Exploring Collections – Outside In Collection 2024

E

in

D

U

S

I

T

STEP UP

EXPLORING COLLECTIONS

OUTSIDE IN COLLECTION 2024

O

“The addition of the Rose Knox-Peebles collection to Outside In’s existing collection has not just provided a lot of beautiful art but also expanded what is becoming a vital resource for its artists. Being able to have access to unique and diverse artworks has provided Outside In’s artists with a rich resource for research and creative response.

The participants engaged on the Step Up Exploring Collections course, that focussed on the Rose Knox-Peebles collection, showed the wealth of knowledge and insight that artists can bring to widening our understanding of art.”

MARC STEENE, DIRECTOR OUTSIDE IN

4

CONTENTS 6-7 9

Introduction Words from Julia Elmore, the Course Tutor and Marilyn Henderson, the Course Assistant

10-11

Words from Charlotte Graham-Spouge, Step Up Programme Manager

13-47

Words, quotes, artwork and inspiration from the course participants: Andrea Mindel Fatma Durmush Skye William Eade Susan Wales Waheed Adeniran

48-49

Links to video artworks

53 54-56

Thank yous Image credits

5

STEP UP EXPLORING C O L L E C T I O N S 2024 OUTSIDE IN COLLECTION Outside In provides a platform for artists who encounter significant barriers to the art world due to health, disability, social circumstance, or isolation. It is an important and rare example of an organisation with national reach championing the work of artists excluded from the art world. It was formed in 2006 at Pallant House Gallery and won the Charity Award for Arts and Heritage in 2013 and the Queens Award for Voluntary Services in 2022. Outside In became an independent charity in 2017 and gained National Portfolio Organisation status with the Arts Council England in 2018.

Exploring Collections is a ten-week course providing participants with the skills to research and interpret works of art. In each session, participants received training and support to develop skills in researching their chosen area, theme or artist, and professional guidance on how to interpret what they have researched.

6

Thanks to generous funding from Jerwood Foundation, Outside In has been able to deliver an Exploring Collections training course to delve into the Outside In collection.

This course supported six South East-based artists to explore the Outside In collection, with a particular focus on the newest acquisitions. This was a great opportunity to gain skills in research, interpretation and producing new creative responses whilst getting to know an important collection in a safe and supportive environment.

The course used Outside In’s collection of over 180 works, as a starting point, for creative research. Outside In has a growing collection of artwork made by non-traditional and excluded artists, both in the UK and internationally. With works from such well-known outsider artists as Scottie Wilson, Nek Chand, Nick Blinko, Valerie Potter and Ben Wilson (the Chewing Gum Man), this collection is the first of its kind in the UK. This course will focus mainly on the most recent acquisition and donation from independent collector Rose Knox-Peebles.

You can view the collection here: outsidein.org.uk/collection Here, the artists who took part in the course explain their research interests, the artwork from the collection that spoke to them and how they reinterpreted these pieces.

7

8

“It was a joy to work with such an engaged group of artists who were skilled in a variety of disciplines and to witness the progression of their research and creative outputs... I was grateful to have such a supportive assistant in Marilyn and thrilled that collector Rose Knox-Peebles and artist Ben Wilson were able to join the group for Q&A sessions. Those on the course posed intelligent questions that helped deepen their understanding of the collection, the experience of an artist in the collection and some of the individual works within it.”

JULIA ELMORE, COURSE TUTOR

“I really enjoyed working with Julia - I gained a lot of insight on the process of creative research and how she guided artists through it. It was lovely to see the artist’s work each week and see what they had learned. It’s a privilege to be able to look at the work close up and hear how Rose Knox Peebles collected each piece.”

MARILYN HENDERSON, COURSE ASSISTANT

9

“We are so grateful for the funding from Jerwood Foundation to run this Step Up Exploring Collections course. This course enabled artists to respond to the amazing work collected by Rose Knox-Peebles and gain the confidence boost to take the next steps into a career within the arts sector.

