carry a similar atmosphere of quiet isolation and contemplation. There is a beautiful stillness to her work with its stylised simplicity, offering a moment of calm to the viewer. Alongside her paintings in oil, Addinall is a sculptor working primarily in wood as well as plaster, clay, concrete and stone. She exhibits regularly across the UK and abroad and her work can be found in private collections worldwide.


Tulips, Curtain, Cups, 2002, oil on canvas, 86 x 76 cm


Messaure, 2015, embroidery on reinforcing cloth, 68 x 75 cm



inda Lasson is a textile artist based overlooking a lake and forests in the northern part of Sweden. The surrounding landscape is a constant presence and inspiration to her when creating embroideries, taking elements from the patterns, shapes and colours of nature and blending them into intricate works of art. There is also a literal natural presence in many of her artworks, as Lasson often mounts the embroideries on bark from different trees. Another great inspiration for the artist is the indigenous people located in the north of Europethe Sámi. Some of the embroideries are about their situation; trying to hold on to their traditions managing herds of reindeers while living surrounded

by local people who want to exploit their land for mining, and facing increasing threats from other people who don't agree with their way of living. Utilising simple, thin sewing thread, Lasson’s work has both sculptural and graphic expressions. She combines materials such as reindeer skin, geotextiles and reinforcing cloth, though she considers the search for different materials to use to be infinite. Lasson’s artwork can been seen in exhibitions both in Sweden and London, as well as cities such as Amsterdam, New York and Montreal. Her embroideries are also sold by the noted Swedish art gallery Andersson/Sandström located in Umeå and in Stockholm.


Nature collage, 2015, embroidery on reinforcing cloth, 68 x 50 cm




eah Oates’ work focuses on transitory spaces, using abstract photographic techniques to observe both urban and natural locations as they change and transform due to the passage of time, altered natural conditions and a continual human imprint. Having studied at the Rhode Island School of Design, The School of the Art Institute of Chicago, and at Edinburgh College of Art in Scotland, Oates’ background as a painter and printmaker has informed her recent practice, which sees her working with 35mm and medium format film cameras. In a combination of focused work and loose play, she experiments creating abstract and unexpected patterns with multiple exposures, light leaks and varied exposure times.

Transitory Space, Prospect Park, Brooklyn, NY, 2014 - 2015, color photography, 16 x 20 inches

The result is images rich with sepia-tones and fragmented layered imprints. The scenes appear extra-terrestrial, like an x-ray of earth that looks beneath the surface into another layer of reality. Ghostly white trees often sprawl across the frame, sometimes bare and fragile like flashes of bright lightning or else visibly transformed with branches of leaves. The photographs cross seasons; they bear the effects of natural change and the whispers of human interaction. Oates describes the spaces she observes as ‘Temporary monuments to the ephemeral nature of existence’, a quality she mirrors in her artworks.


Transitory Space, Prospect Park, Brooklyn, NY, 2014 - 2015, color photography, 16 x 20 inches

Transitory Space, Prospect Park, Brooklyn, NY, 2014 - 2015, color photography, 16 x 20 inches


Chaetophobia (Mercury Cleaners LTD Peckham), 2015, found wooden hanger and hair, 58 x 43 cm





lick black curtains of hair cascade across and around canvases in Richard Starbuck’s darkly mesmerising mixed media works; hanging with sinister abnormity from household objects or reimagined as strands physically etched into the black pigments of photographic images. While reminiscent of visions of Japanese horror mythology and cinema, such as the cult classic Ring, it is the ominous sense of the unknown that draws the viewer in to contemplate what may lurk beyond the veil. Based in London, the artist has exhibited regularly in the UK and USA. We spoke to him about his work and influences. Although there are specific nods to visions of pop culture horror in your work, you state that it is the psychology of the uncanny that underpins your work; what first drew you to this genre? Since I was young I have always been into UFOs and the paranormal, reading countless books and listening to American radio shows dedicated to the subject. I was so fascinated by the stories and the storytellers behind them that it began to creep into my work. UFOs and the paranormal has long been associated with the uncanny, it’s mysterious, strange and unattainable, this is what I like about it; the ghostly nature of it. As my work has developed I have gone on to explore an interest in the fear

and anxiety that the uncanny causes, playing with materials such as hair. You speak of the hair in your works acting as a sort of cloaking device for the viewer to imagine what may or may not lurk behind; when creating works do you consider a specific narrative for each piece, or are even you unsure of what hides behind the dark? Even though my past works have been more narrative driven I still feed off stories of the supernatural, these latest works are even unknown to me; I’m not sure I want to know what lurks behind the dark. I’m much more interested in that space


