Premium Art - Autumn update

Premium Art Autumn update 1 Art & 3D Wall sculpture TRADE BROCHURE

Luminaire Arts Ltd is a leading arts consultancy company and gallery space, found in the heart of Belgravia, London.

‘At Luminaire Arts we represent over 300 extraordinary artists from every breadth of the UK and beyond. We help and assist designers and art lovers find artworks that are perfect for their needs and desires.

We are thrilled to be sharing with you our PREMIUM ART - AUTUMN UPDATE 1, which features A highly curated selection of fabulous original artwork, across a full spectrum of prices, which can be commissioned in practically any size! The result is an unparalleled selection of contemporary artwork that can be delivered anywhere in the world, normally within 2–4 weeks!’

Paresha Raj Burnett, Chief Curator & Director

2

Price category’s (A) to (F+) are listed below. Each artist’s price category is shown in the bottom right hand corner of their pages.

The sizes and prices shown below are to give an indication. Please ask for specific sizes to get a formal quotation.

ALL PRICES SHOWN ARE RETAIL PRICES (EX VAT)

ALL PRICES SHOWN ARE RETAIL PRICES (EX VAT)

ALL PRICES SHOWN ARE RETAIL PRICES (EX VAT)

N

athaniel is an American visual artist working primarily in fine art photography and abstract mixed media. Nathaniel has a deep professional background in photography and the graphic arts and is the author of numerous photography books in worldwide distribution. With studios in Colorado USA and the Midlands of England, he specialises in creating distinctive fine art to decorate contemporary interiors.

NAT

Hand finished prints on paper or canvas Fortunate

Jacksons Whisper

Fortune & Fate

Vesuvius Iso

Respect the Yellow Line

Hand finished prints on paper or canvas

Artingale IV

Taos Tiles

Plenetary Traveller Detail

Hand finished prints on paper or canvas

M

y recent work has been influenced by spending time in Cornwall and looking at the paintings of the St Ives artists, including Peter Lanyon. I have been using collage to experiment with creating a new dimension to the landscape, using line to give energy to, and to help capture the particular mood of, a place. I am continuing this idea with my work in paint on canvas too.

In addition, I continue to draw from the figure, trying to keep the energy and essence of the pose. “These figures are not the hour long slog pursued in the academic life class, but have the feeling of imminent change and therefore truly ‘life’.” (Frank Low, Art Critic)

JUDITH

Flushing No. 1

Flushing No. 2

Cape Cornwall

Flushing No. 3

Gunwalloe 1

Coverack

Gunwalloe 2

Gweek

Gunwalloe 3

Lizard

Morgan Perth

Laity

Morgan Perth 1

Swanpool

Morgan Perth II

Pendennis

Zennor

Penrith Pilgrimage I

Stithians

Penrith Pilgrimage II

Roseland I

Portleven

Roseland II

Winter Blues I

St Clements

St Just I

Winter Blues II

St Ives St Just II

Winter Blues III

Nude No. 3

Nude No. 2

Nude No. 4 Nude No. 1

Nude No. 6

Nude No. 5

Nude No. 7

Nude No. 8

Nude No. 9

Nude No. 10

Nude No. 11

Nude No. 12

Nude No. 13

Nude No. 14

Nude No. 15

Nude No. 32

Nude No. 33

Nude No. 34

Nude No. 35

Nude No. 36

Nude No. 37

Nude No. 38

Nude No. 39

Nude No. 40

Nude No. 42

Nude No. 43

Nude No. 44

Nude No.41

Nude No. 45

C

helsea uses materials and techniques associated with both disciplines: painting and sculpture.

Starting with unusual bases like concrete, steel or copper, she pours or dribbles paint, layers plaster or delicate gold leaf, then scrapes, cracks or corrodes her medium to get the effect she is searching for.

CHELSEA

Monmouth Shoreline

Winter Dawn 2

Winter Dawn

Where East Meets West

Silent Gold Leaves

Silent Gold Leaves II

Coast

Edge of Autumn 2016

Winter Moon

Rising Blood Moon

Hunters Moon

EMMA F

E

mma works from her bright and cheerful studio in south west London. She mainly paint still life paintings with a quirky twist.

She says of her work ” I am drawn to beautiful forms whether they are man-made or natural. My aim is to show my appreciation of the simple beauty of such objects by their sensitive portrayal in my paintings. In my work I’ll often draw and paint the forms many times, scratching and scraping through to previous layers to create a broadly descriptive, but beautiful image. My aim is not to ‘copy’ the object in paint, but rather to describe and celebrate what I see with mark making skills that have developed into my personal style as an artist.”

Blue Orchids Geishas & Cranes

Geishas & Tulips

Swimming Upstream

Chinese Wine Jars

One Fine Day in Richmond Park

Oriental Lilies

Geishas & Parasols

0410

1301

Red Chilli Hidden Bird

1308

L

JONATHAN P

andscape paintings for me are spaces that can free the imagination. They also show ways in which to engage with and appreciate the landscapes that are local to you.

It is important for me to paint in the landscape itself. Being in one spot over a day, I’m immediately aware of how much change happens in the weather, the wildlife, nothing is still for very long, and I get absorbed by the changing moods of the landscape.

I don’t aim to paint exactly what’s there. Rather, I balance representation with how the place makes me feel, continuously interpreting and designing. Pictorially I think of my images as being somewhere in between abstraction and representation.

