Sculpture & 3d art brochure small

Sculpture & 3D Art To finish any prestigious project, select from an exquisite selection of ‘Statement Art’

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 SCULPTURE & 3D ART BROCHURE, which features A highly curated selection of fabulous STATEMENT ART, across a full spectrum of prices, which can be commissioned in practically any size! The result is an unparalleled selection, that can be delivered anywhere in the world, normally within 3 - 6 weeks!’ Paresha Raj Burnett, Chief Curator & Director

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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)

v

ivienne works with a combination of hand drawn design and CAD, often incorporating processes such as screen prints in her work.

“I have a BA (Hons) degree in ‘Contemporary Surface Design & Textiles’ and I am a freelance artist-designer based in Halifax, West Yorkshire, England. I like to hand draw my designs, but I am also expert in the use of computer assisted design (CAD) technology.

My portfolio of work incorporates the use of screen printing, luxury surface patterns, digital printing, hand / machine embroidery, hand / machine knit, and three-dimensional constructed textiles. I specialise in bespoke art work and contemporary costume jewellery products. These include brooches, bracelets, necklaces, hand printed luxury silk scarves, framed artwork which can be made to order. I invite commercial and private commissions tailored to the clients specific requirements.”

VIVIENNE

A Pretty Delphinium

A Single Stem

Twenty Butterflies

No. 11

No. 8

Fly Away Blooming Flowers

A Papillion Dream

No. 9

No. 6

No. 14

No. 10

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

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

G

GENNARO

ennaro started painting in 2006 and after about one year of tests, he decided to stop in order to study the processes of interaction between colours: two enamels poured on an even support tend to blend autonomously.

He realized that through this phenomenon – which he defined as “blending” – it was possible to depersonalise the product of the creative act and reach concepts that transcend reality.

By employing a transparent material called “methacrylate”, Gennaro noticed that the colours blended on one side of the support. On its other side, instead, the first moment of the pictorial act remained imprinted, revealing the mark left by the colour before the process of depersonalisation. Hence, he decided to mould the painted support so that the two moments of metamorphosis could be shown and made available to the public.

In 2011, he approached Il Metaformismo, by professor Giulia Sillato. She led him to show his work in several prestigious exhibitions. In 2014, after examining in depth the critical survey on Metaforma for years, the artist published his own programmatic formulation about Seconda Forma (literally “Second Form”). In short, the artist declared that it is necessary to face a first phase of depersonalisation of the creative moment through a painting act in order to describe all the concepts related to the incorporeal. Then, there is a second phase of the sculptural process, during which the creation is brought back to a corporeal level and becomes available to the observer.

Conversation Between Colours

Form of Light

La Pentera Rose 1

Durro Come La Roccia 1

Protendere

Durro Come La Roccia 2

Seed of God

In Nomine Domini

In Une Instant 1

In Une Instant 2

19

Innalzarsi

Caducita Del Corpo

Lord of the Ocean

Sonoro Ancora Un Geco

Wings Fluttering

Sul Fondo Del Mare 20

The Archer

Mutation

Protendere

Works in Situ in the Sudio

01

21

M

CAROLINE L

acramé creating a fine balance of contemporary and heritage design infused into collections that will captivate the room.

In the spirit of the intrepid British explorers, we traverse the globe in search of the wonderful and unique. Caroline periodically introduce artworks inspired by an explored country, taking in that region’s finest traditional design and translating it into our own uncommon style.

Trained in textile design, Caroline first learned the skill of Macramé much earlier than her university days, from her Grandmother. The average artwork will be composed of thousands of knots, all hand tied.

Angel

Avenue

Narrow Path

Cascade

Detail

Detail

I

was raised at the foot of the Rocky Mountains in Colorado, where the history and lore of the gold and silver mines gave me an early understanding of metal. Over the past 17 years, I've been refining a technique combining the ignitive force of casting with the delicacy of weaving to create woven bronze sculptures that evoke both literal and emotional interpretation. I sculpt each base in wax and then cast them into bronze. I then weld spines to the base and weave the thin bronze wire, and sometimes beads or other objects, around the spines. After the weaving is complete, a patina is applied.

Sometimes the shapes that emerge are extremely deliberate, while other times they evolve during the process of creating them.

Combining bronze casting and weaving connects me to some of the most ancient human activities, and offers a way of lending grace and movement to bronze.

