Inside Artists | Issue 6

Page 1

Contemporary Artists & Exhibitions

Issue 6 autumn 2016

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When a painter looks at their blank canvas, they are not simply looking upon a white space, but rather the possibility of what could be, and what they could create. This ability to look past the face value of an object to its possible manipulated state is true for all artistic disciplines; starting with raw materials or even just a concept this foresight is truly an artist’s gift. Even when creating abstract artworks with no defined outcome, there is always an element of instinct that allows the finished piece to emerge. Throughout her artistic career Rosie Leventon has seen the potential in unconventional materials, using them in her installations which see the likes of disused books, mobile telephones and industrial materials re-used and re-formed into sculptural forms. Through her practice of salvaging and repurposing, her works encourage the viewer to look to the past, and consider ways we can learn to shape the future. Collage artist Stephen Tierney also takes inspiration from what has been used before, re-appropriating images from vintage advertising in his cutout compositions. A single found image can become the catalyst of a whole series of work, as he sees the possibilities stretch out before him. Once an artwork is finished, this way of looking is then passed from the artist to the viewer. It is then our responsibility often to look past the immediate aesthetics of the piece and focus our gaze on what came before, why it has come to exist in this form and the place it now holds in the world around us.

EDITORS Kieran Austin Toby Oliver Dean COVER IMAGE Steve Tierney, On Top Of It 2015, collage on board, 25 x 20 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.

"'This work is meant to be a humorous comment on the way that we like to believe we have control of everything in our lives. Whether it’s our everyday work life and relationships. Or a larger concept of placing trust in our Governments and the people make decisions that affect us and the rest of the world. The reality is that no one knows what they are doing, and we live in a world that is completely out of our control." Steve Tierney

Exhibitions 10 ICON 11 Society of Equestrian Artists

12 Buy Art Fair & The Manchester Contemporary 13 Landmark Autumn Art Fair

Interviews 14 Steve Tierney 40 Susie Monnington

72 Rosie Leventon

Artist profiles 22 Nicholas Herbert 24 Dagur Jónsson 30 Fu Wenjun 32 Mooschool 36 Nicolas Vionnet 44 Adriaan van Heerden 48 Karen Stamper 50 Sinclair Ashman 58 Philippe Debongnie

62 64 66 76 78 84 86 88

János Kujbus Petr Krátký Carol Brown Marc Abele Clare West Paola Gracey Durga Garcia Vance Houston

Artist showcase 92 Karen Thomas 94 Philip Hearsey

Artist exhibitions 102 Upcoming artist exhibitions

96 Barrie Dale


Obama, Sacrifice, Nicola Green

Arundhati Roy, Stephen Chambers

ICON 10 September – 22 October | Candida Stevens Fine Art, Chichester


CON is the latest exhibition from Chichester based gallery Candida Stevens Fine Art, opening this autumn.

Casting a gaze over our social, cultural, religious and political icons through the work of 21 contemporary British figurative artists, the powerful show picks out the symbols, people and ideas that represent our thoughts, dominate our attention or are held up as worthy of our adulation. While celebrity features highly, politics are also widely covered in the guises of class, diversity and activism together with some potent social, religious and gender observations. With depictions ranging from The Queen, Kate Moss, Barack Obama, Anna Wintour, Marx and

Engels to Aung San Suu Kyi and the Moon, it is interesting to see the figures that have been considered worthy of the title of icon in our modern world. Curated by Candida Stevens, the exhibition features work by artists which could be considered icons themselves, including Tracey Emin RA, Nicole Farhi, Grayson Perry RA and Marc Quinn. Their work will be shown alongside new pieces created for the show by Stephen Chambers RA, Eileen Cooper RA, Nicola Green, Annie Kevans, Irene Lees and Jane McAdam Freud. For more information visit:


Study of Grey, Malcolm Coward Hon. SEA

Society of Equestrian Artists


he Society of Equestrian Artists (SEA) was founded in 1979 to promote the practice of equestrian painting and sculpture and to advance public education and appreciation of this art. Throughout the year they arrange public exhibitions and workshops and encourage, through mutual criticism, discussion and example, the highest levels of artistic competence, showcasing members' works through their website. This September the Munnings Art Museum in Essex is host to the ‘Painting Horses from Life’ workshop, with SEA member Jennifer Bell, which will see attendees improving their equestrian painting, while working with live heavy horse models in the grounds of the museum. In October

SEA member Martin Yeoman leads the Wiltshire Art Masterclass, with a focus on the art, subjects and painting style of Lionel Edwards, famed for his paintings of horses and country life. This workshop will take place at Cools Farm in Wiltshire, home to Edwards’ grandson. The Society’s big event this winter is the annual exhibition ‘The Horse in Art’ which takes place November 21 to December 4. Finding its home in the new venue of the National Heritage Centre for Horseracing and Sporting Art in Newmarket, Suffolk, the exhibition showcases the very best in equestrian art, including painting, drawing, sculpture and original print.


To Lay Claim, Erin Armstrong, courtesy of Arusha Gallery

Beautiful Glass (Broken), Cornelia Parker courtesy of Royal Academy of Arts

Buy Art Fair & The Manchester Contemporary 23 – 25 September | Old Granada Studios St Johns, Manchester


ecognised as one of the UK’s most important festivals of visual arts, Buy Art Fair brings galleries, artists, talks and classes, exhibitions, music and award-winning food and drink to Manchester’s Old Granada Studios St Johns. Art from 100 prestigious galleries and artists from across the country will be exhibited at this year’s event, and with over 3,000 pieces for sale, there will be a piece of work for everybody to fall in love with. With prices from £50 to £5000+, first time buyers and serious collectors alike are welcomed. Taking place alongside Buy Art Fair, The Manchester Contemporary is an unrivalled incubator of artistic talent. Using bold curatorial judgement, it offers works for sale from the most exciting, critically engaged, contemporary artists and galleries, many of whom then embark on the international art fair network. This year sees

the largest ever list of exhibiting galleries, with a record number of new participants, hailing from London, Manchester, Newcastle, Leeds, Salford, Preston, Liverpool, Cardiff and Nottingham. This year also sees the fair host a new conference - Fair Cities: Exploring the Ecology of Art Market Centres - an afternoon of discussion and debate that seeks to unravel how and why certain cities have become recognised as centres for the Art Market as well as exploring what kind of Art Market centre Manchester, and more broadly the North West, currently is and can become. This not to be missed leading art fair of the North takes place 23 – 25 September, with an opening night on 22 September. Find out more and book online: or Get half price Friday – Sunday tickets by using code INSIDEARTISTS


