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Contemporary Artists & Exhibitions

Issue 8 spring 2017

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Sculpture Exhibition 12 May - 2 Oct 2017

Explore a remarkable collection of artwork in bronze, resin, stone, metalwork and ceramic, displayed within a historic Garden setting. Sponsored by

Haywards Heath, West Sussex, RH16 1XP


ART FAIR 20 & 21 MAY 10AM - 5PM

Admission £4, Concessions £3, under 16s & LAC members FREE


Landmark Arts Centre

Ferry Road, Teddington, TW11 9NN. 020 8977 7558 Registered Charity No: 1047080

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The smallest of artworks can have the biggest impact, and in this issue we’ve featured a group of artists who are proving that bigger isn’t always better. Playing with size and scale, these works can leave the viewer enchanted. Isobel Cortese (whose work can be seen on the cover), creates scenes in miniature that deal with issues impacting the entire globe. When scaled down to minute proportions the viewer is immediately sucked in and consequently left to ponder their place in the universe. Visually bold with an impact that hits the viewer from first glance, the work of collage artist Nicola Kloosterman too has small beginnings, as each piece evolves from a single piece of paper. From this lone catalyst an entire narrative is formed; a story so big it practically spills from its page, filling the whole of the empty space between artwork and viewer. All of these featured artworks extend from the perimeters of their solid form. They are giants in a tiny world, no matter how big they may physically appear.

EDITORS Kieran Austin Toby Oliver Dean COVER IMAGE Isobel Cortese, The Burial 2016, mixed media, 13 x 13 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.

"Inspired by my love of dark comedy, this was the first piece I created in the disposal collection. Humorous tales of revenge capture the unfortunate ending of an unknown story. They are left to the imagination as to how the situation came about, creating a myriad of possibilities." Isobel Cortese

Exhibitions 10 Talented Art Fair 11 Fu Wenjun

12 Fresh Art Fair 17 Landmark Art Fair

Interviews 18 Isobel Cortese 34 Michael Vincent Manalo

60 Nicola Kloosterman

Artist profiles 22 26 30 38 44 48

Stephanie Wilkinson Ant Pearce Jorge Mansilla Sarah Jane Brown Martina Marie Manalo Tavin Davis

52 54 66 70 78 80

Etienne Clement Peter Monkman Ute Laum ENTITEE.UK HoJung Jun Anthony Crammen

Artist showcase 84 86 90 92

Simon Kirk Barrie Dale Vincent Donlin Linda Lasson

Artist exhibitions 110 Upcoming artist exhibitions

94 Carol Brown 100 Alan Sbaffi 102 Shannon Sait 108 Miroslav Trubac


Jamie Twyman

Lesley Dabson

Talented Art Fair 17 - 19 March | The Old Truman Brewery, London


ounded by Oliver Norris and Leah Michelle, the team behind the popular New Artist Fair, Talented Art Fair is a brand new exhibition event for 2017 offering the public a friendly and affordable place to purchase art directly from established and emerging artists. Their aim is to fill the gap in the art fair market for artists who have a successful track record for selling their work, and who may also have gallery representation, but want to introduce their art directly to the general buying public in London. Talented Art Fair will present a relaxed and inspiring environment for visitors, while giving artists a physical platform to interact

personally with their collectors. With affordable art available to buy directly from over 90 of the most exciting established and emerging artists working today in Britain and internationally, the exhibition is the perfect opportunity to begin or expand your art collection. Talented Art Fair will take place in the iconic Old Truman Brewery, between Brick Lane and Spitalfields Market, from 17 to 19 March. Tickets for the private view and general weekend entry are available via the website. For more information visit:


A Showy World 2015 photography 140 x 175 cm

Fu Wenjun 28 March - 2 April | London Art Biennale, London


hinese contemporary artist Fu Wenjun creates artworks which tackle 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 globalisation, industrialisation and the urbanisation 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. This year Wenjun will be bringing his work to the UK, having been selected to show at the London Art Biennale which takes place at the end of March. The prestigious exhibition focuses on painting, works on paper, sculpture, applied arts and digital art, professionally curated to give the viewer a stimulating yet coherent experience. Galleries, critics and collectors will be able to see and appreciate artworks from all over the world, including Wenjun’s, with different cultures, styles, ideas and artistic expressions that represent the art world in its global entirety. For more information visit:

12 EXHIBITIONS Fresh: Art Fair

Fresh: Art Fair

Alan Halliday

12 - 14 May | Cheltenham Racecourse, Cheltenham


his spring sees the launch of a brand new major contemporary art fair in Cheltenham; giving art lovers the opportunity to see art in a different way outside of London.

Fresh: Art Fair, which will take place in May at Cheltenham Racecourse, will fill the gap currently under-served by other art fairs, making quality art more accessible to the regions. The fair will host 45 of the UK’s best contemporary galleries – many of which are rarely seen on the UK art fair circuit – bringing with them some 5000 paintings and sculptures

from over 400 established and emerging artists. On show will be work from internationally acclaimed and collected artists, including the likes of Bridget Riley, Mary Fedden and Sir Peter Blake. Behind Fresh: Art Fair is father and daughter team Anthony and Eleanor Wardle, who have their own Paragon Gallery in Cheltenham with extensive experience in the art fair world. Their aim is to bring new ideas and fresh faces to provincial art fairs with galleries that are rarely seen on the UK art fair circuit. As Anthony explains; ‘If there’s one word to describe Fresh:

Fresh: Art Fair EXHIBITIONS 13

Peter Wileman

14 EXHIBITIONS Fresh: Art Fair

Adam Binder

Sophie Ryder

it’s accessible. We aim to help newcomers to contemporary art to understand what they’re seeing and what they love. We hope to expand the horizons of art enthusiasts and help established collectors discover new talent. In the practical sense, we’re also really easy to get to, only 10 minutes off the M5 and with unlimited free parking’.