Painting in all weathers can be challenging. Working through a storm with rain drops bouncing off the wet paper is a risky way to make a painting. However these unplanned surprises can add so much to a piece, so I persevere.

At the end of it all I hope to have paintings and drawings that stimulate.

I am particularly attracted to the river Thames, the reflections in the water are a constant inspiration. The riverbanks are beautiful at all times, I aim to celebrate this in my pictures.

Dark Clouds Over This Pool of Light

A Nice Day to Walk on the Thames

Dark Shadows as the Sun Swings Around

Pathways to the Sea

Ochre Trees in the Breeze

Strong Sun Gentle Breeze Pink Summer Sky

H

enry is a London based artist who has been making his name in the global graffiti scene since 1997 when he first picked up a spray can.

Since being a student at London’s Central St Martins he has gone on to paint artwork all over the world, including; New York, Barcelona, Prague, Milan, across the UK and most notably Dubai, where he worked as part of a world renowned team of artists who successfully broke the Guinness World Record for the largest graffiti wall ever painted.

Over the last 20 years he has taken inspiration from some of his favourite artists including Futura 2000 and Dondi as well as his own artistic surroundings. His more recent abstract expressionism work on canvas brings to light some of his influences from much loved artists such as Jean-Michel Basquiat and Franz Kline, whilst maintaining the strong connection to his original art form.

HENRY J

Blue 1 White

“I will wait for you.”

No. 2 colour variation solar plate etching.

Blue 2

Dark Oceans 1

Dark Oceans 2 Explosive Anger

Pink 1

Pink 2

Black & White

Red 1

Red 2

Pink 3

Pink 4

Triangle

Grey

CORINNE

C

orinne is a contemporary abstract artist, based in London, specialising in acrylic and mixed media paintings. She is passionate about painting and is regularly creating new artworks.

Her work is inspired by landscapes, nature, cities, travel, fashion, media and investigates colour, form, space and texture. She often works on seasons or nature based environments with colour, how colours work with one another and the colour relationship with the season or environment.

Working with acrylic and mixed media, a blank white canvas takes on a new form through the expression of energy and begins to develop a life of it's own and a new entity, aiming to create vibrant and emotive works.

Corinne has sold works in the UK and internationally, for homes, offices, hotels and restaurants; exhibited in solo and group shows, as well as at a London Hotel and leading Art Fairs.l

Dream Clouds

D+ category for Resin finish

Do You Remember Me

Meet Me At The Bridge

Sea Tropics

Kinetic

Woodland Dance

Seashells

Lagoon Idyll

Sea Waves

D+ category for Resin finish

Watermelon

Flame Dance

Coalition

The Space Between Us

Eminence

Black Flower 1

D+ category for Resin finish

I

nternationally exhibited artist Beth studied Textile Design at The University of the West of England and graduated in 2004.

From Bristol she moved to London for a little under a decade, working in costume for film, television and theatre and teaching arts and craft workshops.

In 2009, Beth was offered a post as an Artist in residence at Wycombe Abbey School for Girls. The residency helped her focus and build a strong foundation for her practise, exploring both femininity and textures and introducing her to the concept of Wabi-Sabi. Returning to London in 2011 Beth has been exhibiting in art fairs and exhibitions both nationally and internationally since. �The foundation of my current body of work lies in the Japanese aesthetic of Wabi-Sabi: exploring the beauty found within transience. From finding a rotting garment by a stream to a stream of consciousness, my current collection travels through ethereal, abstract landscape style paintings into figurative ink drawings that investigate the subconscious.

My work is extremely cathartic. I spend hours slowly manipulating the ink to find the right composition and sometimes when its dry writing streams of consciousness on top of the work. The writing for me is an important element, as a dyslexic it can at times be a huge struggle, but at other times the thoughts flow and the time flies. My work therefore is about time and energy and expresses and exposes me as a person.�

BETH

Space to Breathe Always Thinking

Flying

The Anatomy of Culture 18

Waking

Always Thinking

Light Breeze

Light 2 Calming Times

Pigeon

Eagle

Seeing From a Distance Flight of the Dove

Calming Times

Flying High

Dispersing

Light

Misreading My Words

Out To Sea

Rising Waves Landscape

Rain on my Windowpane

Birds

No. 1

Sounds

Dreamlike State

No. 2

The Storm

Space to Breathe

PAUL

P

aul specialises in contemporary semi-abstract seascapes and landscapes. The two themes are very different in mood, style and perspective, but all endeavour to generate a sense of intimacy and isolation while leaving the subject open to interpretation. The intention is to create from memory to produce finished work that is abstracted and more expressional than representational.

Paul’s main aim is to create work that is most definitely painted; an antidote to mass produced visuals we consume everyday. This is accomplished by using rich textures, multiple layers and brush/palette knife marks. Paul wants his paintings to tease out more than the eye can see, to draw people in and invite them to experience – not just consume – an image.