Dario Vargas

Amanda Danicic

Landmark Autumn Art Fair 15 – 16 October | Landmark Art Centre, Teddington


isitors to the Landmark Autumn Art Fair will find a huge variety of fine art from artists across the country, encompassing a range of media including painting, sculpture, graphics, print, illustration and mixed media plus high quality ceramics, jewellery and textiles.

This autumn’s fair will also support the vital work of charity Transplant Links Community (TLC), which saves the lives of children and adults in developing countries suffering with kidney failure. The fair will be host to The TLC Art Exhibition featuring an eclectic collection of artworks by a fantastic range of artists and celebrities, with visitors given the chance to bid on these pieces in an online auction throughout the weekend.

As the Landmark Art Fairs focus on showcasing the individuals behind the work, including established artists, recent graduates and emerging talent, visitors are given the chance to meet and buy direct from the artist. This opportunity is a highly personal way of buying art away from a gallery space, and has proved popular with both visitors and artists alike at previous fairs.

The Landmark Autumn Art Fair is housed in the magnificent surroundings of the Landmark Arts Centre in Teddington. Formerly a church, the Grade II listed building boasts a lively and varied programme of arts events throughout the year. For more information visit:


Steve Tierney


ustralian mixed media artist Steve Tierney creates striking collages strongly influenced by old film posters, vintage books and magazines. Through the use of re-appropriated vintage advertising images, his collages, which also exploit the muted colour pallets of the time, are warped slices of commercial nostalgia seen through an almost dystopian gaze. While figures dominate his work, they are often displayed disjointed and distorted, with faces obscured and disproportioned limbs emerging from image’s formation. Currently based in Mexico, Tierney has exhibited his work both in Australia and Mexico, with his next show ‘Without Nothing’ opening this November at China Heights Gallery in Sydney. Tell us about your process when creating new work; do you start with a found image, or is it the idea of a piece that comes first? Do you find yourself working on several pieces at the same time? I tend to have a rough idea of what I want to say, or a kind of story in my head. I’ll prepare a background, then sit down and flick through old magazines and books looking for something that helps me to visualise that idea. Sometimes I see a new image, which sends me in a whole

sitting on my desk, and I move pieces between them until it all eventually fits.

other direction. What almost always happens during the process is I will find other images that don’t fit, but trigger new ideas and lead me to start other pieces. When I get on a roll, all of a sudden I have a whole series of work. Some days I will literally go from having nothing to having four or five artworks. Other times I can go for weeks with a couple of half-finished collages

and painting. Until around 2010, when I made a conscious decision to work entirely in collage and pretty much stopped painting all together.

When did you first start using collage in your work? I was introduced to mixed media art, collage, and a combination of using words with images in 1995 when I was studying design. Before that I always drew cartoons and painted pictures more traditionally. For a long time I experimented with different forms of mixed media, silk screen

Have you found your paintings have influenced your collage style, and vice versa? My background in design and my passion for graphic imagery, like movie posters and


Something In the Way, 2016, collage on paper, 30 x 24 cm


Tamaño Natural, 2016, collage on book cover, 26 x 20 cm

Crucifiction, 2016, collage on book cover, 26 x 20 cm

magazine advertising, have certainly influenced my collage style more than anything else. I found that with my painting I was trying to reproduce the effect of worn textures on objects. For example, I used to paint cigarette packets that I picked up from the street. I liked the folds and textures in the paper and would try to reproduce it. Then at some point I realized I could actually just use the physical packet and make something from that much easier. So in a way my paintings did influence my collage style. Although I’ve stopped using cigarette packets so much, because I’ve found that people don’t want to hang them on their wall as much as I do.

decades, especially not current or contemporary fashion magazines. When I’m creating a collage I use faces and bodies to represent an idea or an emotion. Yet to me they are not literally a person at all. That’s why I often cut out faces or distort them, so they aren’t really recognizable. It’s often irrelevant if it’s a woman or a man’s head. All I want to say is there is a person here and express an emotion from that, and sometimes it’s not even about it being a person. This is how I relate them to modern living as well. I’m generally telling a story of modern life in my images while using old photography. I like the irony and naivety of that era (40s, 50s, 60s). In a way I’m trying to show that we are still just as stupid as we always were by using imagery of that period whilst commenting on social behaviour of now.

Re-appropriations of 1950s and 60s advertising can be seen throughout your collages, but how do you feel your work relates to modern living? I love the imagery and style of that era. It’s just something that aesthetically I’m drawn to. I don’t look for material from magazines from recent

To what extent do you consider the original purpose of the images you use in your collage? That’s an interesting question because I actually think when I am searching for an image in a


Left Standing, 2016, collage on book cover, 23 x 20 cm

What I Used To Be, 2016, collage on book cover, 23x 20 cm

magazine I’m already thinking about the purpose for which I want to use it, rather than what its purpose was. I’m kind of editing quickly in my mind; looking for hands in certain positions or faces of a particular size etc.