Serving Cheltenham and The Cotswolds and the surrounding ten county towns and cities, Fresh: Art Fair will take place from the 12th to 14th May. Tickets for the three-day show are from £6 per person, although when bought online one ticket admits two. The Friday is a free day for all visitors, and children under 16 years old have free entry throughout the Fair.

As well as being able to buy new art, visitors are also invited to bring some of their old paintings that they might wish to sell; another exciting aspect of the fair that has not been seen before in the art world. Experts from Fine Art Auctioneers Bonhams will be on-site to provide free valuations. With some of the excitement of The Antiques Road Show, visitors to Fresh: may find they have a treasure in the attic.

With something to suit art lovers of all tastes and budgets from established and aspiring collectors to complete newcomers to the world of art, Fresh: Art Fair is an exciting and unmissable new addition to the arts calendar. For more information visit:

Fresh: Art Fair EXHIBITIONS 15

Iryna Yermolova

16 EXHIBITIONS his style and ways of working, embracing new technologies as he goes, this exhibition shows how the roots of each new direction lay in the work that came before.

Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask National Portrait Gallery, London 9 March – 29 May

Gurnards Head Coast, Oil on canvas, 140 x 120 cm

Paul Lewin: Coast and Cliff Webbs Fine Art Gallery, Battersea, SW11 6SA 18 March - 09 April 2017 This March, Webbs Fine Art Gallery will exhibit works by respected en plein air artist Paul Lewin, in this new show ‘Coast and Cliff’. The artist specialises in depicting remote outcrops of the British Isles, often selecting Natural Trust protected areas as well as those of outstanding natural beauty. On the 18th March the artist will be visiting the gallery to sign copies of his new book ‘Zawn’, which features his latest works.

David Hockney Tate Britain, London Until 29 May This exhibition gathers together an extensive selection of David Hockney’s most famous works celebrating his achievements in painting, drawing, print, photography and video across six decades. As he continues to change

This exhibition brings together for the first time the work of French artist Claude Cahun and British contemporary artist Gillian Wearing. Although they were born almost seventy years apart and came from different backgrounds, remarkable parallels can be drawn between the two artists. Both of them share a fascination with the self-portrait and use the self-image, through the medium of photography, to explore themes around identity and gender, which is often played out through masquerade and performance.

The American Dream: Pop to the Present British Museum, London 9 March – 18 June Starting with the explosion of pop art in the 1960s, this exhibition presents the Museum’s outstanding collection of modern and contemporary American prints for the first time. Tracing the last 60 dynamic and turbulent years of US history, included are works by the most celebrated American artists including Andy Warhol, Jasper Johns and Robert Rauschenberg.


Liz Jones

Yuki Aruga

Landmark Spring Art Fair 20 - 21 May | Landmark Arts Centre, Teddington


he Landmark Arts Centre in Teddington, south-west London, is host to several art fairs throughout the year, showcasing a huge variety of fine art across all media and disciplines.

The first event of 2017 will be the Spring Art Fair, which takes place on Saturday 20th May – Sunday 21st May. Visitors can expect work from over 80 artists from across the country, with exciting work including paintings, sculptures, graphics, print, illustration and mixed media, plus high quality ceramics, jewellery and textiles. The Landmark Art Fairs focus on featuring individual artists, recent graduates and new talent. This gives visitors the opportunity to meet and buy

direct from the artist rather than via a gallery, something that has proved to be hugely popular with both visitors and artists alike. The fair takes place in the Centre which is a Grade II* listed building and 19th century former church. The unique setting and consistently high visitor numbers help to make the fairs enjoyable for artists, visitors and collectors alike. For more information visit:

18 INTERVIEW Isobel Cortese

Isobel Cortese


ased in West Yorkshire, Isobel Cortese creates worlds in miniature; playing with scale to evoke feelings of wonder and enchantment for the viewer. Inspired by the environment and issues of social injustice, her work echoes the state of modern daily life albeit with a dark twist, as she explores themes such as human and animal relationships, murder, and the Syrian refugee crisis. Although scaled down to Lilliputian proportions, the scenes still retain a life-size impact, as we consider the real-world counterpart of her depictions. Cortese has been exhibiting her miniature pieces across the UK since 2014, and this spring will see her work displayed at The Talented Art Fair in London. When did you first start creating works in miniature? I first started working in miniature in 2014, my work originally started as verdant worlds, in which all the scenes were related to nature. But my work has evolved into darker scenarios and collections that have deeper stories to tell. What inspired you to first start making work in this scale? It all begun from a piece of school work that my son came home with. It was a labelled picture showing how to make a bottle garden. I loved the idea and the following week I had found my

first glass vessel at a second hand market and the journey begun. I used moss to begin with and liked the way it resembled trees and grass in miniature. It was a natural progression to add little people and make them into stories. I never anticipated how it would evolve; I have enjoyed the journey so far and am excited to see how it will grow! Tell us a bit about your process, from idea to creation. Once I have an idea, I create quick sketches and written notes of what I want each scene to contain. When I feel I have enough material to

Isobel Cortese INTERVIEW 19

On safari, 2016, mixed media, 13 x 13 cm

20 INTERVIEW Isobel Cortese

Bombed, 2016, mixed media, 13 x 13 cm

work from, I then start gathering all the elements that I need and begin to create the little worlds. I always refer back to my original notes which are adapted throughout the process as the work evolves. Do you find you work on just one series of works at a time or are there a constant mix of ideas? There is always a constant mix of ideas in the background. I have to filter out the ideas that take priority and then I become absorbed into one idea for some time until I have created a body of work on a particular theme. But there are always lots of ideas bubbling away, waiting for the right time to materialise! Do you have a close personal connection with the themes your work explores? Definitely - my earlier work of verdant worlds

came from my love of nature. But my sense of injustice in the world spurred me to create the work on the Syrian refugees. I wanted to create an art piece showing this treacherous journey as it is an issue that I feel a great sadness about. Then my Beastly Imaginarium works are darkly comic, I think they reflect my love of dark humour and oddities, but with the underlying message about our relationship with animals. Ideas of scale seem very important to your works; what impact do you feel the pieces have in miniature compared to a larger scale sculpture? I absolutely love working in miniature because small is powerful! From afar, my work can look like pretty little scenes, that draw people in to have a closer look. Only to find something quite different than what they expected. I love that element of surprise and the enchantment that is