The Westward Seas

The Tempest Recedes Under The Falling Sun 2

Night Drops

Atlantis Breaks

Twilight

The Sleeping Tides

Blazing Seas

The Tides Turn

Beneath The Heavens

After the Storm

Scorched Skies

The Ocean Breaks

The Shallows

Ghost of Yesterday

H

HENRIETTA

enrietta paints abstracts in oil on canvas in which she aims to evoke a time and a place, creating spaces full of light and memory. “It is not the appearance of a chosen motif but its own energies and mystery that form the heart of my paintings.“ Nature is the basis, the starting point, for the paintings, which rapidly take on a direction of their own where the dancing light or the feel of the wind becomes the main focus. They are compositions woven from images of the natural world. “It is the power and energy of nature that excites me. Light and movement allow the creation of the space in my work, often opening up huge vistas. The finished pieces range from almost totally abstract compositions evoking a sense of place to more easily recognisable landscape images: the natural world modulated by time and season, disclosed by visual texture and colour” Henrietta’s works can be found in collections in New York, Houston, Sydney, Perth, Paris as well as the UK

Streams of Light

Tranquil Pools

To The Sea

Pink Summer Sky

Golden Summer Isles

Reflection

Pathways to the Sea

Setting Seas

Red Sands

Coastal Calm

A Summers Day

Light Across the Water

Soft Spring Skies

Sealights

Silver Cloud Lights

Summer Cloud Light

Late Skies

Tidal Light

Autumn Leaves

Golden Skies

G

ail lives and works as a painter in Cambridge (UK).

She achieved a first class BA (hons) degree in Fine Art at Exeter College of Art and Design in 1981, after which she lived in Madrid for a year.

She has been painting all her life! She has spent a lot of time in Andalucia (where her ancestors came from) and also, Italy and France. She has had solo shows both locally and in London, Scandinavia and Spain.

'My work reflects a world of memory and dream. I am inspired by the natural world and how it touches us at a deeper level. I grew up in Cornwall - whose wild beauty is a strong influence as is the light and colour of Andalucia.

My ancestors are from Cordoba, hence my name. I live and work in Cambridge; the ever-changing skies and flat watery strips of land are perfect for dreaming and reflecting. I am passionate about the process of painting - and work very intuitively building up layers of different materials, which can include plaster, paper and both acrylic and oil paint. I love playing with the tactile qualities of the materials and also the illusory aspects of painting. I find the process transformational and I really live each painting as I make it. The most exciting moment is when, and I can never quite predict when this will happen, a painting takes on a life of its own. l then have to surrender to it and let it take me where I need to go.'

GAIL

Rocky Coast

Out West

Pacific North West

Prussia Cove

Morning Moorland

The Promise

Rocky Coast

Cornish Tides

Approaching Solstice

Dusk in the Moor

Fell

Waterway

Incoming Tide

Dartmoor

ADRIENNE

A

drienne paints in oils on canvas or linen and sometimes on silk or wood.

“My latest work is abstract paintings suggesting land and seascapes. "It is imagination, it comes from nowhere and is not worked out in advance and decided upon in terms of content or shape or colour – it forms itself, the colours merge and it is allowed to be.

I like the image to form itself as I start to work and build up layers of colour and shade. I am interested in painting in a seamless way avoiding lines and edges and even brush strokes. Lines and edges define things and influence how we perceive them so I like to remove any lines and edges by merging colour and form and so make suggestions to the viewer that might trigger a memory or feeling of somewhere or something. This smooth, seamlessness I think suggests a transience and so fluid subjects like air or skies or memories can be caught and held for our gaze. The work is about potential expressed in a non verbal language and because it is not prescriptive it is more open to allowing our own creative and emotional interpretation�

Fine Sand

Ever Green

Inlet

Dream Pool

Sea Air

Purple Sky

Light Haze

Soft Land

Momentum

River Mouth

Soft Light

Air of Intensity

Warm Lands

Velvet Land

Dream Light

RIKKE

B

eginning from research and intense conceptualising, Danish artist Rikke seeks the unknown mysteries in life. Considering all life forms and their basic similarities, she looks for balance in nature, and explores the light and the dark side of this organic process.

In her artwork, Rikke invites the viewer for a journey through inner and outer spaces – to bring both worlds into balance and observe them.

She transforms emotions into unpredictable forms in her abstract paintings. At the moment of painting, Rikke is not sure of what will finally happen on canvas, leaving it up to chance. This results in a spontaneous element of expression, going with the flow and exploring many possibilities of visualisation. Using a microscope to study cell structures, she is intrigued by the darker aspects of organic and cellular life.

Spinning 2 Heat Up

Surrounded

Spinning 1

New Beginning

Egg Stage

Deep Forest

Cocoon

Under Pressure

Fairy Infatuation

Taking Over

I

magination is more important than knowledge. Knowledge is limited. Imagination is endless. Antonio was born in Italy in 1965, both parents were Sicilian and he spent his early years in Italy, moving back to England at the age of 13. His family roots in Sicily influenced his taste in art and music bringing a broad spectrum of culture, light, colour and sound which are evident in his work today.

For Antonio the link between art and music is intrinsic and the line between the two is blurred, he feels the music and paints his feelings.

“I don’t really know if I have an artist’s statement or style, I don’t really see the need. I love painting to music and I never know what I’m doing until I look at a blank canvas, and at that point the colours, music and inspiration hit me, and it all starts to flow. Art speaks for itself, especially abstract expressionism, why should I complicate things by expounding on how or why I do what I do? I paint what I paint based on how I feel, and I try to paint from my heart. I do my best to present movement, emotion, energy, and visual excitement. I never shy away from bold colours. Colour is life! Colours make people feel happy, and happiness is what life is all about.”