Artists who took this course have gone on to work on PhDs, become paid Course Assistants, curate collections-based exhibitions and contribute their work to auctions.”

CHARLOTTE GRAHAM-SPOUGE, TRAINING PROGRAMME MANAGER

10

11

12

“Understanding how pivotal moments in an artist’s life influence their work helped me gain a deeper appreciation of the connections between personal experiences and artistic expression.”

SK YE WILLIAM EADE - COURSE PARTICIPANT

13

ARTIST ANDREA MINDEL

Andrea Mindel is a multi-disciplinary artist with a practice that positions embroidery as fine art.

Thematically, Mindel is concerned with social injustice and climate chaos inculcated by late-stage capitalism and hetero-patriarchy in the age of live-streamed genocide.

Mindel is an ambassador for Outside In and supported by Arts Council England – DYCP (2021 – 2022), Dash Disability Arts, Towner Eastbourne and the British Council / Unlimited.

Mindel lives and works in Rodmell, East Sussex, UK. andreamindel.net Instagram @andrea.mindel

14

15

16

I’M STILL ALIVE YOU BASTARD I AM SO SAD 30.5.24 I AM STILL SAD 31.5.24 HOW CAN I TELL YOU NOT TO GO BACK? 1.6.24 I AM SO PROUD OF YOU 2.6.24 I AM SO GRUMPY 3.6.24 YOUR ELECTIONEERING DOESN’T SWAY ME RICH MAN 4.6.24 YOU’RE ALL SO FUCKING IMPORTANT 5.6.24 I TRANSFORM HATE INTO LOVE LOUISE BOURGEOIS 14.6.24 DON’T JUDGE ME BY MY HAIR COLOUR 2023 KIM’S HOUSE ONLY JESUS COMES BACK 14.6.24 “THE PATH I FOLLOW RELATIVE TO SOCIETY IS AN OBLIQUE ONE.” JEAN GENET 15.06.24 FUCK YOU FOR IGNORING ME 16.06.24 FLOWER OF MALICE WHEN MY BRAIN WAS SHARP I LACKED SELF ESTEEM AND PLATFORM 18.6.24 ALWAYS ON THE BACK FOOT 07.07.24 REJECTED BABIES AT THE BOTTOM OF THE TOY TRUNK 08.07.24 I’M STILL ALIVE YOU BASTARD VALERIE POTTER BY ROSE KNOX-PEEBLES “I LOVE THE AGGRESSION IN HER WORK” 12.07.24 I DON’T BELIEVE IN GOD & I DON’T BELIEVE IN THE KING 14.07.24 THERE IS NO SUCH THING AS DUTY OF CARE. NO-ONE CARES. REALLY. NO-ONE CARES.15.07.24 THE MOSES ENIGMA. THE PLANT OF DEADLY INTENT. THE APOLOGETIC SUN. THE DROWNING WOMAN. FLOWER OF MALICE. FOREST OF FINGERS

17

A N D R E A’ S I N S P I R AT I O N VA L E R I E POT TER

‘The words machine stitched onto the calico are followed by a date, and describe my preoccupations, thoughts and feelings for the duration of the Outside In Step Up Exploring Collections course. Intermingled with these words of mine, are the words (in purple) Valerie Potter wrote in thread in her piece called “The Drowning Woman.”

Whilst Potter shrouds the meaning of her text using short, almost poetic equivocations, following the lines of her surrealist thread drawings, my words are blunt, rooted in the moment, and machine stitched over a repeat print of a Peace Angel with a dove nestling on her shoulder.

‘The image of the Peace Angel and a Dove can be found seated facing East at the base of the Lewes War Memorial. Designed by

18

Vernon March in 1922, I photographed and silkscreened the image circa 2010, and machine embroidered it using my Janome Atelier 3. The machine sewing was begun on the 30th May 2024 and was finished on the 19th July 2024.

The title of my work is attributed to Rose Knox-Peebles’ description of what she loves about Valerie Potter’s work. I made a short film of the making of the work which is accompanied by the soundtrack of Rose describing why she bought Valerie Potter’s work for her collection.