Isobel Cortese INTERVIEW 21

Let's go clubbing!, 2016, mixed media, 13 x 13 cm

evoked when viewing miniatures. I find that the size has a huge impact on people, the content is powerful, especially the work on Syria, which moved a few people to tears. There is something special about working on such a tiny scale. I love it! What challenges do you face during your process, working with such small objects and materials? There have been many challenges to overcome: trying out different materials to achieve the desired results, working out which tools to use to position small objects inside the vessels. You have to be quite imaginative when working on such a small scale; I have had some interesting commissions which have required some experimentation to create the scene they have requested. It is quite intense work, crouched over my desk for hours at a time, so it has even been

a challenge to learn better ways to sit to avoid chronic back ache! What are you currently working on? I am currently adding some smaller works in bottles to my 'Beastly Imaginarium' collection and creating prints of some of the scenes ready for the Talented Art Fair. I am also planning on making a larger collection of work on the refugees to really emphasize the scale of their journey; I will be hoping to exhibit this to raise awareness about their situation. Of course there are a few more ideas that I will be practising on amidst all of this but these will be revealed when they are in motion!

22 ARTIST PROFILE Stephanie Wilkinson

The Balcony View, 2016 acrylic on canvas, 90 x 90 cm

Stephanie Wilkinson


ravel, still life and interiors are constant themes throughout Stephanie Wilkinson’s semi-abstract paintings; transformed through her vibrant colour palette of blues and greens, warmed with expressions of pinks and yellows. Having grown up in the north east of Brazil, motifs of the easy-going landscape such as palm trees and other sculptural plants permeate her work, with new layers of inspiration constantly added through exploration of new locations. Now based in the UK and working from her studio in Teddington, south west London, the artist has developed two distinct techniques when painting, whether in acrylic or pen. The

first sees her using paint and charcoal in a mixed process of spontaneous and considered actions; tightening or loosening the composition, overpainting and erasing. For her graphic pen works on paper where such editing is not possible, her skills have been sharpened resulting in artworks of a more detailed and compact nature. This year will see Wilkinson continue to exhibit her work in different venues across the UK. She is currently preparing a new collection of paintings and prints for her first major London show at The Barbican Library, taking place between the 29th June and 27th July 2017.

Stephanie Wilkinson ARTIST PROFILE 23

The Flower Jug, 2016, acrylic on canvas board, 40 x 40 cm

24 ARTIST PROFILE Stephanie Wilkinson

Lunch at the Villa, 2016, acrylic on canvas, 60 x 60 cm

Stephanie Wilkinson ARTIST PROFILE 25

Teatime Treats, 2016, hand painted print, 36 x 36 cm


BB#3 #5, 2016, ink + thread hand stitched on paper + cotton, 30 x 21 cm

BB#3 #6, 2016, ink + thread hand stitched on paper + cotton, 30 x 21 cm

Ant Pearce


ocusing on philosophical concepts, Ant Pearce considers the fragility of life in his work; examining the human condition while attempting to dissect the physical personality of his subjects. Freud and the writings and philosophies of Dostoyevsky, Kafka, Camus, Schopenhauer and Kant are particular influences in his practice.

before each work in discourse between order and chaos. While ideas of human psychology run through each piece, aspects of narcissism and gender are also explored.

Using a combination of paint, ink and thread in varying formations, abstracted portraits are a recurring motif throughout the artist’s work. As depictions of supermodels, philosophers and family figures emerge from the configurations of lines and blocked colour, the viewer is positioned

Since studying at Central Saint Martins School of Art and Design, Pearce has continued to have his work exhibited and collected in London, the UK, Europe and the US.


BB#3 #9, 2016, ink + gold leaf + thread hand stitched on plywood + cotton, 30 x 21 cm


BB#3 #4, 2016, thread hand + machine stitched on paper + cotton, 30 x 21 cm


BB#3 #10, 2016, thread hand stitched on paper + cotton, 30 x 21 cm

30 ARTIST PROFILE Jorge Mansilla

Jorge Mansilla


Emperor, 2015, sculpture, 30 x 25 x 25 cm

ecycled objects have been Jorge Mansilla’s preferred working material since he started producing artworks in the late 90s, using second hand items to create collage, sculpture and other mixed media pieces.

This was seen in his ‘Wake Up and Smell the Plastic’ series, where the artist used recycled plastic to create a set of ten sculptures each representing ideas of prevailing emotional and psychological worries that plague modern society, manifested in the very products they consume.

Mansilla creates works that fall in the intersection of figurative and abstract, each piece becoming part of bigger series. Each collection of works focuses on a different issue; from spirituality and relationships with nature and death, to mass media production and every day observations of human neurosis. Consumerism remains a running theme throughout, as he attempts to interpret visually a sense of material overloading using the recycled paper and plastics he has collected.

Although originally from Mexico, Mansilla currently lives in Australia where he exhibits regularly, as well as producing work for shows in Europe and the United States. He is also a cofounder of the collaborative digital project Purple Moustacho, along with visual artist Sissy Reyes.