Phasmophobia 6, 2015, oil paint on wood, 20 x 15 cm

between revealing what’s behind the curtain… that moment before the terror. I’ve always found scary movies are at their most chilling when you don’t see the monster, but just a hint of a malevolent being lurking round the corner or behind the curtain. There is almost stillness in the air; entering a room with a shadowy figure in the corner or a strange light hovering above you in the night sky. It’s beautiful as well as terrifying. One’s imagination is much more frightening. The hair is used as a veil but is itself also uncanny. Detached from the body it turns into something else, something that is strange and uncomfortable to look at, a thing that’s between living and dead. I wanted to attach the hair to an object that was familiar, an object that is found in the bedroom; morphing the object into a more intrusive and sinister thing.

Case File M800.12, 2013, oil paint on oil paper, 70 x 50 cm

Do you find you need to have an almost personal detachment from your work to allow this unknown to exist; to avoid shaping what should be seen so the viewer is free to call upon their own frightening imaginations? In a way, yes. I wouldn’t want to get myself bogged down on what is exactly hidden, just the feeling of something that is. I like the idea of an object that is full of mystery, alien, off-world, something that shouldn’t be there. The feeling I get with Kubrick’s obelisk in 2001: Space Odyssey; the blackness, the simplicity of it, a seemingly inanimate object that has some sort of intelligence. It’s so alien that it’s hard to comprehend its purpose or nature.


Chaetophobia (Trouser Hanger), 2015, wooden hanger and hair, 40 x 15 cm

Chaetophobia (Clown), 2015, Hand crafted wooden hanger and hair, 50 x 30 cm

What kind of reaction do you try to provoke from the viewer? If they walk away mystified then I would be happy with that. There are plenty of great artists who do art for everyone and it’s fantastic, but sometimes it’s good to go somewhere quiet, where the viewer can meditate for a moment. The work has layers to it and it’s a choice to peel it away or not, I just try to invoke levels and layers that allude to a visible mask, with points of entry that a viewer can explore if they wish.

paint with vast emptiness around the marked areas. I like the peacefulness of it.

It’s interesting how much volumes your pieces can speak despite their apparent simplicity. Have you always worked within such a minimalist aesthetic? I guess I have always been that way, even in my BA back in 2005 I was making paintings that where minimalist and monochrome. Floating objects and forms in an empty space, scratching tiny marks into

What are you currently working on? Do you have any upcoming exhibitions? I’m currently working on larger hair objects, also paintings of the objects themselves. This autumn I am in a group exhibition at the Cello Factory Gallery, London, where I will be exhibiting one of my hair objects.


São Paulo, 2014, acrylic on canvas, 100 x 140 cm



or Claudia Etcheverrito there is a clear catalyst which leads to her creating new paintings; her inspiration is music.

Listening to music gives her energy and makes her more sensitive and expressive. She finds one song that touches her and she listens to it as she paints; colours appear in her mind, rage and passion are also guides in her work. Etcheverrito's technique involves creating a representational image with acrylic, then finishing each painting with a haunting sheen of trickling water. She considers her painting process to be ‘like a dark road, there is always a promising horizon,

light in our lives’. In the end she feels the need to spray water on the canvas to clean the dark feelings and bring peace. The water cleanses and revives her. Interestingly, the effect both obscures the image and brings it to a heightened level of evocativeness. The haze of water can mean many things: an imperfect memory, a dream, or the unreliability of sight itself. Etcheverrito’s work has been shown internationally. She is represented by Agora Gallery in New York.