I had an epiphany whilst examining timelines on the course, to insert major events of my own life alongside those of the artist I had chosen to investigate, Valerie Potter. This worked especially well as Potter is not much older than I am. This notion, of inserting myself into the continuum, and positioning myself on a trajectory in the art world resulted in the way I chose to frame my response to Potter’s work - her words and mine; two female protagonists, floating in a man’s world.’

19

20

“I saw Stephen’s work and it gripped me. There it was, heart and soul- I dived in, it was like I’d fallen in love.”

FATMA DURMUSH - COURSE PARTICIPANT

21

ARTIST FAT M A DURMUSH

‘I was born in Cyprus and moved to Britain when I was 40 days old. I was educated at the University of East London to Master’s level in Art and Printmaking.

My paintings were influenced by Picasso.

I started drawing when I was a kid on wallpapers because I was bored! I became homeless, and I didn’t really start painting until I went to St Martin’s in the Field, which is a homeless shelter/ church near Charring Cross. They told me to draw anything I wanted, so I did!

I began to paint and after I sold about 20 paintings, I was awarded with a String of Pearls award. My first exhibition was in collaboration with Sylvia Jones, in the St Martin’s in the Field crypt. It made the news in The Guardian and it was chosen by the National Gallery to be exhibited in their cafe.

My main inspiration began as my family, but now I love looking at other people as inspiration. I’ve painted people at MIND; I love having models to paint.

My style is childlike, an amalgamation of all the art styles that I’ve drawn as inspiration.

I paint on all sizes, all mediums: paper, canvas, wood, glass. If it moves, I’ll paint it!

I began to paint initially because there were not enough female painters; now I paint because there are too many female painters!’

22

23

FAT M A’ S I N S P I R AT I O N STEPHEN WHITE

‘I chose Stephen White because something pulled me to him. His paintings had a haunting quality and reminded me a bit of Van Gogh.

I saw Stephen’s work and it gripped me.

There it was, heart and soul- I dived in, it was like I’d fallen in love. If he had been alive he would’ve had it! I just wanted to pick his brain and see what it was. It was an artist so similar about things, feelings, the textures, all of that was unique and yet so like Van Gogh. Very memorable.

Water is something that can’t be repeated, yet water is about life and repetition.

24

I found out that Stephen White, who was an Outside In Artist, was a manager for Outside In. He ran courses, he was doing teaching, he was an important man! I discovered that he always wanted to be an important man, because he sold his house in order to buy a place in a noble’s house to be buried in. He was a skipper on a ship and worked at night as a lookout until his health failed, this reminded me of when I worked as a lookout at a cafe until my health also failed.

‘He’s a great painter, he does water marvellously as well as buildings.

This inspired me to start working with mirrors. I found that all my pictures turned out blue, I wasn’t sure why until I discovered that he was a skipper on a ship. It almost felt like he had psychically transmitted the blue colour to me.

After doing the paintings inspired by Stephen White, I am now being chased around by galleries! It’s wonderful, but I’m finding it very overwhelming.

This made me appreciate how logical Stephen’s brain must have been.’

25

“I thoroughly enjoyed exploring the diverse perspectives of fellow artists and engaging with the ‘outsider art’ discourse. The opportunity to discuss and reflect on different artistic processes and inspirations enhanced my understanding of art and its various interpretations.”

SK YE WILLIAM EADE - COURSE PARTICIPANT

26

27

ARTIST SKYE WILLIAM EADE

Skye is a dyslexic London-based artist with over three decades of practice and distinctive exploration of water and perspectival concepts influenced by the dyslexic gaze. Skye’s art making is deeply intersected with his PhD research, where he examined how dyslexia shapes creative processes through the lens of the Sublime.

His research highlights the ways cognitive processes, such as spatial reasoning, pattern detection, and visual reversals, contribute to the art making (Eide and Eide, 2023).