Jorge Mansilla ARTIST PROFILE 31

Domestic Slavery, 2015, sculpture, 25 x 20 x 18 cm

I order you a photogenic meal, 2016, sculpture, 45 x 30 x 30 cm

32 ARTIST PROFILE Jorge Mansilla

Where to start?, 2012, mixed media on paper, 42 x 59 cm

We look the way we feel, 2014, mixed media on paper, 42 x 59 cm

Jorge Mansilla ARTIST PROFILE 33

Father Nature: Here to screw us all, 2016, battery operated sculpture, 35 x 20 x 20 cm

34 INTERVIEW Michael Vincent Manalo

Michael Vincent Manalo


orking with photography, photo-manipulation and installation, Michael Vincent Manalo creates digital visions of alternative, surreal universes inspired by nostalgia and dream-like environments. His work, which also includes digital painting alongside the manipulations, tends to take on a darker path as he documents a decline into post-apocalyptic, nightmarish situations. Born in the Philippines, Manalo is now based in Taiwan, where he exhibits regularly alongside shows across the world. His work has won several prizes in recent years, and in 2014 he was named one of Asia's Top Ten Most Inspiring Visual Artists. Tell us more about your process, and how you first started created digital and manipulated images? It started in 2009, when I wanted to buy a DSLR so badly. Back then I couldn’t afford it so what I did was I tried to learn photo-manipulation, through tutorials on the internet. I didn’t have a camera, I just used stock photos from the internet. I’m self-taught so the ways I did it before was something to be frowned and smirked upon by elitists, sometimes even destructive in terms of editing, but slowly I managed to correct my process of creating by reading and watching tutorials. After work, I would practice every night with my PC which wasn’t so bad, but elitist designers/artists would raise an eyebrow. I have nothing against elitist artists though. Nowadays, I am using a much more powerful computer (whose name comes from a fruit). I’m using it because it really IS good. I got my first DSLR camera almost half a year after my passion for photography started but my passion has shifted from photography to photo-manipulation and now to digital paintings. Most of the time I don’t

have a concept before I start creating, so the concepts would usually pop-up when I select the photos that I will be using. Before, I would use a mouse and edit my manipulated images the same as how I would do for a photograph, but five years ago I purchased a drawing tablet and it totally changed how I work. The world of dreams and imagination plays a large part in your work, often with a sinister edge. Why do you feel you are more drawn to depicting visions of nightmares? Most of the people that know my work, have asked me if I’m alright, if I’m depressed, or if I am a sad man, but I’m not all of those. I like solitude though; I like the feeling of melancholy, dwelling on memories of the past while sunlight would caress my face at the beach or at the break of dawn in my room. Although what I create is usually a reflection of an obsession of a break in the positive mood. An obsession on when worries start to settle in; like when nostalgia is broken by a small thought of a past not necessarily enjoyable to remember.

Michael Vincent Manalo INTERVIEW 35

The Many Faces of a Heartbeat, 2014, photo-manipulation, 100 x 50 cm

36 INTERVIEW Michael Vincent Manalo

Cold, Quiet Nights You Wandered, 2016, digital painting, 100 x 50 cm

Each series of work seems to tell its own story; do you create a narrative before starting on a collection, or does this come as you work? Most of the time, it comes as I work. Sometimes, I would try to link these stories by introducing the same elements and by creating a feeling that they have an interconnected universe, but that’s something I’m still working on. You’ve created installations alongside your digital works; how do the two go together in your practice? What I’m trying to do is to create real life versions of my digital works and I have successfully realised some of them. It all started as a thought to put something we all know something we often underappreciate - into focus; highlighting its flaws, its form, its totality and then twisting it into something the subconscious would likely go into when the mind starts to wander. Those were my usual thoughts when I create my work. This will occasionally deviate

into something deeper and move into symbolic representations of these objects into the universal truths we as humans understand; regardless of race, ethnicity, or even class in society. I created these as photo-manipulations, and I tried to make it look as real as possible, as if I really went into that space and took a photo of an object or a material which in normal, conventional ways, should not be there, or should not even be having a conversation with that moment in time. This fascination grew and then the next step was to make these unnatural juxtaposition of objects and materials into something existing and immersive. When I had the chance to recreate my early works of umbrellas floating in a space during a residency in Melbourne, I decided to make it exist in reality - at least for several months. This project while in its digital form, was mainly to evoke an otherworldly, puzzling feeling of “why” but in its tangible form as an installation, I made it a symbol of immigration, of being an expat, a stranger. It was the perfect place, in one

Michael Vincent Manalo INTERVIEW 37

The Remembrances of the Soul II, 2010, photo-manipulation, 80 x 80 cm

of the world’s melting pots! The black umbrellas were meant to show strength on the outside and on its inside – the weakness, the flaws and the imperfections of people who immigrate, and the added frozen rain on the umbrellas showed the deeper feelings such as homesickness, coping mechanisms, and the struggles. What are you currently working on? I am currently trying to create a series of artworks

together with several amazing individuals here in Taiwan. In this project we plan to have it seen and have interaction with it - through VR. It is still in its planning stages at the moment.

38 ARTIST PROFILE Sarah Jane Brown

Salt in my soul, 2016, oil on board, 30 x 60 cm

Sarah Jane Brown


hades of the Pembrokeshire coast extend across Sarah Jane Brown’s canvases; the familiar coastal landscape acting as a source of constant inspiration to the artist. From her studio in Wales she creates emotive works in oil, using colour and gesture to convey the sensations of light and space wound within the elemental forces of nature. Combining a variety of techniques, Brown’s process sees her staining and glazing in thin layers, building up to often thick and textured impasto. While most of her works remain recognisable as landscapes, conceptually the paintings are expressive outpourings of personal feeling, rather than representations of existing vistas.