SP ll, 2014, acrylic on canvas, 130 x 100 cm


12 Sparrows, 2014, bronze, 30 x 137 x 10 cm



dam Binder is recognised as one of the UK’s leading wildlife sculptors, recreating creatures great and small primarily in bronze. His signature fluid style of simple lines and flowing forms is recognised and collected all over the world. Binder’s own passion for the natural world is seen in his sculpting process which involves time spent studying his subjects in their natural environment, where possible. As an artist it is the very spirit of the animals that Binder aims to capture; and his observations allow for a deeper understanding of shape, form and character. He considers the emotional connection of his work as importantly as balance and composition. It is this deeply felt connection to the natural world which led to Binder

winning the David Shepherd Wildlife Artist of the Year in 2010. He has also since been elected as a member of the Society of Wildlife Artists. In 2013 Binder attracted the attention of the media with his 12ft tall public bronze sculpture of a polar bear, which was displayed in London’s Sloane Square to highlight the effects global warming is having on their habitats. The sculpture, entitled 'Boris', has since moved to London Zoo where it continues to raise awareness for the species under threat of extinction. Recently his African Wildlife Sculptures have been on show at the Osbourne Studio Gallery in London.


Greenfinches, 2015, bronze, 75 x 25 cm




hotographer Mikael Ackelman considers the images he captures as part of his everyday verbal language; shooting new work allows him a voice, while not creating for just a day leaves him feeling mute and restless.

Shore I, 2015, Hahnemûhle fine art paper (cotton base), 67 x 100 cm

atmosphere to them. Having started his journey into the art world by experimenting with painting in oil and watercolour in the aquarelle style, Ackelman has transferred some of these techniques visually into his photography. The capturing of the ‘inner light’ associated with aquarelle is something that can be seen in his photographic landscape studies.

Whether working on commissions or projects of his own, it is always important for Ackelman that his vision is the main input into the finished image. Inspiration is never far from sight for the photographer, as even the tiniest ray of light can act as an impetus for a new series of images, and he is always searching for new impulses to evolve his work. Through his photographs he communicates his inner view of the world, leading to images that - even when very stylised - have a very personal

Ackelman has exhibited in a number of solo shows in northern Europe, and group shows in Europe and the US, and has been published in more than 30 countries.


True Colours, 2015, Hahnem没hle fine art paper (cotton base), 50 x 50 cm


Be one, 2015, Hahnem没hle fine art paper (cotton base), 75 x 49 cm


Eternal beauty, 2015, Hahnem没hle fine art paper (cotton base), 100 x 70 cm

Shifting Roads, 2010, Hahnem没hle fine art paper (cotton base), 75 x 50 cm


Yellow Field, Northumberland, 2013, acrylic on board, 33 x 33 cm



hether a distant solitary tree, calm and isolated, or a dark and frenetic expanse of stormy skies and twisting woodlands; nature remains the key protagonist of Paul West’s work. Preferring to work with two mediums – graphic monochrome charcoals as well as vivid acrylics – West expertly matches his materials to the emotions of the scene. While his monochromes often appear stark and moody, the fluid colours of his acrylic works appear more contemplative; the strikingly rendered simplified forms of fields and trees suggesting a need to record the fleeting impermanence of the landscape. Although both are very distinct and different mediums, the styles sit together beautifully, and West has amassed a

complimentary and impressive body of work. Currently based in London; the artist’s Dorset roots and frequent trips to Northumberland have always heavily influenced his work, as he seeks out rural scenes across the country. Often a small detail can act as a catalyst for a new painting, such as the manmade marks left by a tractor across a wheat field, or the effects of nature itself; a change in atmosphere, sudden light breaking through the clouds or a burst of colour from springtime wild flowers. Since 2014 West has been working on a photo-etching series entitled “Secret Voices”, continuing his preoccupation with the landscape as an energy that connects us all. He has exhibited at Cambridge Art Fair and will be exhibiting his ‘Secret Voices’ series at HIVE in November.


Green tracks, 2015, acrylic on canvas paper, 15 x 21 cm

Multi tracks, 2015, acrylic on canvas paper, 21 x 15 cm

Double tracks, Northumberland, 2015, acrylic on canvas board, 12 x 17 x 0.5 cm


Rookie Wood, 7.55, 2012, charcoal and compressed charcoal on cartridge paper, 59 x 84 cm

London Plane, 2013, charcoal and compressed charcoal on cartridge paper, 60 x 84 cm


de Beauvoir Plane, 2013, charcoal and compressed charcoal on cartridge paper, 68 x 48 cm


Silent Voices - Etching series, 2015, etching on Somerset Soft satin, 30 x 21 cm



Uhura, 2014, acrylic on canvas, 35 x 27 cm

Jane Fonda, 2014, acrylic on card, 15 x 10 cm




aren Thomas is a British artist based in Montpellier, France. She has developed a distinctive painting style, using the paint instinctually to create energetic figurative works.