What are you currently working on? Do you have any upcoming exhibitions? I am working on a solo exhibition that will be in

Although, something that’s really interesting with collage is that often the best artworks occur by accident. When two or more images are combined to create something that you weren’t intending. I’ve had moments where I’ve cut out someone’s face and placed it down, then cut out something like a flower and thrown it over that face and it fits perfectly to create an entirely new image that seems like it was meant to be. Those moments are really amazing for me, because ultimately it’s about re-purposing images to mean something other than their original intention. So in that way I think what I actually do more often than not is use images in a very different way to their original purpose.

Sydney in November. Right now I’m still in the early stages of playing around with ideas and different techniques. I find that once I get an idea for a series of work I move very quickly to produce it. For this reason I may not start the real work for a show until much closer to the date. I move on from my work quickly too. So I don’t want to be exhibiting anything that’s more than a few months old, because I’ll probably be bored of it already.


The Elusive Mind of Man, 2016, collage on board, 28 x 24 cm


Without Nothing, 2016, collage on board, 51 x 41 cm


Counting Clouds, 2015, collage on board, 20 x 15 cm


Le nom de L'amour, 2016, collage on paper, 52 x 40 cm


Nicholas Herbert


L798 Escarpment, The Chiltern Hills 2014, mixed media, 13 x 18 cm

ince 2012 mixed-media artist Nicholas Herbert has been working on an ongoing series entitled ‘Silent Spaces’, inspired by the chalk uplands of the Chiltern Hills. His experience and familiarity of this landscape has given him an instinctual ability to capture the enduring mass of the area, through a process of intuitive mark-making and textural layering. Mirroring the transient atmospherics of the hills, there is a temporal quality to these pieces, which are informed by ideas of permanence and impermanence, formation and decay.

restrictive, the mix of acrylic, graphite, gouache and chalk in shades of grey, sienna and white actually allow the artist limitless expressive capability. His choices of papers add extra depth and rawness to his work, as the materials interfere, interact and degrade the surface, adding to the texture and immediacy of the work.

These intimate landscapes have been created using a deliberately chosen pared-back range of materials and colours. Although seemingly

Pieces from Silent Spaces were shown in Herbert’s solo show this year at Alan Kluckow Fine Art in Berkshire. Many of his pieces, including hand-made books of drawings and landscapes, are held in private collections in the UK.


L783 Near Ivinghoe Beacon, The Chiltern Hills, 2014, mixed media, 13 x 18 cm

L890 Near Bison Hill, The Chiltern Hills, 2015, mixed media, 13 x 18 cm


Dagur Jónsson


hotography is an exciting form of self-expression for Dagur Jónsson, who seeks out dramatic clouds, captivating sunlight and landscapes moulded by the forces of nature to heighten everyday moments of his native Iceland into atmospheric displays of emotion. There are four themes that define Jónsson’s photographs; winter in Iceland, sunsets, Northern Lights and the Icelandic landscape itself. His images are a poetic and loving portrait of the place he calls home, capturing the beautiful loneliness you can experience in his surroundings. Drawn to areas of solitude such as open roads, lonely houses and wide, abandoned areas,

Vestrahorn in Iceland, 2016, mounted aluminum print, 40 x 60 cm

the photographer finds beauty in isolation, and the pleasure of being alone in nature. His perspective of the Northern Lights too convey a sense of being at the very edge of the world, giving a rare glimpse into the endless universe we are all a tiny part of. Based in Reykjavik, Jónsson is a self-taught photographer and has been shooting his country since 2014. The Brick Lane Gallery in London was host to his first show earlier this year, and this winter his work will be exhibited at Galleria De Marchi in Bologna and as part of the BIAF 106 international Art Fair in Barcelona.


Ice Rocks at Jokulsarslon, 2016, mounted aluminum print, 60 x 40 cm


Northern lights and the cottage, 2016, mounted aluminum print, 38 x 60 cm

Norhern lights over sea, 2014, mounted aluminum print, 40 x 60 cm


The Road to Nowhere, 2016, mounted aluminum print, 50 x 33 cm


Dark Clouds over Arnarstapi, 2016, mounted aluminum print, 60 x 40 cm


Man versun Mount Vestrahorn, 2016, mounted aluminum print, 60 x 40 cm


Beatles, 2015, conceptual photography, 100 x 100 cm

Fu Wenjun


u Wenjun is based in Chongqing, China, where he has been working as an artist since attending Sichuan Fine Arts Institute.

Wenjun’s artworks tackle strictly cultural issues such as the Eastern and Western history, the heritage of traditional Chinese culture in a rapidly changing society, the relationship between different cultures in the age of globalization, industrialization and urbanization in Chinese cities. Although his practice incorporates installation and oil painting, it is the use of conceptual photography that predominantly defines his work.

Through photography and image manipulation, the artist has created a channel through which he can truly communicate his vision; using the images to extract the true meaning of a theme and pushing a deeper focus onto it. Having exhibited internationally, Wenjun’s artworks have gained numerous awards and have been collected by galleries and museums across the world, such as Tokyo Metropolitan Art Museum and the Fashion and Art Institute in the USA.


Peach Blossom still Laughs in the Spring Wind, 2015, conceptual photography, 100 x 100 cm




ooschool is the work of London-based artist Nick Maroussas, whose fascination with character logos, tags of graffiti and street art has heavily influenced his dynamic compositions, which take elements away from the street and directly to a gallery setting. Mooschool’s work embraces the impermanence of his medium and the way street art naturally changes over time with the adding of tags, stickers and paste-ups, while parts are ripped and subtracted and weathered. His process sees him layering original character drawings with paint, frenetic marker pen scribblings and

Trio, 2016, collage, acrylic, pen, spray-paint & masking tape on eskaboard, 84 x 120 cm

collage. Through the use of masking tape and found materials, he has developed a technique in which sections of his drawings are retracted and re-applied in new configurations. While the streets of London offer Mooschool an instant form of exhibition for his stickers, his work appears more at home on the walls of a gallery. Although currently working full time as a motion graphic designer, this last year has seen him reimmerse himself in his artistic practice, with the intention of producing work to a bigger scale and creating a solo show.