A lack of human intervention is noticeable throughout her body of work, reflecting the artist’s affinity with isolation – a state of being which allows her to observe and view the world objectively. This same feeling of solitary observation can be felt within the paintings; each piece promoting a sense of affinity for the viewer with the depicted ancient landscapes. Having exhibited regularly across the UK since 2009, last year saw two solo shows for Brown, ‘The Hallowed Coast’ at the Cloisters Gallery of St. Davids Cathedral, and ‘My Peninsularity’ at Off The Wall Gallery in Cardiff. Her work has also attracted collectors from throughout the UK and overseas.

Sarah Jane Brown ARTIST PROFILE 39

Blowout, 2015, oil on canvas, 50 x 40 cm

40 ARTIST PROFILE Sarah Jane Brown

Crystal, 2015, oil on canvas, 40 x 50 cm

Clear and bright, 2016, oil on board, 30 x 60 cm

Sarah Jane Brown ARTIST PROFILE 41

Breathe it in, 2016, oil on canvas, 50 x 40 cm

42 ARTIST PROFILE Sarah Jane Brown

Title, YEAR, medium, H x W cm

Messages, 2016, oil on canvas, 80 x 80 cm

Sarah Jane Brown ARTIST PROFILE 43

Just be, 2016, oil on canvas, 41 x 33 cm

44 ARTIST PROFILE Martina Marie Manalo

Time Traveler, 2016, 38 x 58 cm

Martina Marie Manalo


reams, nostalgia and melancholic memories are amongst Martina Marie Manalo’s inspirations for her pensive photographs, which focus on quiet architectural moments and mysterious urban locations. Having begun her journey in the visual arts with abstract textural paintings, a move from the Philippines to Hong Kong in 2015 saw Manalo discovering a new love for photography along the way. Now she seeks out moments of subtle beauty in her surroundings, using her camera to

capture moments she describes as ‘Minimal but avant-garde, deep but subtle’. Although a completely self-taught artist, Manalo has found success exhibiting, and has had her work featured in the Philippines, UK and USA. Her first solo photographic exhibition opened in February at the Kulay Diwa Gallery of Philippine Contemporary Art.

Martina Marie Manalo ARTIST PROFILE 45

Momentary, 2016, 38 x 58 cm

Take Me With You, 2016, 38 x 58 cm

46 ARTIST PROFILE Martina Marie Manalo

4116, 2016, 38 x 58 cm

The Separation, 2016, 38 x 58 cm

Martina Marie Manalo ARTIST PROFILE 47

The Weekend, 2016, 38 x 58 cm

The Beginning, 2016, 38 x 58 cm


Anomaly (in red), 2016, mixed media on plexiglas, 81 x 111 cm

Tavin Davis


escribing his paintings as ‘Visual philosophy’, Tavin Davis creates Obstructivist works that attempt to challenge form and compositional balance, placing particular importance on the underlying concept of each piece. Through the use of scale, repeated shape and minimal colours, his works push the ideals of minimalism through concept and form. His process sees him working with a combination of acrylic paint, oil paint, inks and spray paints, applying them directly to layered sheets of clear acrylic. Simplistic geometric lines and curves

are combined with expressive accents of colour, creating an almost three-dimensional experience through the overlapping shapes; heightened by the ever-changing light which creates new shadows amongst the physical paint and ink. Based in Bozeman, Montana, Davis has been studying graphic design at Montana State University. His ‘Obstruction of Form’ series is currently on display at the Style A Gallery in Bozeman.


Contrapposto, 2016, mixed media on plexiglas, 111 x 81 cm


Balanced Form, 2016, mixed media on plexiglas, 40 x 50 cm


Funneled Form (in green), 2016, mixed media on plexiglas, 60 x 38 cm

52 ARTIST PROFILE Etienne Clément

01 Boudoir. An Exhibition Private View, 1720, photography, 123 x 171 cm

Etienne Clément


tienne Clément takes on the role of storyteller when creating his alluringly complex works which consider the act of childhood play, creating narratives that are never being entirely believed by the viewer.

His carefully constructed facsimiles of architectural situations blur the line between fact and fiction, examining the suspended state of uncertainty. While the tableaux provide selective reference points to the real world, the viewer is left wondering their position within the microcosm of the work.

Originally from Paris, Clément is now based in London. He has exhibited in prestigious venues across the UK including the V&A Museum of Childhood, the Architectural Association and the BALTIC Centre for Contemporary Art in Gateshead. His next solo show is scheduled for this summer, 2017.

Etienne Clément ARTIST PROFILE 53

02 Boudoir. An Exhibition Private View, 1720, (detail), photography, 40 x 40 cm

54 ARTIST PROFILE Peter Monkman

Peter Monkman


dark edge runs throughout the work of Peter Monkman, where moments of innocence are depicted with an overlaying sense of transformation. This concept of ‘the Changeling’ is a recurring theme throughout his paintings which substitute idealised notions of childhood with more unsettling representations suggesting new narratives of transformation and change. Recent works - such as those in his ‘Fugitive’ series - see the artist exploring these ideas further, citing Charles Baudelaire as an influence in his attempts to capture the ‘ephemeral and fugitive’ and the ‘eternal and immutable’ within his paintings.

Changeling: levitate, 2013, oil on linen, 100 x 150 cm

In the paintings from this series, Kafka-esque insect legs emerge as the fugitives from the portrait, the thick oil paint expressing a metamorphosis within the canvas while the loose gestural brush strokes suggest the ungraspable. Monkman continually experiments with genres of art history and sci-fi using the physicality of paint as a medium for expression. Amongst his various awards, 2009 saw Monkman win first place in the National Portrait Gallery’s prestigious BP Portrait award with his painting ‘Changeling 2’. He has exhibited widely nationally and internationally and is represented in private and public collections.