VIRGINIA

Amoeba

Estrella

Illumination

Mandala

Thassos

Breeze

Moon

Queen of the Night

Shade

Romantic Storms

Trio

Tempest Storms

W

orking in bronze, copper, steel and stainless steel - Philip designs and creates unique and bespoke sculpture, furniture and artworks for home, garden and public or business environments. He designs, fabricates and installs public art pieces and runs workshops in schools and with community groups.

Philip creates an eclectic range of sculpture and contemporary furniture. Highly aesthetic in nature, you will find much of his work curvaceous and tactile, but with a coarseness that is lent from working with bare steel or stainless steel. His style ranges from figurative to abstract and is always in context with its environment.

PHILIP M

Wave V Patinated

Windvessels

Wave V Copper

City of Angels 2a

Windblown I

Loop

Pyre

Garden Sculpture 2

Djinn V

Basilisk XII Bronze

Djinn III Sphere

J

odie is a Metalwork artist based in Leicestershire. She graduated from De Montfort University in 2011 with a First class Ba (Hons) in Design Crafts. She was selected to participant on the Starter studio programme at Yorkshire Artspace, where she won the Sheffield Assay office Precious Little gems commission 2015.

In September 2015 she was selected to be the International artist for the Craft ACT Artist in Residence program in Canberra, where she is currently exhibiting her new collection. Jodie creates woven sculptural objects inspired by Australian fauna, since her first visit to the country in 2012. The abundance of beautiful forms, colours and patterns found in the Australian bushland has motivated her designs. Along with her long time interest in textiles and how these techniques can be used within a metal working tradition. The weaving process in particular is central to her work and it is what drives her development.

Jodie plans her vessels quite logically and mathematically, she weaves the sheet into pattern pieces which will create her desired forms. The woven sheet is then repeatedly hammered and annealed to create the organic colour palette. Her inspiration is to create an aesthetic contrast between the organic colours and form and geometric pattern in the weave. Jodie's intension for all her pieces is to intrigue the viewer and hope they become captivated by these objects and see something new from every angle.

JODIE H

Shanahans

Woven Vessel 1

Woven Vessel 2

Woven Vessel 3

Woven Vessel 4

Yerrabi

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

37

Periphery

Map of the Heart

Gloriole

38

Hard Target

Butterfly Ball

Gloriole

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

42

Love, Loss and Separation

Held – Still Life 2

Hortensia

43

H

aving specialized in carving in both wood and stone at Wimbledon Art College, Nicola now works mainly in stone and bronze. Her preference is for medium to larger scale works made in plaster to be cast in bronze although she also makes smaller pieces in stone and bronze for indoors and outside. The originals she usually makes in plaster or occasionally clay depending on the required finish of the cast bronze.

In the Creation sculptures: Pod, Bud, Fig Gourd, Wavy Clam, Sea Cone, Fig Shell and Ammonite, the focus is on simplified abstraction taking the forms back to their basic essence in nature. All of these pieces are about being contained but with a hidden presence inside the forms; shells and fossils depicting a quiet past life, pods and buds describing a quiet present life invisible from the outside yet on the inside depicting growth and a future life waiting to emerge.

The Stone Figurative carvings focus on the same idea of a quiet life within, contemplative and peaceful.

Throughout the past twenty-five years she has been exhibiting both abroad and throughout the UK, regularly in London including at the Mall Galleries, The Royal Academy Summer Exhibition and Cork Street. Her work is also held in both public and private collections in Singapore, Germany, Poland, Hungary and throughout the UK.

NICOLA B

Bud 1

Fig Gourd 1

Fig Shell

Gather Me to You

Wavy Clam

Pod

Blessing

Shadow Clone

Testimony

Protection

Gaze & Wonder 3

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 50

Threshold VIII

Breathe 3

No. 3

No. 9

No. 6

No. 4

De Terre II

De Terre III

51

De Terre IV

De Terre V

De Terre VI

De Terre VII

De Terre I

52

North Sea II Quarry III

North Sea III

Quarry IV North Sea IV

53

K

ate explores the limits of geometric and optical abstraction through the use of colour, repetition, sequence and distortion.

Surfaces are created which fold inward and lie on various angles, occupying and enlivening physical space.

As the viewer moves around the work, the form, shapes and shadows alter, creating a sense of distortion and surprise. The three-dimensional nature of her paintings aid in obscuring the rules of fixed, consecutive arrangements, generating a sense of unease by creating broken and fragmented shapes whilst in a uniform composition. An endless battle between systems and disorder, structure and chaos echo throughout her practice. Focussing on an aesthetic and optical effect, her work transcends the obsession with 'meaning' in contemporary art.