ANTONIO

Etna Sloppy Blancmange

Bel Paese

Mar E Monte

Marilyns Beauty

Mare Mosso

She Was so Beautiful

Tempesta

Nell Blu

Coffee & Cream I

Fireworks

Coffee & Cream II

Gaydar

Cowprint

Earth

Horizon Rising Sun

Orange Delight

Mars

Shape of Things to Come

Splash

Squiddly Diddly

Pimpers Paradise

St Martinez

Tango

Turbolina

Venus

You Could Be Happy

What a Rush

E

ELIZABETH P lizabeth is a British ceramicist based in Manchester. Her distinctive style emerged as she was studying fine art, where she specialised in wall sculpture and installation.

Whilst developing her unique range of stoneware and porcelain pottery, she pursued a successful career as an interior designer, dealing with contemporary living spaces in some of the North West’s most prestigious residential addresses.

Elizabeth has combined her love of retro, vintage and antique decoration with cutting edge modern design, to create a range that will stand the test of time. From small pottery bowls to larger scale porcelain artwork, her exclusive range is perfect for the style-conscious home.

Golden Graces Wall Flowers White with Gold Edge Golden Graces Wall Flowers in Gold

Golden Graces Wall Flowers White with Frayed Edge

Gold Swallows over Morocco

3 White Porcelain Flowers

Graphite Swallows

White Porcelain Flowers

One Gold Flower

Detail

Frayed Edge

White Swallows

Cut Edge

Three Swallows

Side View of Cut Edges

W

ith a background in architectural design, Rose has created a series of paintings called the 'Indigo & Blue' series. These illustrate buildings, some of which are iconic, and the designing of these structures around core conceptual ideas.

Each painting has a blue background which simulates the traditional paper-based reproduction of a technical drawing of the early 20th century. These prints were blue with white lined drawings.

The size of each canvas is based on the 'Golden Rectangle'. This is an idealised proportion where the ratio of the longer side to the shorter is the golden ratio used for millennia which is pleasing to the eye and works on the proportion of phi = 1.6180339887.

ROSE

Stripes Antique Rose

None More Black Parallel 30 Grid 10 Blue Orange

Grid 5 Blue Red Green

Brushed Copper White

Stripes Chakra

Brushed Copper White

Stripes Purple Lips

Stripes Red Pink

Stripes Gold & Gold Leaf

Stripes the Redhead

Stripes White on Clay

Stripes Lace & Leather

Stripes White on White

R

aluca was born on 9 December 1980 in ClujNapoca city, which is situated in the heart of Transylvania. After she graduated from the High-School of Art “R. Ladea”, in the autumn of 1999, she enrolled at the University of Visual Arts and Design “Ion Andreescu” from Cluj, where she studied Painting for six years; this period of her life played a decisive role in her formation as an artist. The next two years following the graduation from the university she taught Painting and Drawing at a school in Cluj, which was a good opportunity for her to acquaint with the spontaneity of children’s creations and their magic universe.

She moved to Rome and recently in Naples where she now lives and works.

RALUCA M

Eclipse

Island

The Wave

Intuition

Indian Dream

The Fantasy Traveler

The Shell

The Window

Meditation

Stay with Me 1

Vanity

Stay with Me II

Stay with Me III

Rocks & Flowers

F

intan's method of painting is characterised by an immediacy of process and an urgency of vision, which he has been developing over several years. Despite the appearance of serendipity, Fintan's technique involves constant assessment, measurement and exploration of pigments and their configurations, combined with varnishes, oils and a variety of materials.

The challenge that Fintan's art constitutes his motivation - that is to create resonances between or among the senses by exploiting the everchanging detail of light and texture. His abstracts are worlds eliciting a multitude of emotional and intellectual responses that we, as viewers, must resolve.

Fintan was born in Dublin and has spent his adult life in Ireland, Spain and Germany (his current home). His work has been exhibited and acquired by numerous collectors across North America, Europe and Australia, and featured in prominent residential projects in UK and USA.

FINTAN

Alive II

Alive V

Anima

Spirited

Alive Series IV

Changing Light

Deep Waters

Earthtaking

Easy Days

Don’t Push the Sky Away

Down to Earth

Earth Skin

Dreamscape

Land of Planty

Enlightment Series IV

EOS

Floating Atmosphere

Infinity

Spirited

B

EDWARD B

orn January 1987. I have spent my life in the stunning surroundings of the Pembrokeshire National Park. I love to capture movement and take aspects of the natural environment: colour, atmosphere and mood and transfer those qualities into a visual form. The inspiration for my work encompasses both the physical and non-physical. I try to breathe life into my work to give the sensation of freedom and to demonstrate the beauty of the unaltered outside world, a world full of movement and colour.

North Westerley

Headland Mist

Emerald Oceans

Beginnings

Unforgiving Skies

Tomorrows Promise

Magenta Light

Dancing Light

Crimson Rainstorm

Mixed Emotions

Autumnal Gales

Overwhelming Emotions

Sweeping Embrace Barren Frontier

Sapphire Escape

L

aura is a London based Italian artist. She studied painting in Venice at the Academy of Fine Art and sculpture at TAM Art Metal-Working School in Pietrarubbia (Pesaro-Urbino), Italy, supervised by sculptor Arnaldo Pomodoro.