Peter Monkman ARTIST PROFILE 55

Sentinel, 2015, oil on linen, 120 x 50 cm

56 ARTIST PROFILE Peter Monkman

Fugitive 1, 2015, oil on canvas, 100 x 80 cm

Peter Monkman ARTIST PROFILE 57

Fugitive 2, 2015, oil on canvas, 100 x 80 cm

58 ARTIST PROFILE Peter Monkman

Metamorphosis (Monet), 2017, oil on canvas, 50 x 40 cm

Peter Monkman ARTIST PROFILE 59

Metamorphosis (Cezanne), 2017, oil on canvas, 50 x 40 cm

60 INTERVIEW Nicola Kloosterman

Nicola Kloosterman


eginning each new work with a single image or piece of paper, Dutch collage artist Nicola Kloosterman composes visual narratives that reflect the incomprehensible, the invisible, the immeasurable and the infinite. Finding inspiration in shape and colour, the female body, hands, botanicals, and vintage printed material, the artist selects papers and fragments of images that speak to her, carefully recycling them into a new context and story. Kloosterman’s collages have won her the Dutch ELLE magazine’s illustration contest in 2016 and simultaneously grabbed the attention of online art platforms including The Jealous Curator, Juxapoz Magazine and Her work is also included in the publication Making The Cut: The world’s Best Collage Artists.

Has collage always been your medium of choice? Not at all, in fact I only started making collages a little over a year ago. However, it had me instantly hooked and has been my medium of choice ever since. In addition to my collage work I am a printmaker specialising in printing on textile. My printmaking has been put on a backburner since I started collaging but I still adore all kinds of printmaking and I would love to experiment with a crossover between printmaking and collage at some point. Do you have a system for sourcing and collecting images to use for your collages? It’s incredible how much material one can acquire over a year and I have been forced to think

about some sort of archive system for my images. I source images from local car boot sales and charity shops. I’m always on the lookout for great imagery and good finds are better than chocolate. Sometimes I also keep snippets from free magazines or advertisements. Once I have acquired a magazine or book I look through it roughly and cut out images that immediately jump out. The book is then put on top of an ever growing pile for future grazing. The selected images are kept in a large cardboard box (my treasure chest) which holds all images I know I want to use at some point. I have tried a more precise method of indexing my images into folders that are more descriptive: body parts, landscapes, textiles etc. I am quite a chaotic worker so it turns out I prefer to let an image

Nicola Kloosterman INTERVIEW 61

It’s Complicated, 2016, found images on paper, 29 x 21 cm

62 INTERVIEW Nicola Kloosterman

Reveal, 2016, found images on paper, 9 x 15 cm

come together more organically after having a rummage in my large box. Often I will find something other than what I was looking for that leads me down a whole new path. However sometimes I do need a pair of hands or legs and I am sorry not to have filed my snippet neatly away in an easily accessible file. How much editing goes into creating each image before they are finalized? Do you find they take on many different formations before being stuck down? YES! This can be tedious sometimes, when two versions of an image seem work equally well. Sometimes an image can feel like it’s not quite clicked and I will leave it on a white background in my studio. Sometimes it ends up being taken apart, sometimes something is added. Once an image has come together and I am happy I will glue the papers together, but often not glue onto

a background yet. I like to keep the background decision until the framing moment, but sometimes I do glue directly onto paper. What are you currently working on? 

 I love to do small and quick collages on a regular basis and always have a few larger unfinished pieces lying around waiting for a missing piece. I am also working on expanding my commission-based work in order to build a balanced practice between commission and selfinitiated work. At the moment my first solo show has started in Amsterdam and I am enjoying all the feedback I have gotten from this.

Nicola Kloosterman INTERVIEW 63

Out of Office, 2016, found images on paper, 40 x 30 cm

64 INTERVIEW Nicola Kloosterman

Bloom, 2016, found images on paper, 40 x 30 cm

Nicola Kloosterman INTERVIEW 65

Closer, 2016, found images on paper, 29 x 21 cm


Hanami II, 2016, acrylic on canvas, 85 x 160 cm

Ute Laum


aking inspiration from the nature found in her everyday surroundings, Ute Laum creates works that are rich in abstract colour formations; overlaying bold blocks of pigment with emotive brushstrokes across the canvas, while paying homage in paint to the special lighting conditions and bizarre vegetation formations that are characteristics of the thinly populated coastal area of Germany where she lives and works. Although it is clear that the artist has mastered her technique, she admits to embracing occasional mistakes; allowing the freedom of risk taking to lead to extraordinary results. Keeping her painting open to all possibilities and directions,

her artworks begin unplanned, allowing instinct and expression to guide the brush. Building colours in acrylic layer by layer, connections are made as the paint is applied, building depth both visually and emotionally. Laum continues to exhibit her works regularly across Germany and Europe in both group and solo shows.


Cascade, 2017, acrylic on canvas, 100 x 60 cm


Just breathe II, 2015, acrylic on canvas, 100 x 100 cm


Just breathe I, 2015, acrylic on canvas, 80 x 80 cm


ARRIVAL, 2016, photography, 59 x 84 cm



reating work under the moniker ENTITEE.UK, London-based artist Wojtek Grabalowski has seen his work take on mysterious new directions, collaborating with mask makers Wintercroft on a series of ambitious and visually stunning photographic projects which push through into a universe of otherworldly aesthetic appeal.

lamps, smoke machines and lasers heightened the location to a new realm of possibility. This elaborate set up allowed for the abstract images to be captured in photographic form with minimal use of photo manipulation software. Clad in masks made by, the images see the dancers morph into beings of the deep and dark, beckoning the viewer forth – although to where and to what is left unexplained.

For the VOID photo series he brought together a polymorphic collective of creatives including a photographer, make-up artist, garment painters, dancers and laser technicians to see his vision come to life. Crossing art and fashion, the project was designed and built on a photoset, although the use of fluorescent neon paint, UV

ENTITEE.UK is currently working on a new project and searches for possible collaboration routes for future ones.