Emphasising the materiality or the 'thingness' of three dimensional structures, she is not only drawing on and combining different disciplines but she is advocating a renewed appreciation of the experience of 'substance' in the experience of art. The whimsical titles such as, 'I Can't Afford The Luxury of Personal Boundaries', and 'My Apology is From The Heart', contrast the striking precision and sensory impact of the work, and play upon the contemporary viewer’s instinct to search for meanings or significances attached to profound objects.

KATE M

I Told You I’d Shoot But You Wouldn’t Believe Me.

This is My Song Rachel, Not Our Song.

What Happens if Nothing Happens

Society Doesn’t Need to Know Who I Am

You Knew What This Way

There Are No Blank Spaces on Maps Anymore

I Cant’ Afford the Luxury of Personal Boundaries

This is the First Time I Saw Your Face

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

60

Quadrant I (detail)

Bronze Panel with Black Detail

Circulus I

61

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

64

Code Garden #1

Marble Arch

Code Garden #2

Patchwork

White Eliptal

65

A

n award winning Welsh born artist. His work is focused on contemporary glass design and explores the relationship between light and glass. His art works are juxtapositions and aim to create beauty and complexity out of simplicity. He loves the dual nature of glass, its strength and fragility, working simultaneously with light, colour and structure.

Art has been a consistent focus in Chris’s life. Early on he studied art and design at college before becoming a photographer. These pursuits allowed him to develop an understanding of form and light. It wasn’t until 2012 that he found his true calling; studying Architectural Glass at University.

CHRIS W

Reflect

Fragment

Refraction

Refraction II

Incasement

No. 26

Light & Structure

Refraction – close up

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

71

Magic Circle

Portal

72

Vortex

Cell Cloud

73

Cut Stem

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

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

80

Creation is Destruction New Gold 1

Creation is Destruction New Gold 2

Destruction no5

Creation is Destruction

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

83

Copper No 3

Copper No 10

Copper No 13

84

Copper No 5

Copper No 6

85

W

ith a background in architecture, interior and furniture design Philip is a self-taught sculptor and specialises in sandcasting to make pieces which engage the quality of bronze as a noble material in its own right.

Sculptures are intimate in scale and intended for the interiors of home, office or hotel.

Casting in sand moulds is a simple and ancient method far removed from the sophisticated lost wax operation used by most art foundries.

The sand-casting process is relentless and unforgiving – the foundry is no place for a delicate original. It denies a complexity of form that imposes a disciplinary and enriching simplicity.

He cuts, carves, grinds or welds the cast bronze to create unique forms before invariably exposing the natural bronze or oxidising to produce the unique surface finishes that have always been an essential dimension of his work.

PHILIP H

Acanto

Forties 6 of 9

Viking

This Way

Cycles V

Cycles VI

Cycles XII

Fastnet II

Feast & Famine 1 of 7

Fitzroy 6 of 9

Fastnet

“

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.

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

B

orn and raised in India, Lata currently lives and works in the UK. Lata is a visual artist that specializes in contemporary sculpture and has completed masters in fine art in both India and the Slade School of Art, London. Her work is held in private collections throughout Europe, India, Middle East and the far East.

Lata's work reflects upon her own life, the experience of migrating from the East to the West. The journey of migration is depicted in the shape of the circular form, symbolic of the cycle of time. The Circular motif represents how things were, how they changed and how they have returned to natural states of what they were, before Lata's transitional journeys to the west. The geometric form of the rectangle and square represents the present, Lata’s life in the west, through the balance, integrity, structure and security that are offered. These basic geometric shapes are either utilised individually or contained within another form. Further exploration is made through the use of materials, texture, colour and pattern. The work offers the sense of refamiliarisation with Lata’s origins in India.

LATA

Polo

Beauty Moon

Pearl

Reflecting Beauty 7

Reflecting Beauty 1

Reflecting Beauty 6

Reflecting Beauty 2

Reflecting Beauty 3

I

n all my work I am interested in following a very simple system which is devised prior to execution and cannot be deviated from during the course of production. There is an abandonment of colour, of gesture, of the expressive, and instead I instate an almost mechanistic methodology that minimises the decision making process and emphasises a systemic approach. In this respect the work can be seen more as a result, bounded by a set of rules as opposed to something derived from an intuitive, responsive operation.

There is a meditative aspect to the work, the repetition of a singular form or action synonymous with some mantra, yet this repetition equally feeds into a minimalist convention, where industrial conformity and a stark mathematical edge underpin each piece. Although aesthetically, the work appears almost machined, they are very much hand made objects, obsessively laboured and crafted. I am attempting with each piece to follow through the process as accurately as possible, however, there are invariably "mistakes" present.