The tendency towards nothingness is inexorable and universal and even the things that have corporeity not have an illusion of stability.

As things start to transform become more irregular and interesting.

Nothing that exists is free of imperfections, and everything is in a constant state of becoming or dissolving. When things are close to nonexistence become naturally more delicate and evocative.

In my work, I am intrigued to see how science and art are connected; I try to strike a balance between painting, collage and installation. It revolves around the concept of Wabi-Sabi, transformation, time and connections.

In my recent paintings I worked from a mix of papers and my own photographs, either transcribed intact or altered to create a new composition. Through the painting process I try gently to heighten the qualities in the picture that first caught my attention.

LAURA B

Blue Shikan Inside Part One

Metamorphasis

Sapho

Intersection Inside Part 2

Blue Velvet

Helena

95

Cairn B

Papilo

ISOBEL

I

sobel has a passion for porcelain; she creates contemporary art, lighting and interior decorations. Working with porcelain paper clay has allowed Isobel to explore the boundaries of design.

Her unique pieces are inspired by the world around us.

They appear simple but, on closer inspection, reveal a stunning use of form, texture and depth.

Ruffles Rimmed Pool of Tranquility

Please note that due to the intricacies and technical nature of Isobel’s work, all larger sizes (over 80x80cm), will need to be priced separately and are usually priced outside the price matrix at the front of the brochure

In a Spin

Ruffles Twin

Seascape

Loose porcelain shapes Yin and Yang Please note that due to the intricacies and technical nature of Isobel’s work, all larger sizes (over 80x80cm), will need to be priced separately and are usually priced outside the price matrix at the front of the brochure

Seascape close up

Ruffles rectangular

Murmerations Make a Wish

Pods

Loose porcelain leaves Finishes Please note that due to the intricacies and technical nature of Isobel’s work, all larger sizes (over 80x80cm), will need to be priced separately and are usually priced outside the price matrix at the front of the brochure

A

malie was born in Quebec City, Canada. Based in London England for the past 6 years, Amalie’s paintings have held a strong focus on the interplay between architectural structures and natural landscapes.

Amalie has been producing commissioned work for collectors and private clients since 2006 and continues to do so. Before moving to London, Amalie had exhibited solo and group exhibitions at Whippersnapper Gallery in 2007 and 2008 in Toronto.

In 2010, the AOE Arts Council awarded Amalie winner of the ‘Selections’ Juried Art Show prize at the Shenkman Arts Center in Ottawa, Canada.

Alongside solo exhibitions at the Hardy Tree Gallery in London, Amalie’s work was shown in March 2012 group show ‘The Turtle Salon’ to hold tribute for Micheal H Shamberg. In the summer of 2012 Amalie’s ‘Walk a Way’ series was selected in the Islington Arts Factory group exhibition. In 2013, her ‘Midnight Blues’ series was voted as one of the top ten exhibitions to see in London by art critic Tabish Khan. After her most recent solo exhibition at the Hardy Tree Gallery in December 2014 titled ‘Four Measures’, Amalie’s work was selected in February 2015 to show in Venice, Italy at the International Art Expo ‘Liquid Room’ series.

Going forward, Amalie plans to explore contemporary forms of architecture adapting to environment change and focus on how physical space affects energy.

AMALIE

Only Gold Bud Gold Bud

Back Yard Bud

Green Bud

Under Bud

Yellow Bud

Blue Plan

See Blue Plan

Tetra

Wrath of Faith

103

If My Eyes Could Dream

Ultramarine

“

Nature plays a particularly important role in my life. I am fascinated by its richness of colours and extraordinary diversity of shapes. As an artistic person, I take in everything I see and find around me. I am a horse rider and horse riding has always been my guide and prism through which I observed the nature around me. Whether I ride through the woods of England, the hills of France or the plains of Lithuania – I always find the same universal beauty of nature. It was this obsession that made me choose gold gilding in hopes that using one of the most expensive natural metals on earth, would help me express my idealized vision of nature."

DOVILE

8 Fluffs of the Sow Thistle Cloud Number Nine

Birth of the Planet Earth

105

Twins

Abundance II

Abundance I

His Heart

Mountains at Night

Stolen Dreams

106

7705

Vase

Rain

7734

107

M

MICHELLE M

ichelle’s art is work of elegant simplicity which, in itself, is the first of many seductions into an engagement with a complex network of tensions.

The work is bedded in the clear space between opposites; the movement captured in stillness; the fragility and ephemerality of nature captured in the strength and permanence of industrial, man made materials; inexorable freedom within the clinically defined limitations of space.

Whilst utilising symbols found in nature that have a timeless constancy, the methods and media used are innovative applications of contemporary industrial materials subtly handled, so that even the closest scrutiny give almost no intimation of their origins.

This play between the timeless and the immediate is at the heart of Michelle's work. However tranquil the order of the instant may seem it cannot segregate itself from the underlying chaos of nature and it is into this engagement with chaos that we are lured, so unassumingly, by the captivating simplicity of order.

Ginkgo Circle Seed 1

Seed 2

Seed 1

Seed 3

Seed 4

Migration

The Consent Maple

110

Love, Loss and Separation

Held – Still Life 2

Hortensia

111

J

oseph studied at Liverpool Art School and followed this with postgraduate study at St Martin’s School of Art. He has over twelve years experience as a freelance illustrator for a wide variety of clients in advertising, publishing and design.