CONNECTION, 2016, photography, 59 x 84 cm

DESTINY, 2016, photography, 59 x 84 cm


HUNTERS, 2016, photography, 59 x 84 cm



ECHELON VOID, 2016, photography, 59 x 84 cm

GAZE, 2016, photography, 59 x 84 cm


DAWN, 2016, photography, 59 x 84 cm

VORTEX, 2016, photography, 59 x 84 cm


REFUGE, 2016, photography, 59 x 84 cm



Night Walk, 2015, acrylic on linen, 25 x 30 cm

Hojung Jun


reating new works is a meditative process for South Koreon artist Hojung Jun, who uses the time to collect her emotions as she layers colour upon the canvas. The result is whimsical, poetic images which radiate a peaceful atmosphere of contemplation. Spontaneous brush strokes create subtle depth within her paintings, utilising both intentional and coincident effects to mirror the complexities of life.

Her technique involves using thin layers of paint, allowing the watered down pigment to spread in unexpected configurations. Each new piece shares a sense of vitality and movement through the use of different marks, drops, and lines.


Joyful Moments, 2014, acrylic on linen, 25 x 20 cm

80 ARTIST PROFILE Anthony Crammen

Duck Brain, 2016, resin and rubber ducks, 37 x 18 x 18 cm

Spherical Bust, 2016, resin and pigments, 37 x 18 x 20 cm

Anthony Crammen


ased in the North East of England, Anthony Crammen creates processed based works which explore new methods of construction and colouring through the manipulation of materials into abstract shapes and arrangements. His work takes on a variety of forms, from paintings and three dimensional wall-based installations to freestanding sculptural pieces. Crammen’s sculptural works often incorporate ideas of the ‘mundane’; utilising everyday mass produced objects such as brightly coloured latex balloons, tape measures and tennis balls. When cast in resin these artefacts take on strange

new formations far removed from their intended purpose, finding a new place in the world as part of a larger object. Colour plays a large part in the artist’s process, as he explores unexpected combinations in both clashing and complimentary configurations. Currently studying for his Master’s degree in Fine Art at Durham University, Crammen continues to exhibit across the UK. His work is also held in private collections across the world, from Australia and the United States.

Anthony Crammen ARTIST PROFILE 81

Potted Knotted. W, 2015, ceramics, nylon, acrylic and foam, 57 x 24 x 22 cm

82 ARTIST PROFILE Anthony Crammen

FDBNRTWGXL, 2016, dyed cockerel feathers and gloss on MDF, 125 x 125 x 19 cm

Anthony Crammen ARTIST PROFILE 83

Cluster, 2016, acrylic and gloss on MDF, 60 x 60 x 3 cm


Riddles, 2017 collage and image transfer, 75 x 60 cm

Simon Kirk


ince beginning his career in 2007, works by Simon Kirk have proved a great investment and are increasingly sought after by art collectors, notably in America, Dubai and Continental Europe. He exhibited and sold at the Royal Academy Summer Exhibition in 2010, 2013 and 2015. He is a resident artist with the Turner | Barnes | Gallery and his work is regularly exhibited as part of their collections for the Hong Kong, Singapore and London Affordable Art Fairs. He

has had solo exhibitions in France, Denmark and the USA. This February he will take part in 'Art Below Los Angeles', showcasing his work alongside artists such as Karen Thomas on billboard space at Grand Union Station in California. This will coincide with an exhibition of the artists’ work at the Pacific Design Center in West Hollywood.


Gustavo, 2016, acrylic and pencil on paper, 18 x 14 cm


Companions, 2017, giclee, 31 x 46 cm

Barrie Dale


ooking for beauty where it might be least expected, Barrie Dale’s extreme close-up photography seeks out moments of tension in nature. His latest series of work focuses on leaves in various states of decay, from those that are dying to those that have been long since dead. His technique sees him using fast lenses to exploit whatever light is available in the moment, discovering interesting effects even when picking out the very last remnants of

light. He has found even the best available macro lenses are not fast enough to capture the images he is seeking, so has begun using only prime lenses, converting them to macro lens through the use of extension tubes.


The Lantern, 2016, giclee, 46 x 31 cm


Hanging, 2017, giclee print, 46 x 31 cm


Play of Light, 2016, giclee print, 46 x 31 cm

90 ARTIST SHOWCASE Vincent Donlin

Beach Demon, 2016, oil on canvas, 60 x 90 cm

Marsh Demon, 2016, oil on canvas, 60 x 90 cm

Vincent Donlin


n the years since Vincent Donlin started painting in the early 70s his work has changed styles many times, however after a period of experimentation with other mediums he returned exclusively to painting; discovering a method described as ‘hieroglyphic pointillism’; a technique midway between painting and writing.

Manifestations’, and ‘Circular, Unilateral, Notations on Termination’ were created when dealing with mixed feelings of loss and anger.

Recent works have seen the artists using his painting to come to terms with the grief of three family bereavements. His highly personal series’ of self-portraits entitled ‘Monumental, Unilateral,

His demon paintings, which are based on medieval manuscripts from the Bodleian library in Oxford, were painted just before and after the Brexit vote.

Vincent Donlin ARTIST SHOWCASE 91

M.U.M. 6 self portraits, 2014-16, oil on canvas, all 50 x 70 cm


Snowsmelting in Icelake Valley, 2017, 80 x 90 cm

Linda Lasson


extile artist Linda Lasson’s first call of inspiration is the lake and forests that surround her home in northern Sweden, taking elements from the patterns, shapes and colours of nature and blending them into intricate works of art. The strong graphic look of the black thread she uses when added to a variety of textiles gives a tactile, sculptural look to the finished pieces. Through constant experiments with base fabrics she has combined materials such as reindeer

skin, geotextiles and reinforcing cloth, although she considers the search for different materials to be infinite. Lasson has shown her work in Sweden and London, as well as cities such as Washington, New York and Montreal. Her embroideries are also sold by the noted Swedish art gallery Andersson/Sandström located in Umeå and in Stockholm.