Skye’s work is characterised by a unique approach to visual elements, often zeroing in on still images of turbulent water and exploring the form and stylistic elements within. This focus on refractions, reflections, and symmetry in water is not only indicative of strengths often inherent with dyslexia but also engages sublime principles such as transcendence and otherness (Silverman, 2016; Zepke, 2017).

28

Skye’s education in art includes both bachelor’s and master’s degrees. He is currently finishing his PhD, also in Art. By bridging his artistic practice with academic inquiry, Skye aims to shed light on the unique contributions of dyslexic artists and offer new insights into the intersection of cognitive and sensory experience in art. skyewilliameade.com Instagram @skyewilliameade YouTube @skyewilliameade

29

SKYE’S I N S P I R AT I O N PAT M E A R

‘Pat Mear’s work has significantly influenced my artistic process, particularly through her drawing “Feeling Water (Subconscious No. 5)” and her five-foot canvas “Micro Macro”. Mear’s ability to evoke the fluidity and essence of nature through abstract forms resonated with me. In my own work, I explore similar themes of nature and introspection through an intuitive and reflexive style. The themes of micro and macro are also central to my practice, where small-scale drawings often manifest into larger works, such as the five-foot oil paintings I have executed in the past.

‘My first work depicts an abstracted eye within a swirling spheroid of water, resembling an eyeball.

30

This piece relates to the concept of the mind’s eye, emphasizing intuition and ‘big picture’ seeing, which are often inherent strengths in dyslexic artists (Eide and Eide, 2011; Stein, 2021; West, 1991). My second work portrays vortices captured in a local river, focusing on a single vortex where trees and the sky are reflected in the swirling water. This work conveys the act of daydreaming, a dyslexic trait that can be useful in the creative process (Corballis, 2012). During the creation of this piece, I documented the process using time-lapse photography and rotated the images at variable speeds until they mirrored real vortices in water—an example of ‘spatial reasoning,’ another strength often associated with dyslexia (Eide and Eide, 2023).

Both works were executed using my left hand, serving as a reversal of Mear’s “Feeling Water”, which features a large single right hand. Reversals are a common trait in dyslexia, where letters and numbers appear backward, yet they may prove useful and aweinspiring in art (Passe, 2015).

The evolution of my work throughout the course has been a journey toward understanding how intuitive processes translate into visual expressions of awe and wonder. Mear’s influence led me to embrace spontaneity and introspection, fostering a deeper connection to the themes of dyslexia and the Sublime.’

31

32

“The major benefit from the course is that I have started painting and drawing again after quite a long sojourn.”

SUSAN WALES - COURSE PARTICIPANT

33

ARTIST SUSAN WA L E S Susan is an artist who doesn’t like to be restricted in media or processes. She says, ‘when I was lucky to have access to a workshop, I made jewelry and sculpture in copper, silver and aluminum. My main interests are making work from discarded and found materials. I also like to work with wood and clay. But at the moment my options, space and materials are very restricted, so I am concentrating on drawing and painting. I like painting but not in oils as that would require a studio and proper ventilation. Acrylics are fun to work with as I often add different material to add texture. I like to work from life rather than photos as I like the changeability that comes with differing light conditions. I feel work from photos can be too static looking and lacks dynamism. My work is usually narrative and illustrative. As well as different processes, I like different materials and mediums... but pen and ink and pencil lines are mainly how I’m producing work now given my restricted living space.’

34

35

SUSAN’S I N S P I R AT I O N S H I N YA F U J I

‘I chose Shinya Fuji’s work “Untitled no.2” from the Rose collection because of my immediate reaction to the fluidity of the lines and musicality of the drawing. I like pen and ink drawings and find them satisfying to do myself, without the difficulty of deciding on colour. Unless I’m drawing from life, when using colour from my imagination, there are lots of different decisions to make. I love colour in other people’s work but find it can be quite technical to execute. Rather like perspective or baking a cake - using colour can be a science. There are many art books written on just this subject.