“Inspiration for my recent work comes primarily from Nature and in particular butterflies, moths and the folklore and mythology surrounding these specific insects, to produce work with a narrative quality.

I tend to work in series and draw inspiration from classical and popular music, fashion and graphic signs and symbols. I am also inspired by the Victorian obsession of collecting, preserving and presenting insects in boxes.

My butterflies are created from collaged paper and each butterfly is individually hand cut. As well as their obvious natural beauty, I agree with the Eastern belief of butterflies as bringers of joy and being the essence of happiness.”

“I like the school of thought that butterflies represent the soul.” - Joseph

JOSEPH S

Corona

Little Black Dress

113

Periphery

Map of the Heart

Gloriole

114

Hard Target

Butterfly Ball

Gloriole

J

ennifer is a mixed media artist whose is influenced by the mapping of the journeys and layering of memories, she has made both living and working in many countries abroad. She philosophically explains: ‘My work is based on the journey of life, its layers and strata. Through time and pressure beauty is created, we mine the soul to find the precious things. Life refines and polishes our history and the choices we have made. Our layers and compartments are filled with experiences and memories.’

The study of clay has influenced my art in the use of minerals, textures and formations. The resin creates the contrast between the dynamism of the elements of earth and water. The essential life forces!”

Jennifer’s paintings can only be truly appreciated when seen in person. In print, it is impossible to capture the spectacular and unique 3-dimensional effect of Jennifer’s paintings integrated with earth pigments, oils, resin and gold leaf.

JENNIFER

Earth From The Air I Storm II

Earth From The Air II

Threshold VI

Threshold VII

Threshold V 118

Threshold VIII

Breathe 3

No. 3

No. 9

No. 6

No. 4

De Terre II

De Terre III

119

De Terre IV

De Terre V

De Terre VI

De Terre VII

De Terre I

120

North Sea II Quarry III

North Sea III

Quarry IV North Sea IV

121

K

KATHERINE L

atharine graduated with a fine art degree from Bristol in 2003. Since then she has been regularly showing her paintings in London and throughout the UK. She has become established painting contemporary beach scenes based on locations in the West Country and Scotland.

More recently she has been focussing on the more structured landscape of woodland and particularly the effect of light through the trees. These painting maintain her distinctive painterly style. Working from sketches and photographs loosely based on definite locations, Katharine endeavours to create a window on an imaginary space. She likes to use gestural marks and loose brushwork to engage the viewer and charge the composition with movement and dynamism, whilst maintaining balance, building up the paint and alternating transparent and opaque layers, dripping, washing, splashing, allowing it to take its own fluid course and give the image a life of its own.

Street View Rio

Spring Trees

Central Square

Babassu

Path Through the Jungle

Botanical I detail Botanical 1

Subtropics 1

Pools at Iguassu

Subtropics 2

Top of the Falls

M

MALAIKA

alaika was born in Nairobi in 1990. As a child, her parents’ work for an international financial institution meant that she moved frequently between countries – initially relocating from Kenya to Canada, and later to the United States, India, the Côte d’Ivoire and France.

She gained a sense of stability in the midst of this hectic upbringing by developing an interest in art, first piqued by her grandfather, a self-taught painter. Having completed her secondary education in Paris, she moved to London to study Fine Arts at Goldsmiths. The prevailing ‘laissez-faire’ philosophy at the art-school, one that encouraged its students to experiment artistically, was embraced by Malaika as a welcome change from the rigid French education system. It was at Goldsmiths that she had a breakthrough moment after peeling off a piece of dried acrylic paint from her shoe. Realising that she had found a novel way of working with paint, she set about deliberately producing dried acrylic to incorporate directly into her art.

Currently, acrylic is the only medium that Malaika uses. By peeling, tearing or cutting the paint after it has dried, Malaika is able to create ‘acrylic leaf’ that can be layered on to a surface similarly to gold leaf; it is a recurring motif in many of the works on display in this exhibition. Once produced, the acrylic leaf is stuck on to canvas – a technique inspired by the work of Wangechi Mutu, a Brooklyn-based Kenyan artist perhaps best known for her large-scale collages. Malaika cites her as being a formative influence, an artist who has expanded her own appreciation of the artistic merits of collage

Mafarocea

Raw Composition 1

Raw Composition 2 Pliant Pigment

F

rom Goldsmith of 16 years to designer of precision laser-cut wall panels; Sarah has transferred and developed her metalworking skills from miniature to large-scale.

A Jewellery & Silversmithing graduate of The Cass, she has based her collections on the themes of repetition, geometry and how the tiniest, most insignificant parts can create complex and strong, balanced forms. Plant cells, microbiology and geometry all play a part in the development and design of her work, and her pieces are executed with precision, skill and attention to detail. Her jewellery collections have been exhibited in galleries in the US, Japan and across Europe. She now creates unique, bespoke fine jewellery and is expert in redesigning and remodelling unworn heirlooms.

A commission in 2014 from renowned corporate art curator, Tom TempestRadford, saw Sarah's work transformed to an altogether new level, and brought her work into the realm of large-scale decorative architectural metalwork and installations. She utilises the skills of local engineering companies in combination with her own metalworking experiences and craftsmanship to create her new, vibrant collections of decorative panels, room partitions and lighting installations.