Although heavily distorted through her use of quick, loose movements and thick layers of paint, each portrait feels instantly recognisable; superheroes, nostalgic cartoon characters and icons of pop culture emerge from confident brushstrokes to fill the canvas. Her work has been featured in shows around the world, including exhibitions in the UK, USA, France and Germany.

In your paintings the protagonists are often recognisable as icons from childhood, yet your style gives them a somewhat darker edge aesthetically; is this juxtaposition an intentional element to your work? The figures in my work are painterly depictions of identifiable icons from popular culture with a slant varying anywhere from Batman, Bardot, Jane Fonda or the Village People. I think that these paintings have a transgenerational appeal. Viewers often perceive 'dark' undertones but for me they are lighter and more informal, having previously revisited 'weightier' works such as Courbet's Baigneuses or texts by MallarmĂŠ and Jean Cocteau.


Guitarist, 2014, acrylic on card, 15 x 10 cm

Do you hold a personal connection to the subjects you paint? Or is deciding who to paint more of a thematic process? There is generally a thematic approach to my work whether popular culture, art history, Roman noir or other, however there is not necessarily a personal connection with the subjects I paint. I may respond to an idea or suggestion but at the end of the day there has to be a 'trigger'. Do you tend to get the idea for a series first and work around this, or does a theme come naturally as you find new inspiration? It varies; sometimes I'm working on a collaborative project which was put forward to me such as the artist's books with Editions Luis Casinada, the work around Sète with the Galerie Yves Faurie or with a choreographer. At other times, such as with the Postcard collectibles, I first started to work on the postcard size images to send to charity shows such

Donald Duck, 2014, acrylic & charcoal on paper, 65 x 55 cm

as Visual Aids and The International Postcard Show at the Surface gallery in Nottingham. After that they became compulsive and I produced a whole series. The Superhero Originals followed on from there. What are you currently working on? I tend to be chaotic and work on a number of things at the same time, moving between several workstations in my studio from canvas to paper, small format to big format. I have just started working on a series of small canvases borrowed from film, featuring the likes of Steve McQueen. I'm preparing to show at The Other Art Fair in London, followed by the Affordable Art Fair in Hamburg, and I will also have some work at the Zetter Hotel, Clerkenwell, in December


Rounded Form with Corn Dollie Weave, 2015, unique cast bronze from wax original, 18 x 22 x 20 cm

Coiled Open Form with Macrame Knotting, 2015, unique cast bronze from wax original, 18 x 20 x 19 cm



achel Carter creates woven sculptural pieces that demand a second look and touch - from the viewer.

The organic shapes are not crafted from willow as they appear, but using a method with wax the artist has developed to create the swirling, spherical monuments in bronze. Fluid shapes and geometric patterns found in nature have been translated through Carter’s signature swirling weave using a range of techniques including crochet, basketry and macramÊ. The methods the artist once used with willow are now immortalised in breath-taking bronze; her unique process ensuring that every creation is an original, one-off piece.

In fact, in 2013 Carter became the first artist to weave in wax to create bronze sculptures using her wax method. Originally exhibited at the RHS Chelsea Flower Show, the first bronze piece can now be seen sitting within the Derwent Valley. Since then Rachel has been developing the wax weaving technique further, experimenting with new resistant materials and methods of casting - that in some cases have not been used for thousands of years - to push the craft as far as it can go.


Crochet Form with Figure 8 Weave II, 2015, unique cast bronze from wax original, 18 x 24 x 24 cm


Glance, 2014, oil on canvas, 122 x 92 cm

Fulfilled, 2014, oil on polyester canvas, 2015, 80 x 60 cm



adan Cicen is a London based painter, having moved to the UK from Turkey in 2009 where she studied Fine Art in Istanbul. Her paintings explore the emotions, interactions and experiences that make up the innerself, largely through portraiture, however she also creates figurative, abstract and landscape works. Working with oil, Cicen’s technique uses paint to visually represent the layers of life within the body; the complexities of human sentiment, reflection and personal familiarity simplified into colour and shape, challenging the viewer to look to their own self to interpret the work. It is often the artist’s practice

to create multiple works in a series in a range of different media, grouped around specific themes and meanings. Having exhibited regularly in group shows, next year will see Cicen creating a solo show for Artifact Gallery in New York.