Portrait 04, 2016, collage, acrylic, pen & masking tape on Virgo display board, 101 x 76 cm


16 more 228’s, 2016, acrylic, pen & masking tape on US 228 postal stickers, 55 x 44 cm


Junk Mail, 2016, collage, pen, acrylic, spray-paint & masking tape on estate agents' cards put through the door, 42 x 30 cm


Nicolas Vionnet


icolas Vionnet opens up a field of tension with his playful irritations. His public installations have an almost oxymoronic quality as they interfere yet also seamlessly integrate within their environment. Themes of change and artificiality are approached in his work, as he highlights ironies within modern aesthetics; such as in his creation of a man-made grass island, placed within an already pre-fabricated park. Through a fundamental confrontation with the history of the space, Vionnet leads to a subtler and more precise intervention. Vionnet’s paintings in acrylic share a similar influence to his installations, whether he is

Objects In Mirror Are Closer Than They Appear, 2013 deer antler, car rear view mirror, 25 x 60 x 30 cm

painting disruptive grey strips across his canvas, or allowing coloured surfaces to drip according to the laws of their own gravity. Living and working in the Zurich area, Vionnet gained his Master of Fine Art degree in 2009 from the Bauhaus-Universität after studying the university’s Public Art and New Artistic Strategies programme. He has exhibited internationally including at the Gallery marke.6 at Neues Museum Weimar, the Los Angeles Center for Digital Art and the Moscow International Biennale for Young Art.


Rock’n’Roll, 2014, micaceous iron colour on framed canvas (overpainting, artist: H. Meier), walking stick with brass fitting, rubber wheel, 190 x 170 x 15 cm


Aus Versehen, 2013, coin-operated telescope, tree, dimensions variable

Island - Catch Me If You Can, 2008, wooden frame, styrofoam, fabric covering, turf rolls, 5 x 800 x 800 cm


A New Found Glory - with Wouter Sibum (Rotterdam), 2013, paddling pool, fountain pumps, LED lights, ivy, dimensions variable


Susie Monnington


usie Monnington is a Sussex based artist finding inspiration in the views of countryside that surround her, both on and off land. Atmospheric scenes of rural England are perfectly captured through Monnington’s loose, confident brushstrokes. Her observational paintings of nature lie between representational and expressive, and have led to her ‘Moods of the

Ouse’ project, which saw her focusing her gaze along the river throughout the course of a year. These distinctive works painted chiefly in oil are emotive, watery portraits of the Ouse as seen from the view of the river itself, lovingly documented across the seasons. Paintings from the series were shown this summer alongside underwater photographs by Steve Homewood. As well as creating new work, the artist teaches landscape courses from her studio in Lewes.

The Moods of the Ouse is a really beautiful and poetic project, and quite ambitious too considering the time you spent on the series. Can you tell us more about how it came about, and your experience creating the paintings for the ‘Year on the Ouse’ exhibition? I grew up around the river; my parents and grandparents farmed the Brooks along the riverbank, but it was when I started canoeing that I got a totally different perspective on something so familiar.

I’ve now spent a year paddling, walking and drawing up in the “Wilderness”, closely observing the river’s mood changes and how it completely alters character through different times of day, weather and seasons. It is these shifts in mood that I have tried to capture through the play of colour and light. What has resulted is an intimate collection of oil paintings reflecting a year of change on the Ouse; the stillness of winter, the chaos of spring and the intensity of high summer.


Hamsey Reeds - Feb, 2016, oils, 30 x 30 cm


Himalayan Balsam - July, 2016, oils, 30 x 30 cm

I’ve enjoyed seeing how the series depicts really more than just the river; in fact the river often seems like a background character in the scene where we see changes in season, the effects of light and atmosphere and the uninhibited effects of nature. Did you find unexpected moments of inspiration throughout the project, or did you always plan to observe more than just the river itself? This collection of work plays with surface light and colour, but there is also an undercurrent linking the work with my agricultural roots and memories of going to check the cows with my father. I didn’t plan this; it emerged through the process of making the work. Experiencing the

river from the canoe has given me glimpses of a secret and unexpected world which has been a huge privilege. It’s really interesting to see your work placed alongside the photographs of Steve Homewood for the Year on the Ouse exhibition, was the collaboration planned while you were painting, or did it happen once the series was complete? Steve gave a talk about his work in May and I ended up asking him if he’d be up for putting on an exhibition of our work; so it was quite a spontaneous idea towards the end of the project, but seems to make perfect sense.


Down the Cut - May, 2016, oils, 30 x 30 cm

Can you tell us more about your process? Do you paint en plein air or from photographs and sketches? What is your typical working style? I make lots of rapid studies from the water, which I work up in the studio before moving onto the paintings. I try to keep my work fresh and fluid by having a lot of paintings on the go; it stops me getting too tied up with one painting. I like the informality of working small, having lots on the go and having to finish each mini collection quickly in order to keep up with the river’s changes. I am learning to accept my many failures and trying to catch the ones that work before I kill them or bin them. The hardest thing for me as

an artist is finding the discipline to let paint dry before re-working and to not push into wet paint which can so quickly kill any sense of light and life. Have you begun on your next project since finishing Moods of the Ouse? I don’t see Moods of the Ouse ending quite yet, I’m excited to keep going and have another go I’ve learned so much through the year and I want to use this experience in round two.


Adriaan van Heerden


ward winning international photographer Adriaan van Heerden’s passion for wildlife, travel and landscapes runs through his work; using photography to explore the worlds of both humans and nature and making poetic connections between them. Travelling the world with his camera across wild landscapes of nature reserves as well as culturally-rich populated areas, van Heerden’s images convey the experience of encountering new locations; whether immersed in nature in all its wild beauty or embracing a foreign culture first-hand.