Sarah has a long history of working closely with clients to create bespoke, considered and perfectly executed works.

SARAH

Circulus LL Circulus I

Circulus II (close up)

Quadrant I

Circulus VI

130

Quadrant I (detail)

Bronze Panel with Black Detail

Circulus I

131

“

DRAGICA Dragica is a painter who lives and works in London. Dragica moved to London from Croatia to pursue a BA in painting from the Chelsea College of Art and Design, followed by a Master’s degree.

Since the early 2000, Dragica has been regularly exhibiting artwork, initiating and organising art events, workshops, artists’ studios and residencies in the UK and abroad. By generating income through various forms of sponsorship Dragica has curated a number of art group shows such as: WIP, Filter, Blink, Mayday-Mayday, Zone of Urgency, Object-ObjectionObjective, Tipping Point, Stopover and Navigating Dot. In 2009 she was awarded the Abbey Painting Award, which led to an artist residency and fellowship at the British School in Rome.

Alongside her arts practice, Dragica is also leading painting workshops on ‘Connections between Master Paintings and Contemporary Art’ at the Wallace Collection, judged the Camden School art competitions and, as visiting artist, lectured on painting practice across the UK universities.

Blue Swirl Series 1 Alchemicana

Blue Swirl

Black and White Swirls

Blue Swirl on Purple Blue Swirl Series 1

Continuity 2

Continuity

Blue Swirl Series 2

Manifistation

Figure

Four Light Swirls

Figures

Four Blue Swirls

Lurking Circle

Harmonium

Orange Figure

Silver Swirls 1

Orange Swirls

Silver Swirls 2

Twinkle at Large

Silver Swirls 3

Restructuring Swirls Series 1

Restructuring Swirls Series 5

Restructuring Swirls Series 2

Restructuring Swirls Series 11

Restructuring Swirls Series 4

Rounded Swirls

A

manda was born in Cornwall in 1957 and has lived there for much of her life. She left to take her degree at Goldsmiths College, London University, but her work is essentially involved with wild places and so she was drawn back to her county. In 1986 she left Cornwall to spend ten years on San Juan Island in the Pacific Northwest of America, working from the dramatic landscapes of islands, mountains and water.

Further travels have taken her north to Alaska and south as far as New Zealand. Her work reflects a particular fascination with plants as they grow in their native environment, and rocks shaped by wind and water. Both birds and insects are included in her work as they are an integral part of her wild garden, itself a part of her working process.

Throughout her career Amanda Richardson has shown in galleries and worked to commission. Her work varies in scale from pieces suited to domestic interiors to works on a grand scale for public buildings. The first major commission was in 1979 in conjunction with the Royal School of Needlework. This was an embroidered fabric collage 9’ x 7' to celebrate the 400th anniversary of the Bath family at Longleat House. American clients include Boeing, Universities of Alaska and Washington State, BASF, Waldorf Astoria, Marriott Hotels, Hilton Hotels. Amanda has had one-man exhibitions across America from New York to California as well as maintaining long-standing relationships with galleries in America and Britain.

AMANDA

Cascading Iris

Alaskan Iris Clifftop Iris

Iris Garden

Aurelian Lilies

Bluebells & Herbs

Evening Sunlight

Cornfield Flowers

Clifftop Tulips

Island Garden

Golden Grasses

Pear Point

Peonies & Pansies

Silver Lilies

R

ogan is an Anglo-Irish artist who currently resides in the south of France. His work explores the boundaries between observational study and artistic interpretation, existing somewhere between scientific accuracy and pure, unbridled imagination.

Using both a scalpel and a laser he creates intricate, fragile relief sculpture out of layers of cut paper making multiple visual references: marine algae, cell structures, microbes, pathogens, neurons, coral, fossils, fungi.

Each work starts as a detailed drawing and then grows organically layer after layer, playing with the dynamic of repetition and variation until a kind of critical mass is achieved and the work asserts its own uniqueness and autonomy.

The process of production is slow and painstaking with some pieces taking up to five months to complete. The ultimate aim is to create works that invite quiet contemplation of the vastness, complexity and beauty of the natural world that surrounds us.

ROGAN

Small Kernel

143

Magic Circle

Portal

144

Vortex

Cell Cloud

145

Cut Stem

G

erman artist John's conceptual work is an attempt to discern governing principles of the universe - art as a way of enquiring about the world.

Artistic investigation, as a way of inquiring about the world, keeps asking the same perennial questions about origin of matter as science and religion.

It bridges scientific and spiritual dimensions by conveying a message which is both: universal and deeply personal. His art transcends the dualism of objective and subjective, matter and spirit. It goes beyond the established framework of human knowledge and beliefs towards the state of ubiquitous oneness.

He believes that every form of existence, from a thought, a feeling, matter to space and time is one and the same energy governed by the same principle and being a part of the Singular Universe. Dualism exists only as our perception and it is through their singularity that we can access the truth.