Fragments, 2015, oil on polyester canvas, 80 x 60 cm




Night Vision, 2015, metal & perspex, 60 x 100 cm

ine Art photographer Alex Bland states his practice as laying ‘somewhere between performance and dream sequence’, as he creates collections of work that look beneath the skin of the everyday.

by the chemical alteration of photographic negatives. Inspired by his grandmother who lost her vision due to macular degeneration some years ago, images such as 'Cataract' interpret the condition and how it affects the extremities of colour; from the bright and dazzling to the mottled and blurred.

After completing his law degree, Bland’s love for photography was rekindled in 2007 at the Winchester School of Art, and subsequently the London College of Fashion where he received his Masters of Photography. During this time his work was focused on an in-depth research project surrounding African-American history, which led to Bland creating the short film 'Black Liberty'.

While other works by Bland take on a more classical approach, he is always ready to add a contemporary twist; such as in his 'Odyssey' series which engages a visual interpretation of Greek Mythology together with the traditional elegance of Renaissance paintings, the two periods clashing together across the skin and through the very limbs of the images’ protagonists. In another series, 'Empire',

Recently Bland has exhibited photographs from his Field of View series at the Old Truman Gallery in Shoreditch; a project which saw him experimenting with visual processes that are traditionally obtained

his striking portraits are an exploration of the large format photography and aesthetic of the 1920s.


Cataract, 2015, metal & perspex, 100 x 60 cm


Apollo, 2013, canvas, 100 x 100 cm


Prometheus, 2013, canvas, 100 x 100 cm


Les Années Folles, 2010, hahnemuhle etching, 100 x 60 cm


Monarch, 2010, hahnemuhle etching, 100 x 60 cm


At One, 2015, mixed media, 90 x 110 cm





life-long fascination with the way things work has led to mixed media artist Dan Lane developing a unique sculptural style, creating beautifully intricate work under the moniker Mechanica. In his work, cogs, pipes and wires weave around figurative centrepieces in a collision of nature and machine. Each piece is meticulously constructed, with months spent collecting, arranging and re-arranging parts before assembling them into dark and richly ornate shrine-like tableaus. The viewer is drawn into the labyrinthine compositions, where narratives between machine, spiritual beings and the natural world intertwine. This autumn Lane’s exhibition ‘Every Piece of Me’ was shown across the country, comprising of his biggest collection of work to date. Your work is so utterly complex, with so many layers and connecting parts; how do you begin to conceive an artwork? Do you meticulously plan how it will look or is it a more organic process as you source elements for the piece? Each sculpture is usually born from the centre/focal figure that I use, some of which are found pieces and some are sculpted by me. I then do sketches to figure out what the overall shape of the final sculpture will be. These sketches are very simple and don't really show all the individual parts, they just help me with shape, lines, and composition. Because of the complex nature of my work I can't really start on just one area nor do the background first, I kind of have to work on all of it at the same

time so that everything is connected or flows correctly. This stage of the work is a very organic process that involves me having to check and make decisions on every part that is used, some of my work has hundreds of different parts and I have to make conscious choices as to where those parts go to create symmetry, balance, and sense in the piece. Your works have an almost altar-like quality in their composition and lavish metallic aesthetic, it creates a really interesting sense of the spiritual and mechanical colliding; is this conscious aspect of your work? I'm not a religious person but I am inspired by the imagery used in places like churches, cathedrals and


Emperor, 2015, mixed media, 60 x 80 cm

Roman/Greek mythology. The central focal figures that I use in some of my sculptures are things that most people have seen before, they may not know the names of the sculptures or the backgrounds of them but they recognise them never the less. I find it interesting having these commonly known and recognisably elements put amongst my very unique and unfamiliar dark yet elegantly beautiful industrial backdrops and this is a very conscious process. My work is a real mix of the spiritual, mechanical and natural worlds coming together in this special way. Each piece has the sense that it could come alive as a working machine, when creating a new work do you consider what mechanical function it might possess? Although there are no moving parts in my sculptures

nor do they work as machines I do want to create things that look like they should work or come alive. I try to make parts connect or flow together as if they have a purpose, that’s why I spend a lot of time and effort creating symmetry or having very natural elements linked delicately to their mechanical surroundings. I don't want the individual parts looking like they have been just thrown together. You’ve recently taken your work as Mechanica across the country; tell us more about the exhibition? I started at the end of June by having a solo exhibition and launch show at Castle Fine Arts in Mayfair. This was a huge success with regards to sales and exposure and created momentum for my UK gallery appearances, which started in