Mist at Sunrise, Near Pen-y-Gwryd, Snowdonia, 2016, ltd edition lambda c-type print, 69 x 102 cm

Van Heerden’s intention is often to emphasise the poetic quality of his images. His practice sees him processing his photographs in either colour or monochrome, ever aware of his responsibility as an artist in the role of creating, preserving and conserving beauty in a fragile world. Van Heerden won first prize for photography in the Art Gemini International Art Competition in 2015 and he has exhibited regularly in the London area as well as Barcelona and Kyoto. His work is held in private collections in the UK, USA and South Africa.


Ode to Mortality, 2015, ltd edition lambda c-type print, 102 x 69 cm


Sunset with Thorn Bush, Karoo National Park, 2016, ltd edition lambda c-type print, 102 x 69 cm


Sunrise, Capel Curig, Snowdonia, 2016, ltd edition giclée print, 69 x 102 cm

Full Moon Over the Great Escarpment, Karoo National Park, 2016, ltd edition giclée print, 69 x 102 cm


Karen Stamper


he sun-soaked vistas that have framed Karen Stamper’s life of travel continue to permeate her artworks, which instantly transport the viewer to warmer climates.

Having grown up in Hull, Stamper’s travels to the Mediterranean, Morocco, India and New Zealand were a welcome contrast to the familiar landscapes of Yorkshire. Vibrant colours, patterns and textures began to surround her, becoming part of her everyday visual vocabulary and inspiring her work as an artist. Although her work deliberately avoids representational clarity, Stamper seeks to capture the memory of places she has seen while allowing the viewer to be drawn in with their

Ocean Blue, 2016, paper collage and acrylic, 50 x 76 cm

own imagination as snippets of lettering, textures and colours are discovered. Her controlled yet intuitive approach to collage creates a painterly effect, as she builds up layers of found papers, tissue and acrylic paint, utilising the ripped edges, accidental marks and worn surfaces to create depth and texture, favouring bold colours and strong architectural shapes and patterns. Now based in Cambridge, Stamper has exhibited across the UK in both group and solo shows. This autumn her work can be seen at the New Artist Fair in London, and the Cambridge City Art Fair.


Lu, 2012, paper collage and acrylic, 49 x 41 cm


Sinclair Ashman


inclair Ashman has trained and worked as a graphic designer since the 80s, and currently lectures on the subject at the University of Lincoln. As a practicing artist, however, his highly textured abstract print work is a noticeable contrast to that of his professional client-focused assignments. His move to Lincolnshire from South London in 2009 saw Ashman taking up printmaking for the first time, immersing himself in the Collograph printing process. His printing naturally began to draw inspiration from the countryside and coastlines that now surround him, having also created abstract landscape and seascape work through the medium of photography. The artist’s intuitive process avoids using preparatory sketches; instead prints are created

Geometry I, 2014, collagraph print on fine printmaking paper, 21 x 70 cm

in response to materials or form expressions of mood. Through experimentations with the use of metallic inks and embossing, and many unconventional tools and mediums such as dishcloths, varnishes, leaves, twigs and plastic bags, Ashman’s works have a highly textural quality, adding depth and movement to each new work. This year has seen Ashman busy preparing for the first major exhibition of his printmaking works, which will be at The Ropewalk arts centre, Barton upon Humber, from 10 September - 30 October.


Geometry II Blue, 2015, collagraph print on fine printmaking paper, 41 x 37 cm


Gravity Fallen, 2015, collagraph print on fine printmaking paper, 28 x 23 cm


Chaos Theory, 2014, collagraph print on fine printmaking paper, 30 x 30 cm


Filigree, 2015, collagraph print on fine printmaking paper, 15 x 15 cm


All That Remains, 2016, collagraph print on fine printmaking paper, 15 x 15 cm


Variations III, 2016, collagraph print on fine printmaking paper, 10 x 10 cm


Disc XI Blue, 2014, collagraph print on fine printmaking paper, 36 x 36 cm


Philippe Debongnie


hilippe Debongnie is a Belgian illustrator based in Brussels. His work is produced through a mix of drawing, painting and printing, and digital additions and retouches in Photoshop.

He currently has two ongoing projects which make up the main body of his digital work. His ‘Family Album’ series was inspired by the discovery of an antique photograph album in his parents’ attic. The images spoke to him of times long passed, conveying the essence of their era as the protagonists gaze directly as us through time. Through the manipulation of these images, Debongnie challenges the lines of fact and fiction. He adds colour and pattern, and replaces all of the figure’s heads with those of animals.

White man, 2015, digital collage

He is creating a new fictitious family, member by member; a tribe undefined by species or time, but which you almost believe could have existed together at some point in history. It is a celebration of differences, both in humans and nature. For his ‘Typography Landscapes’ series Debongnie works with old paintings and engravings, placing bold words and phrases within the scenes. Through his careful placement, the text not only conveys a message but also becomes the image, with the image in turn becoming the message.


Marthe, 2014, digital collage


God, 2015, digital collage


Joseph, 2013, digital collage

Gustave, 2014, digital collage

Georges, 2014, digital collage

Jill, 2014, digital collage


Sentinel, 2015, oil on canvas, 145 x 220 cm

János Kujbus


ános Kujbus’ paintings are small stories depicting possible conditions of humans in society. While some figures appear in everyday settings: in a gallery, a garden or a seemingly mundane domestic environment, others are placed in stark and hypnagogic abstract dimensions. It is the meeting of the real and surreal which sees Kujbus’ paintings of the ordinary becoming extra-ordinary. Whether eliciting a positive or negative response, Kujbus intends to provide the audience of

his paintings with more ways of thinking and viewing. Kujbus has exhibited reguarly in group and solo shows across Europe, predominantly in his native Hungary as well as Germany and Poland. He is currently based in Debrecen, Hungary.