This presence of the human acts to undercut the implicit abandonment of any expressive or gestural mark making. One is thrown into relief by the other. The work occupies a space between this pure, reductive detachment of authorship, and an acknowledgement of the hand made.

BEN G

Axis No. I

Axis No. II

Axis No. III

1338

1017

945

947

1029

Pulse

Tangent No. 1

Tangent No. 2

S

tarting in the industry at the age of 15, James showed a natural talent for the craft and has been working as a glass artist ever since.

Specialising in working with hot glass, he is adapt at working with solid forms as well as blown pieces. Working with an extensive knowledge of glass techniques James will happily undertake new challenges.

In September 2008 James opened his first Studio set in the inspiring Wiltshire countryside. In 2009 he started as the glass technician at the Royal Collage of Art in London. This roll opened up vast new contacts and opportunities that are still a core of his career to date.

After leaving in London in 2013 James and his partner set up a new studio together. To this day the studio has gone from strength to strength and attracts some of the finest glass artist in the country.

A high skill level, technique and a good eye help make James one of the up and coming glass craftsmen in the glass world today.

JAMES D

Detail 1

Clovie in Blue, Steel & Plum

Detail 2

Detail 1

Clovis in Blue & Tobacco

Clovis in Yellow

Detail 1

Clovis in Tobacco Detail 2

C

REGINA eramic Art Regina is a London based ceramic art practice specialising in 3D architectural ceramics.

Inspired by water and poised between art and design, the undulating sculptural tiles create unique feature-walls and statement pieces for public and domestic settings alike, introducing an elegant and sophisticated element into architectural spaces. Regina is known internationally for her tactile ceramic sculptures with highly distinctive abstract designs. Her work is held in public and private collections around the world, including the Fitzwilliam Museum in Cambridge and the Museum of Contemporary Ceramics in Gifu, Japan. Regina has worked with leading interior architects and art consultants to create site-specific installations that complement their setting while retaining their own artistic identity. Her portfolio includes an exclusive 3D tile line, designed in 2011, for the American company Ann Sacks, and the cabin art work design for P&O’s newest cruise ship Britannia.

Regina studied Fine Art and Ceramics in Vienna, Geneva and London and has worked from her ceramics studio in South London since 1998.

Regina received funding from the Crafts Council to set up her workshop.

She is a Crafts Council Selected Member, an elected Fellow of the Craft Potters Association of Great Britain, and a member of the International Academy of Ceramics.

Flow

Reflection 7

No.3

Klimit

Gallery 4

Reflection 7

Gallery 9

Gallery 6

Gallery Pixel 3

Gold Enamel

Hand painted Feature Wall

White Gloss Gold Enamel 3

Gallery 1

Gold Enamel

Gallery 3

Platinum

I

n his artistic research he seeks to tell his own story, his experiences, personal responses and feelings, as well as those of people and situations he encounters in his daily life.

He likes to use traditional hand tools, such as the chisel on stone that leaves a unique trail, a personal mark which transmits a human strength to the sculpture and infinitely reflects the sculptor's thoughts in the stone.

He loves working with white marble - Lasa, Carrara, or Sivec, not polishing them to perfection, sanding them , but leaving the surfaces soft, flowing or wavy, so that they all attract and encourage the desire to touch and caress the shape of the sculpture.

As well as stone and marble he works in the classic materials of bronze, wood and ceramics. Currently he is a member of the artistic association Prologo from Gorizia, Italy. He lives and works nearby in Nova Gorica, Slovenia.

DAMJAN

Boomerang 1 Cup No. 1

Cup No. 2

Cup No. 3 Boomerang 2

No. 11

Warrior

Bitel 1

Rose

Warrior b

No. 1

No. 6

No. 2

No. 3

No. 4

1450

1451

1458

1467

No. 7

No. 10

No. 13

No. 13

1387

1300

1447

1469

Seed 4

Seed 9

No. 17 Seed 10

1470

Ownership of Artist relationship You agree that the business relationship between the Artist and Us is entirely owned by Us. You will not approach the Artist directly or correspond with the Artist in any way, except with express written authorisation from Us regarding their Artworks.

Copyright All works are subject to availability. Copyright to all material and/or works of art comprising or contained within this brochure is held

by Luminaire Arts and/or other copyright holders. It is prohibited to reproduce, modify, adjust or otherwise use any of the images or information in any manner or form without the express written permission of the copyright holder. For further information or details of any of the works listed please contact us.

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

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