Blow My Mind, 2014, mixed media, 82 x 80 cm

September. There was really only time to do five different Castle Fine Art gallery locations so we may do more next year. The exhibition and collection is called ‘Every Piece of Me’ and is the end result of a very busy year in my studio. There is a real mix of works, some lean heavily towards the religious iconology that I use and some more towards nature. It's very difficult to capture all the detail and depth of my sculptures in pictures so taking the work on tour is the best way for people to see it; I get a lot of people saying the work looks a lot more captivating and striking in the flesh. What are you currently working on? I've just finished doing a small limited edition run of 36 sculptures, and have a few more originals and commissions lined up to keep me busy, I've also

planned a trip to Rome which I'm hoping will inspire future works. I want to keep creating work that runs in the same vein as my latest collection for a while because I feel like I still have more to do and show but I have been messing around with the concept of a more 2D version of my work in the form of paintings and collages, although these are things I have been working on in the background.


Our Love Surrounds Us, 2015, mixed media, 80 x 70 cm


Media Frenzy, 2014, mixed media, 85 x 75 cm




riginally from Russia, Gennadiy Ivanov is now based in Norfolk where he creates large scale paintings, working simultaneously in several directions and styles. His work often takes inspiration from romantic notions of love and music, and poetic moments in nature such as the transitional colours of the sky between dusk and dawn. Painted with oil on canvas, Ivanov’s paintings are a visually surreal feast for the eyes. He is drawn and influenced by his own personal emotions to create works, using them to build a world full of colour, form and texture. Ivanov’s artistic practice also extends

Let fly Meditation, 2015, oil on canvas, 81 x 106 cm

into curatorship, and this summer saw him stage the exhibition ‘War and Peace’ in Norwich. The show, which poignantly took place between the 100th and 70th anniversaries of the First and Second World Wars, was a sight specific installation which saw artists from many different nationalities working together with local veterans to create artworks dedicated to those who fought and lost their lives. This exhibition is an example of the way Ivanov’s work strives to process the fragility of nature, humans and the world through his own emotional viewpoint.


Expectation, 2015, oil on canvas, 150 x 100 cm


Grey People Skint, 2015, oil on canvas, 180 x 145 cm


The African Boy, 2014, oil on canvas, 68 x 76 cm


The Last Cigarett, 2014, oil on canvas, 155 x 145 cm


The Golden Eagle, 2014, oil on canvas, 160 x 200 cm


Frozen, 2014, inks and guache on paper, 30 x 40 cm



olish artist Gosia Poraj received her masters at the Academy of Fine Arts in Katowice, Poland, specialising in printmaking. Now based in London, she works predominantly with painting, using coloured inks as her primary medium. Ephemeral and blurry recollections of landscapes drift into impressions and feelings; senses that Poraj lyrically translates into visual forms of shape and colour. During her painting process she employs deep observation in order to describe the surrounding world with the least amount of visual elements. This decluttering is reflected in the artist’s minimal style and her reluctance towards narratives, supported by a meticulous technique and highly original aesthetic. Poraj’s technique is strongly derived from her printmaking, seen through her confident use of

layering and blended colours. Because of the nature of the inks which leave no room for corrections, she is always planning ahead to the next layers throughout the whole process of creating an image. Philosophical explorations of the mechanisms of memory and dreams have also influenced Poraj’s work; just as dreams form as illogical and scattered visions, her paintings mirror this sense of the surreal. Her works appear collage-like, as if shown from different angles and dimensions without a distinct perspective. However while on the verge of being purely abstract, the root of inspiration is always clearly visible giving the viewer the ability to lead their way through the work. Poraj’s award-winning works have been exhibited in the UK and abroad.