The Three Princes, 2015, oil on canvas, 125 x 195 cm

Training day, 2015, oil on canvas, 133 x 229 cm


No Comment Vol.3, 2013 exhibition view, TIC Gallery, Brno, Czech Republic

Petr Krátký & Jan Zdvořák, 2009, exhibition view, Gallery Klatovy Klenová, Czech Republic, Photo by Michal Lepší

Petr Krátký


hether tapping out the sound of sculptures in public spaces, retelling personal accounts of the course of an art residency or recreating an exaggerated kneeweakening reaction to a painting in a museum, Petr Krátký’s videos often see him placed as the protagonist of the piece as he navigates and reacts to the gallery environment.

mediums see him pushing his creative approach to art and its presentation. There is a serious, deadpan note to his performance style, despite the humour of the acts that he performs.

While his works could predominantly be seen as comments on the gallery scene; his fascination with the formal criteria and limitations of artistic

Based in Prague, Krátký runs the city’s independent Gallery 207 at the Academy of Arts, Architecture and Design. His work has been nominated for numerous awards and selections such as the Szpilman Award, Chimera Art Award and Other Visions (PAF).


The self-portrait, 2016, still image from HD video, in loop


Carol Brown


hotographer Carol Brown’s time working in independent film helped to develop her style as an artist; whether working with wardrobe, or as a still photographer, she used the experience to learn as much as possible. As an artist, Brown’s images hold an autobiographic quality, as we are offered snatched glimpses into her everyday movements albeit from an abstract perspective. We are the fly on the wall to her explorations and heightened awareness of her environments. As the photographer turns her gaze to the world around her, the lush textures and tones of her images reveal darkened tunnels, cracks and decay. We are witness to her leafy, watery investigations and night time city walks; the fleeting moments

Miss Ives, 2016, digital photograph, 66 x 97 cm

that have caught her attention now holding the viewer as we take on her perspective and find the meaning in the seemingly mundane. Originally from the UK where she studied Fine Art and Photography in Birmingham, Brown has since relocated to New York. Continuing her work in independent film, she was awarded the best director award from the Thanet International Filmmaker Festival in 2010 while also earning nominations for best documentary and cinematography for her documentary film ‘Jamaica Jamaica’. Her first solo show took place in Artifact Gallery, New York, at the start of the year, and she has been selected to show her work at The XI Florence Biennale in 2017.


Tears From My Eyes, 2014, digital photograph, 69 x 122 cm

Tunnel Vision, 2014, digital photograph, 50 x 89 cm


Like Old Times, 2016, digital photograph, 50 x 89 cm



And It Feels So Good, 2014, digital photograph, 40 x 89 cm



Rosie Leventon


osie Leventon creates sculptural installations which fill both rooms and landscapes, intervening and interacting with their environments. An interest in archaeology and ancient cultures has seen her work embracing the use of unconventional mediums; experimenting with everyday objects and mass-produced industrial materials and using them in innovative ways. Matter which has been used before - such as recycled mobile phones flattened into thick sheets, copper central heating pipes compacted into briquettes and paperback books, stacked and sculpted into new formations - hold a particular resonance for the artist, as the object’s reincarnation connects to the past, adding new meaning to the work.

It is interesting to see how your installations interact with their surroundings, sometimes gently mirroring the landscape, while at other times actively intervening with the space. To what extent do you consider location while conceiving a new piece? If I’m working out of doors the location is the most important thing. It’s this that generates the idea and tells me what should be done. Taking the example of a recent commission ‘Now & then’ which was made for the Woodland Trust for

an amphitheatre because it has no seats. Instead it has steps that spiral down connecting us with different archaeological layers as we progress down into the past and up again into the light. The English Oaks that surround it should create private space in years to come and are also immensely important to wildlife.

their newly created woodland Queen Elizabeth Diamond Jubilee Woods at Normanton le Heath in Leicestershire. There had been decades of archaeological excavation on site. A Bronze Age palstave had been found by a farm worker in the 70s and there were other finds dating from the late Neolithic era right through to the Medieval period. The piece I made differs from

I discovered, and also while exploring the forest I noticed there didn’t seem to be anywhere for the deer to find water ; so the earthwork I made filled with water and is now used by the deer and dogs for swimming! B52 was made at the time of the Iraq war. My idea was to subvert the aggressive power of the B52 American bomber - used with such devastating effect in many of

I’ve completed two commissions for Stour Valley Arts, ‘Ring’ and ‘B52’, now sited at King’s Wood in Kent. Ring may refer to a Medieval dewpond

Up the Duff 2, 2014 – 16, celotex and raw pigment, 267 x 112 x 112 cm


The green one - B52, 2004, clearing in the Sweet Chestnuts. King's Wood Kent, 98 x 112 m

the wars over half a century - into a negative form cut into a monoculture of coppiced Sweet Chestnuts. The shape allows light and biodiversity onto the forest floor. When working indoors I often take the architecture of the space as a starting point and use it to build in a work which should cause a new way for looking at and using the gallery, such as in the ‘False Floors’ and ‘Floating Floors’ series.

different possibilities and metaphors in them. Then when I am working on an idea it’s a matter of finding which of the possibilities fits the idea best. For a recent series called ‘Up the Duff’ I used Celotex; the material is ubiquitous and used in the building trade for insulation of floors and ceilings. It’s a cheap foam-like substance and for me represents the building techniques of the present in stark contrast with the architectural forms I have constructed which refer to buildings which are so long lasting and well-constructed.

Tell us more about your process using unconventional materials, do you create a concept first and then source the material, or does the material act as the catalyst for a new work? I’m particularly interested in materials and in their specific properties, so am always seeking

This is the sort of architecture we probably don’t see every day - everything from pigeon cots, termite mounds and Buddhist Temples. Some of the artworks are hollow and can be entered, others are closed and their interiors viewable through apertures. I aim to create a dialogue between the industrial mass produced material and the hand crafted and hand-painted sculpture.