Ååren Tjielke, 2017, 80 x 75 cm


It's Just A Feeling, 2017, digital on metal, 114 x 152 cm

Carol Brown


riginally from the UK and now based in New York City, making independent films helped Carol Brown 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 behind the scenes. This time in the industry also laid the foundations in her approach to her photographic works, which are often based on telling stories as she sees them. This year the photographer’s series ‘Tuesday Morning’ will be shown at Woman’s Essence in

Paris. She is also the recipient of The Woman Art Award, dedicated this year to Berthe Morisot and established by the Europe Art Awards and MUSA International Art Space.


Black Cotton Undies, 2017, digital on metal, 152 x 114 cm


Early Tuesday Morning 2, 2017, digital on metal, 114 x 152 cm


Late Tuesday Evening, 2017, digital on metal, 114 x 152 cm


After An Unusually Long Hypersleep 1, 2017, digital on metal, 152 x 114 cm


After An Unusually Long Hypersleep 2, 2017, digital on metal, 152 x 114 cm


DEN 15, 2016, acrylic on canvas, 240 x 100 cm

DEN 9, 2016, acrylic on canvas, 120 x 100 cm

Alan Sbaffi


hen it comes to defining his process, self-taught artist Alan Sbaffi is elusive. While he admits to not having a routinely practiced method to his paintings, he describes a spontaneity in his technique which sees him finishing each painting completely physically exhausted. There is an element of eclecticism in his paintings, seen especially when viewing his entire body of work together. Abstract representations of the female nude are a constant theme throughout, and the one motif seen in most of his paintings

which take the form of large-scale canvasses. The blank space which fills the void around his expressive marks in shades of black and grey acts as a frame for his maniacal gestures; forcing the viewer to examine the smallest of brushstrokes and appreciate their subtle three-dimensional nature.


DEN 16,17,14, 2016, acrylic on canvas, 240 x 100 cm

102 ARTIST SHOWCASE Shannon Sait

Interdimensional, acrylic on watercolor paper

Shannon Sait


sing mixed media on high quality handmade paper Shannon Sait has developed her own visual language to convey notions of time, existence and purpose, and the structures people create to make sense of these themes. Motifs of atoms, human figures, halos and auras are placed into abstract landscapes inspired by the artist’s surroundings in the Sussex

Downs, using acrylics and handmade pastels to build up the image. Through her painterly journey, the artist is trying to understand the anatomy of science and the spiritual and religious constructs used to make sense of our world.

Shannon Sait ARTIST SHOWCASE 103

The Watchers, acrylic on watercolor paper

104 ARTIST SHOWCASE Shannon Sait

The Keepers, acrylic on watercolor paper

Shannon Sait ARTIST SHOWCASE 105

Pilgrims vs Atoms, acrylic on watercolor paper

106 ARTIST SHOWCASE Shannon Sait

Pilgrims, acrylic on watercolor paper

Shannon Sait ARTIST SHOWCASE 107

The Watchers 2, acrylic on watercolor paper


Candle Marche (detail), 2015, sculpture, 50 x 112 x 40 cm

Miroslav Trubac


rawing on his own memories and shared experiences, Miro Trubač considers the collective past and present, creating narratives from situations that he finds strange and unsolvable. He creates works of varying scale, sculpted in plaster before being painted with simple, representational tones.

His recent installation exhibition ‘Disturbia’, which took place at the end of 2016 in Slovakia, drew on ideas of the ‘perfect world’. While in modern times it is often looked to technology to offer this notion of a superficial or virtual perfect world, the exhibition gave viewers the opportunity to experience the religious symbolism of the first people living in a perfect environment, in the Garden of Eden.

Representations of domesticity make up the main body of the artist’s work, albeit with an extra dose of parody, irony and the occasional touch of sarcastic humour.


Disturbia, 2016, Sculpture, 70 x 110 x 20 cm

110 artist EXHIBITIONS

Upcoming artist exhibitions Carol Brown WOMAN’S ESSENCE, Paris 7 - 9 April 2017

Etienne Clement The Other Art Fair, Victoria House, London 30 March - 2 April 2017

Fu Wenjun London Art Biennale, London 28 March - 2 April 2017

Hartexpo. Barcelona 20 - 24 May 2017 Tokyo International Art Fair 26 - 27 May 2017 Bodens Konstgille, Sweden 22 April - 14 May 2017

Michael Vincent Manalo

Isobel Cortese

Munich Science & Fiction Festival Munich, Germany 28 - 30 April 2017

Talented Art Fair, London 17 - 19 March 2017

Sarah Jane Brown

Curiouser and Curiouser, Masham 26 May - 10 July 2017

Linda Lasson

'Be bold for change’ - Society of Women Artists, Off The Wall Gallery, Cardiff Until 29 March 2017

Slöjdstories, Sollefteå and Ånge, Sweden

The Discerner Gallery, Mayfair, London 15th March - 15th April 2017

Virserums Arthal, Sweden Until 13 August 2017

Spring show, Etcetera Gallery, St. Davids Until June 2017

Gallery Q, Köping, Sweden Until 10 March 2017

Simon Kirk

Sundsvalls Art Association, Matfors Until 22 May Väsby Art Hal, Sweden 18 March - 9 April 2017 Art Expo New York 21- 24 April 2017

Restaurant Léonie, Biarritz South West France March 2017

Steph Wilkinson The Fountain Gallery, London 21 March – 2 April 2017

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Profile for Inside Artists

Inside Artists | Issue 8  

The smallest of artworks can have the biggest impact, and in this issue we’ve featured a group of artists who are proving that bigger isn’t...

Inside Artists | Issue 8  

The smallest of artworks can have the biggest impact, and in this issue we’ve featured a group of artists who are proving that bigger isn’t...