Little pond, 2014, inks and guache on paper, 48 x 36 cm


It’s just a Pea (U), 2015, bronze, limited edition of 8, 50 x 49 x 7 cm

It’s just a Pea (T), 2015, bronze, limited edition of 8, 61 x 47 x 12 cm



aurence Perratzi’s sleek bronze sculptures are both intimate and powerful, inspired by athletic shapes where poise and balance are paramount. Her work appears to defy gravity, capturing moments of movement, energy and lightness as lean human forms gracefully stretch from their base; snapshots of bodies frozen in motion. In her 'Just a Pea' series, Perratzi seeks to playfully remind us to take a second look at trivial burdens in the macrocosm of life, shrinking them to the microcosm of a pea; an uplifting admonition to ‘not stress the small things’. Perratzi’s newer mixed media Tree sculptures have seen her using materials other than bronze for the first

time, using such materials as fibreglass and plaster to create works reaching over two metres high. Unlike her bronzes which are usually made in an edition of eight, the trees are all unique, one off pieces; each one an explosion of joy and freedom. Having lived in Paris, Hong Kong and San Fransicso, Perratzi is now based in London where she has exhibited work regularly since 2009.


Maestro, 2015, Resin, Fiber glass, Gesmonite, Unique Edition,150 x 88 x 80 cm


Deep Forest, 2014, acrylic on canvas, 120 x 100 cm



enrik Hytteballe’s abstract compositions are inspired by a love of nature, music and the people he meets.

Working in acrylic, Hytteballe’s technique sees him painting with both spatula and brush to create deeply layered and textured works, form and colour coming together to offer new perspectives on the world. At times, partially figurative universes appear; caves, mountainsides and marine blue seas, as well as animals and forms from nature emerging from abstract shapes.

Through his paintings Hytteballe is exploring the clash between civilization and culture, philosophy, myths and spirituality. He is creating a self-reflective universe, drawing on contemplative discoveries and views of the world that may be elusive at first glance. Alongside painting, Hytteballe is a composer and musician, creating mediative music that plays on a combination of ambient soundscapes and articulate piano.


RushHour, 2013, silver based c-type Fuji matt, 35 x 35 cm / 60 x 60 cm



ortrait photographer Ronald Van der Ligt uses his camera to seek out genuine emotion in the world around him; be it observations of faraway foreign cities, or local characters on the street.

Originally from the Netherlands, cameras weren’t a popular investment in the environment Van der Ligt grew up in, meaning he was already in his late twenties before he first started capturing images. He has since moved to the UK where he studied at the

London School of Photography, discovering new and interesting ways to capture emotion in his photos. Alongside - and in contrast to - his documentary style portrait images, which often have a candid aesthetic; Van der Ligt creates slick visual puns, using everyday objects in unexpected formations for purely comedic effect. These images are a chance for the photographer himself to evoke emotion, prompting simple feelings of happiness for the viewer.





stablished in 2010, Artfinder has grown a network of over 6,000 artists in 97 countries around the world. The online marketplace connects art lovers directly with artists, and with over 150,000 artworks for sale across the site there is the perfect piece of art for everyone, in every medium and style imaginable. In September we spoke to the site’s CEO Jonas Almgren about the origins of Artfinder, and how it is changing and nurturing the market for art across the globe. How did Artfinder begin, and how has it evolved in the last five years? Artfinder started as a very general art site, with a lot of information about museums, galleries, exhibitions and famous artists. But after about a year we came to realise that if we instead focused on promoting

London Docklands, 2015, watercolour painting by Roberto Ponte

art by active, living artists, we could do something much more important than expanding knowledge of museums and art that most people cannot buy - we could directly support talented artists. We now exist to help artists reach a global audience and also to build awareness that actually art can be affordable, that everyone can own original art. Through this model we have become a supporter of the contemporary art community, which is much more gratifying than buying posters and reproductions. We now have buyers in over 75 countries that have bought everything from handmade etchings to large oil paintings, sculptures, and photography. What kind of experience comes with buying directly from the artist? The direct connection with the artists is an important aspect of the art buying experience our audience is


fashion stores have become more sophisticated, and provide buyer protection such as simple hassle free returns, the trust they established, combined with the convenience and selection provided online, convinced users that they could buy shoes online without any worries. For many people, that is already the case for art as well, but for a large majority we've still just initiated the move online for art.