Somewhere a door slammed, 2009 - 14, paperback books, 175 x 147 x 181 cm

All of your works have an extraordinary tactile quality, and I really admire the fact you often encourage the viewer to touch and interact with them, do you find this additional sensory act can add a whole extra meaning to a piece? Of course I know some materials are easily damaged and so it’s understandable that they need to be protected. But I think a lot of people feel frustrated by not being able to touch artworks, it does seem to me that you get a much deeper connection to art if you can feel the surface with your hands. Particularly with sculpture the material conveys its meaning through its surfaces. It also helps to break down barriers. I know Barbara Hepworth felt the same

and would probably not be pleased to see how her sculptures are treated so preciously. All of my work can be touched and I enjoy it very much when people and animals interact with the work. What are you currently working on? At the moment I am working on proposals for a Residency in Spain and learning to make a mould so as to have some small pieces cast in bronze.


BETWEEN, 2012, acrylic color on canvas, 20 x 30 cm

Marc Abele


ainter and illustrator Marc Abele creates work which documents the characteristics that come from the brush and the pencil, translating his abstract thoughts into nonverbal symbols across the page.

With a single word or idea such as ‘between’ acting as an impetus, Abele engages in exploring these verbal triggers visually, creating extensive series’ of work in multiple forms and mediums which all stem from the same starting point. The uncertain number of artistic possibilities

for each unwritten catalyst gives impulse to the artist’s actions, and stimulates new thought processes and images in the face of the vastness of his task. Based in the South of Germany, Abele’s work has been exhibited internationally and appears in private collections around the world.


BETWEEN, 2013, acrylic color on canvas, 30 x 20 cm


Roots, 2016, 25 x 38 cm

Clare West


orking primarily with film, Clare West studied black and white photography in London, undertaking workshops with many leading artists in the field including Richard Kalvar and the late Mary Ellen Mark.

placed compositions are observations of all which may have changed in the space between the photographs, and all that remains inherently the same.

Her ‘Line|age’ series is a personal and creative musing on the subject of women. Taking her carefully sourced collection of vintage photographs as a starting point, she uses them to reflect on ideas of heritage and the roles played in society, pairing them directly with her own images to form diptychs. These powerfully

Based in Brighton, East Sussex, Clare West exhibits her photographic work locally and online through Saatchi Art.


The Muse, 2015, 40 x 25 cm


Diptych I, 2016, 36 x 15 cm


Diptych II, 2016, 36 x 15 cm


Lotus Feet, 2016, 38 x 25 cm


'Ace Heartbreaker', 2016, 38 x 25 cm


Paola Gracey


background in chemistry is a key influence in the work of Paola Gracey, both aesthetically and through her scientific approach to creating new pieces.

Her process sees her manipulating paint through dripping, tipping and mixing, recording her findings as if part of a scientific study and using these details to replicate the physical and chemical conditions that are necessary to accomplish her artistic goals. While in the laboratory Gracey is a precise chemist, being in the studio allows her the freedom of experimentation as she explores the effects

Kinetic e xxxx, 2015, acrylic, glitter and epoxy resin on canvas, 30 x 40 cm

of acrylics, oils, resins and other additives in bright and contrasting colours as they combine, separate and spread across the canvas. The effect is a visual feast of glossy, abstract forms that stimulate both the eyes and imagination of the viewer. Based in Miami, Florida, Gracey has exhibited regularly in both group and solo shows across the state. Last year she was commissioned by prestigious advertising agency Saatchi & Saatchi to create a mural at their corporate offices in New York City.


Kinetic e XXXXII, 2015, acrylic and epoxy resin on canvas, 48 x 48 cm


Durga Garcia


urga Garcia is a portrait photographer based between Florida and South Carolina in the USA, with several months of the year also spent living in the Netherlands. She has been working as a professional portrait photographer for the past eight years and in this time has won numerous international awards for her work. The photographer’s latest figural studio series ‘Time Tells’ places each image’s protagonist in a desperate position; however each awkward stance is juxtaposed by Garcia’s use of fresh leaves and flowers, which accompany each figure as an assurance to a sense of hope for the future. Through carefully placed light and

Time Tells #10 Reunion, 2016, limited edition archival photograph, 40 x 62 cm

shadow the stark and unexpected images draw in the viewer to consider the subtle nuances of the scene. The series has been collated into a book, and will be exhibited at Palm Beach State College in September, and as a solo show in Athens this December. As well as being collected by private homes, Garcia’s work is in the permanent public collections of the South Nevada Museum of Art, the Centre of Fine Art Photography, the International Museum of Digital Art and the Latin American Museum of Contemporary Photography.


Time Tells #6 Caution, 2016, limited edition archival photograph, 62 x 40 cm


Vance Houston


ased in Nevada, USA, Vance Houston is a completely selftaught origami artist, creating contemporary geometric sculptures in paper.

Cubic Consumption of Space in Origami, 2015 Hand Folded 7.6 cm Square Paper; 2,560 Sheets 66 x 71 x 71 cm

Each piece brings new discoveries in terms of technique and construction, and spawns countless new ideas for Houston, continually inspiring him to evolve the complexity of his work in the pursuit of knowledge of maths, form, geometry and design.

Referring to his work as ‘Paper engineering’, Houston’s practice sees him weaving thousands of individual sheets through a process of symmetry, rotation and repetition without using any form of adhesive to create organic designs based upon uniform geometry. His original self-created interlocking base fold provides a structural integrity that is unlike anything previously seen in Origami. The mathematical

Alongside his sculptural works, the artist has recently begun creating two-dimensional conceptual pieces directly related to his origami structures. When shown together there is a clear link between the two styles and the extent to which they are influenced by one another, in terms of mathematical approach and depiction of geometrical forms.

principles used to create each piece dictate the final appearance, meaning often the outcome is unknown to the artist until completion.