JOHN F

Destruction no6

Destruction no20

Destruction No14

Creation is Destruction Gold Axe No. 1

Creation is Destruction Gold Axe No. 3

148

Creation is Destruction New Gold 1

Creation is Destruction New Gold 2

Destruction no5

Creation is Destruction

Destruction Copper 1

Destruction Copper 2

Destruction Colour 5

150

Destruction Oxidized 1

Destruction 27

Creation is Destruction – Titanium Steel

Destruction Black No.23

Destruction Black No.28

Destruction Black

Copper No 15

Copper No 11

Copper No 16

Please request Pricing

152

Copper No 10

Copper No 5

Copper No 3

Copper No 13

Copper No 6

153

“

SANDRA S

All creativity is based on destruction, the metamorphosis of one thing into another, the end of one entity or state, out of which emerges another’ - Pablo Picasso Sandra’s new body of work, comprises of arrangements of smashed fragments of vintage bone china teaware, Russian Lomonosov porcelain figurines, Spanish Lladro and Nao porcelain ballerinas or German bisque Kaiser nude figurines, dating back to the 1940s, 50s and 60s.

In Sandra’s creative recklessness, there is a comprehensive logic to her deliberate madness. Broken references bravery and courage, rebuilding, after devastation. Like rebuilding yourself after a broken love.

‘I see great beauty in vulnerability and fragility, in truth that is how we reveal ourselves and really connect’ Sandra states, in a society seeking an image of perfection, Broken has no flimsy facades.

Smashing crockery is, after all, a time-honoured feature of the lovers’ row. ‘Breakage and fractures are part of the chance and fate of human life, part of our personal history.’ When Sandra has looked back on love that has disintegrated, and reflected on the times when she has felt ‘shattered’, she has realised that the splintered fragments of herself have come back together to create something more fantastical, better than before.

Sandra has found inspiration in the Japanese art of Kintsugi, in which broken bowls were repaired with beautiful golden joins, so fashionable in the 17th century, that people were accused of deliberately smashing valuable pottery so it could be remade in this manner. Collecting is an integral part of Sandra’s practice with a continuous search for her handpicked treasures, destined to be broken. Her calculated disintegration and simultaneous resuscitation of these inanimate objects is bewilderingly beautiful. Mesmerising almost, as your eye is drawn to the dynamics of so many shards of protruding porcelain resting on one another, committed to rebuilding with the broken shards one by one in a series of dramatic and positively innovative works.

The final configuration becomes a powerful, extraordinary, luxurious and profoundly complex form, with an intricate, attractive spill of decadent colours and splintered shapes.

Price guide – 1m x 1m - £20,000

Broken Series in situ

Morning Moorland

Harlequin

A Lighter Shade of Smashed Pale Pink

Bold as Love

Distorted Perception

Broken but still In Love

Careless, Careful, Caring

Precariously in Love

I Love You, You’re Perfect

Support and Challenge

Reassembled Incompletely but Meticulously

V

aughn creates his three dimensional art with materials such as plywood and acrylic.

“Patterns interest me: they are the background, the fabric and the landscape in which we live.

Patterns are made by the weave of thread in cloth, the repeated laying of bricks in a wall, the individual decisions of a billion consumers or the single pixel of a digital screen. They record a process of thinking and making inside every product created by men.

Patterns are blueprints, used to move data across space and time. Complex patterns inside nature remember a million years of Darwinian history. Patterns of human settlement, grids of streets and pavements remember the interests and politics of people now long gone.

The pattern of a fingerprint records identity, controls our access to space and allows movement across national boundaries.

Form, identity and icon are spectacles which can be constructed. In a world of spectacle, pattern is silent and barely noticeable. It is often invisible, often unintentional. It is manifested in elegance, logic, beauty, brutality, music, weather, language, planning, coincidence and accident. Patterns are dynamic, stable and restrictive in every measure.

I work with patterns because they construct and constrain reality, for better and for worse. Although they are quiet (because they are quiet) they are very powerful. Made visible by art, they can be exposed, interrogated and challenged.�

VAUGHN

City of Parts Contours

Contrails

Junction 14

We Couldn’t All Be Wrong

Pattern of Red, Yellow, Blue

Master Plan

Master Plan 31

Firewall

Invisible City

162

Code Garden #1

Marble Arch

Code Garden #2

Patchwork

White Eliptal

163

P

etr is an artist specialising in remarkable contemporary art pieces created in ceramic, concrete and metals. Son of a Czech ÊmigrÊ born in England, Petr trained as a graphic designer before following his muse and dedicating himself to ceramics at Central Saint Martin’s in 2001.

Petr finds inspiration from his past, present and how he perceives himself in the world. This predominantly breaks down into a fascination in people, psychology and our inherent interactions. Also and equally weighted the allure of 'mother nature', boasting her plethora of mathematical patterns; in imperfect perfection.

Each art piece transforms, magnifies and captures a complex blend of philosophy, emotion and self-reference. The works are striking and deceptively simple upon first glance, growing in complexity over refection revealing narratives within.

Petr Weigl's works can be found the world over. Exhibiting on the international art fair circuit, his works are commissioned and purchased by private collectors, commercial institutions, and art enthusiasts.

PETR

Erosion

Contour Continental Plateau Cold Cast Bronze

Contour Continental

Contour Ravine

Erosion

Erosion in Grey Contour Continental

Contour Continental

Flutter

Flossom Flow

Flossom detail

Flutter detail

Flutter commission

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Luminaire Arts Ltd 19, Grosvenor Place Belgravia, London SW1X 7HT 0207 101 5070 www.luminairearts.co.uk www.lumiarts.co.uk

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