looking for. They are not buying art primarily as an investment, but for the art experience, including the ability to discuss an artwork with the artist to better understand the story behind it. They want art to bring not only decorative value to their home, but a rich multifaceted experience that can be shared and that continues to be interesting over time. Artfinder has a similar ethic to Inside Artists in terms of its focus on creating and connecting a community. How else do you support the artists and galleries on the site? Our community is the life and soul of Artfinder. We exist to support artists and we are constantly looking for ways to enhance that support. We have recently launched an artist forum where our 6,000 artists can share ideas, problems, and solutions, and we’ve been blown away by how quickly this has grown. We also pride ourselves on truly excellent customer service. Do you think the average customer for art has changed in recent years? How has Artfinder contributed to this? In many ways, art is just like fashion was 5-10 years ago. Most people said they would never buy shoes online; they had to try them on. But as the online

Do you find a certain medium or genre to be more popular with the Artfinder customer? Yes, not terribly surprising, traditional "wall art", such as oil and acrylic paintings, do particularly well. People seem attracted to the handmade aspects, and the fact that they’re truly personal and unique items. I believe the same will be the case for handmade prints (etchings, woodcuts, etc) and photography, but these are not currently as popular as paintings. Do you have any advice for artists looking to sell via Artfinder? First and foremost, artists need to create art that is satisfying and true to their own ideas. Don’t try to come up with a marketing gimmick, come up with a solid body of work, something that you can proudly speak about, describe, and explain. Work that emanates from you, that is full of passion, and that you can build on for years to come. Also, our most successful artists don’t underestimate the importance of putting time and effort into setting up and maintaining their shops. Much like any other online marketplace, a set of professional quality photographs and well-written copy makes a huge difference to sales. A fully completed shop, with several photographs for each piece of work and more than eight works in total seems to work best for us.




imon Kirk’s works are poetically layered slices of the absurd, playfully combining found text and image with perfectly constructed composition to make unexpectedly profound connections.

to billboard size and displayed for the public at Regent’s Park tube station.

This autumn his painting ‘Kurt’ could be seen as part of Art Below, a show which saw the piece enlarged

Fazio, 2015, oil on Board, 24 x 18 cm

King for a day, 2015, oil on Board, 24 x 18 cm


The Watcher, 2015, oil on Board, 80 x 55 cm




or Helen Wells the sea is a permanent and powerful presence in her life and work; the beauty, drama and majesty of the water often permeating into her paintings. Working instinctively and intuitively she responds to the process and materials, creating multiple layers with a

Joy in The Moment Two, 2015, watercolour and ink on paper, 50 x 35 cm

repetitive, flowing rhythm echoing the sea. Her work is currently on display in Gordon Ramsay’s waterside restaurant in London, The Narrow.

Joy in The Moment Four, 2015, watercolour and ink on paper, 50 x 35 cm




Josephine Harpur Gallery, Bury St Edmunds 13 – 26 November

HIVE, (Harrogate International Visual Arts Expo) 20 - 22 November

The Natural Eye 2015, Mall Galleries, London 29 October – 8 November


CLAUDIA ETCHEVERRITO Artist for UNICEF, Politeama Theatre, Italy 8 November

Christmas Show The Old Station Gallery, Derbyshire 14 November - 2 January


The Autumn Collective Little Buckland Art Gallery, Gloucestershire 7 - 22 November

The Affordable Art Fair Hamburg, Hamburg Messe 19 - 22 November


The Zetter Hotel, London 2 December - 12 January

LINDA LASSON Parallax Art Fair London 23 - 25 November Art Fair MAG, Montreux Switzerland 4 - 8 November PAF New York 20 - 21 November Trevisan International Art Fair Bologna Italy 28 November - 10 December Art Basel, Miami 3 - 6 December Central Europe Fine Art Biennale at MAMAG Modern Art Museum Vienna 28 January - 6 March

Artifact Art Gallery, Solo exhibition, New York 13 - 31 January

RICHARD STARBUCK Cello Factory Gallery 27 October - 6 November

SIMON KIRK Affordable Art Fair Singapore 12 – 15 November

Profile for Inside Artists

Inside Artists | Issue 3  

Art is like the pages of a book Whether the artist has created their own fantasy, drawn from their personal autobiography or left clues for...

Inside Artists | Issue 3  

Art is like the pages of a book Whether the artist has created their own fantasy, drawn from their personal autobiography or left clues for...


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