Geometric Deception: Canvas Painting Series, 2016, acrylic paint on canvas, 101 x 76 cm


Reflected Image in Origami, 2016, hand folded 7.6cm square paper; appx. 2,700 sheets, 64 x 69 x 69 cm


Mirrored Geometry: 27x27x27 Cubic Grid, 2016 mixed media - white sulphite paper, acrylic paint, marker, spray paint, particle board, 122 x 122 cm

Geometric Deception: Canvas Painting Series, 2016, acrylic painting on canvas, 101 x 40 cm


Chinese bride, Pont Alexandre, 15 x 21 cm

Karen Thomas


lthough heavily distorted through her use of quick loose movements and thick layers of paint, the identity of each figure in Karen Thomas’ work is instantly recognisable, as painterly depictions of icons of pop culture emerge from her confident brush strokes. The artist’s method of working instinctually on several pieces at the same time sees her moving between canvas and paper, small

format to big format, resulting in different themes developing as she depicts the likes of Jane Fonda, the Village People and Batman. A British artist based in Montpellier, France, Thomas’ work has been featured in shows around the world, including exhibitions in the UK, USA, France and Germany.


Barbie, 2016, sheet canvas, 65 x 50 cm


Probability, 2016, bronze rotating on a bath stone base, 45 x 19 x 10 cm

Philip Hearsey


hilip Hearsey specialises in sand casting in bronze, a technique which creates an individual one of a kind piece each time, even when casting from the same pattern, the character of each enhanced by unique patinations and small imperfections which are celebrated for their inimitable quality.

gilding, colour washing and finishing until he has achieved his original visual aim.

Hearsey’s process is instinctive and spontaneous; working with a clear image in his head of how he would like a piece to look, his method sees him making, refining, patinating, polishing,

The final touch to Hearsey’s work is to choose the name for each piece; this is a very personal process for the sculptor, who chooses titles with care and a certain ambiguity – they are not intended to be prescriptive but to leave room for the viewer’s own interpretation.


The Greeting, 2012, bronze on an oxidised brass base, 44 x 34 x 34 cm


Propagating the Species, 2016, digital photography, 36 x 24 cm

Coyness, 2016, digital photography, 36 x 24 cm

Barrie Dale


hat do you see when you look at the work of Barrie Dale? New worlds appear from everyday moments in nature as his extreme close-up photography captures the almost-unseen, changing the way we look at the delicate leaves and flowers in front of us.

Through his lens, Dale meticulously follows the changing of seasons, and how light transforms the features of the flora that surrounds him. He is particularly drawn to indications of tension, imbalance and movement, often observing similarities between plants and dancers.


Reluctant Revelation, 2016, digital photography, 36 x 24 cm


Stars and Light, 2016, digital photography, 36 x 24 cm



In the Ascendant, 2016, digital photography, 36 x 24 cm



Upcoming artist exhibitions Adriaan van Heerden Art GeminiPrize 2016 Finalists’ Exhibition, Asia House, London 22 - 30 September 2016 Windsor Contemporary Art Fair, Windsor 11 – 13 November 2016

Carol Brown Little Treasures 2016 Galleria De Marchi, Bologna 26 November - 8 December, 2016

Durga Garcia

LGBTE Arts 2016 "Nobody is Perfect", Turin 3 - 13 November 2016

Karen Stamper New Artists Fair, London 10 - 11 September 2016 Cambridge Art Fair 1 - 2 October 2016

Karen Thomas The Other Art Fair, Truman Brewery, London 6 - 9 October 2016

Photography Invitational 2016 Palm Beach State College, Florida, USA 13 September - 14 October 2016

Open Studio, Montpellier 25 - 27 November 2016

The Best of Durga, a solo Show Art on the Park Gallery, Lake Park Florida, USA 1 - 30 September 2016

ART.FAIR Cologne (with LDXArtodrome Gallery) 27 - 30 October 2016

Fu Wenjun Santorini Biennale, Santorini 1 September - 15 October 2016 Historical Prize for Contemporary Artists, Rome 10 - 18 September 2016 Premio Arte Roma, Rome 16 September - 30 October 2016 3rd International Biennial of Contemporary Art of Argentina, Buenos Aires 5 - 10 October 2016

Marc Abele

Nicolas Vionnet Silence Gallery widmertheodoridis, Eschlikon (Switzerland) Ends on 8 October 2016 Les jours des éphémères Alpines Museum Schweiz, Bern (Switzerland) 9 - 10 September 2016 Regionale 17 Kunsthalle Palazzo, Liestal (Switzerland) 26 November 2016 - 8 January 2017


Paola Gracey

Sinclair Ashman

The Kinetic e- Exhibition Center for Visual Communication. Miami, FL Until 31 December 2016

Anomalies: printmaking by Sinclair Ashman. Barton upon Humber 10 September - 30 October 2016

Petr Krátký

Stephen Tierney

2x3=6 City: Prague, Czech Republic Gallery: The Běhal Fejér Institute. Authorial exhibition project of Petr Krátký, Martin Hrubý, Viktor Takáč, Petr Dub, Tomáš Moravec and Matěj Al-Ali 14 - 21 October. Opening event: 13.10.2016

Without Nothing China Heights Gallery Sydney, Australia 18 - 20 November 2016

Philip Hearsey Sculpture at Doddington Hall 30 July - 11 September 2016 Affordable Art Fair, Bristol Represented by Degree Art 9 - 11 September 2016 Affordable Art Fair, London Battersea Represented by Degree Art 20 - 23 October 2016 Affordable Art Fair, Singapore Represented by Degree Art 18 - 20 November 2016 Edinburgh Art Fair Represented by Number Four 18 - 20 November 2016

Philippe Debongnie Extra Small, Brussels 23 - 25 September 2016

Susie Monnington Mixed Show, Ashdown Gallery, Sussex 6 September - 5 October 2016

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