Also, at first glance Shinya’s drawing seems merely delightful and decorative but on closer inspection, there is something sinister or at least sad underlying it.

From the first viewing of the drawing, I assumed the artist to be a woman, an expression of feminism and woman’s role in society perhaps. I was surprised to find that Shinya was in fact a Japanese man, but when reading about his life and the early bullying he endured, and the death of his father and subsequent diagnosis of schizophrenia, his drawings made sense as a sort of self-medication and therapy.

Bullying causes disorder and chaos and disruption in development and self-confidence.

36

There is anxiety in the unexpected and unpredictable actions of others resulting to loss of one’s autonomy and danger to self. Bullying has a causal effect in mental illness. The risk of depression in children and adolescents who are bullied was 2.77 times higher than that of those not bullied. [Ye, Z., Wu, D., He, X. et al. Meta-analysis of the relationship between bullying and depressive symptoms in children and adolescents.

BMC Psychiatry 23, 215 (2023). https:// bmcpsychiatry.biomedcentral.com/ articles/10.1186/s12888-023-04681-4 Also, I think the death of Shinya’s father profoundly affected him as adults grieving the death of a parent can be shocking and life changing.

I can attest to this personally as I have recently lost both parents.’

37

SUSAN’S I N S P I R AT I O N S H I N YA F U J I

38

‘Art therapy can be a beneficial part of treatment plan for people with schizophrenia. It helps people express their thoughts and feelings without having to find the right words, it can also be a great way for people to describe their hallucinations and other symptoms.

Visual changes in schizophrenia that may also affect art creation include changes in intensity of light and colour and also a tendency towards metamorposia (changes in object form, including the appearance of one’s own body). [This is] very apparent in some of Shinya’s work where people seem to morph into plants and visa versa.

I strongly feel that Shinya uses patterns as a sort of healing. Patterns are safe, flowers are ordered with every seed containing the blue print for an ordered pattern of harmony and calm. Natural patterns have expected outcomes and there is safety and order in the outcome.

In nature, the numbers and ratios in the Fibonacci sequence are found in the patterns of petals in flowers, the whorls of a pinecone and the leaves on a stem. Shinya uses patterns of natural forms to produce musicality and calm.

Plants and flowers and the natural world are also a motif for growth- something that Shinya intimated he desires.

We are all part of the natural world

but find ourselves increasingly more removed by living in big cities and urban environments away from trees, having concreted and asphalted over nature.

I have recently moved from a house with a garden to a small flat and I miss the trees and plants, and compensated by buying many house plants and even used them as a basis for my art.

I have also become aware of just how many patterns there are, based on nature that I have chosen for my new home- plates, cups, cushions, curtains carpets etc. I have counted at least 72 different flower patterns in a quick cursory glance around my tiny flat.

Shinya is of a similar age (8 years younger) to my self and there are other similarities. For example, I studied sequential illustration (at Chelsea and Richmond college) and had an interest in comic books. But there are also striking differences, the main one being that I’m not comfortable with drawing patterns or dealing into my inner feelings in an abstract way artistically. I very much enjoy drawing from real life and still life.

So, for my art inspired by Shinya, I have put the radio on and tried to explore patterns and create from my imagination.’

39

SUSAN’S RESEARCH ON S H I N YA F U J I I Shinya was born in Japan in 1969. While at high school he became interested in art, following winning a prize for comic book design in a magazine. He was frequently bullied at school leaving him introverted.

He worked for many years in an automobile factory assembly plant, then as a security guard in Tokyo and other cities to realise his dream of studying abroad- a lifelong dream.

He was diagnosed with schizophrenia in later life after his father died in 2007.

His work is very much influenced by southern Balinese motifs and he has adopted a view of the world that Buddhism preaches. Fuji’s fascination with Bali could also come from the balmy climate that contrasts so strongly with the harsh winters of his home in Hokkaido, northern Japan, where the winter temperatures often drop to minus twenty degrees.

In an interview for the Jennifer Lauren Gallery, translated by Kazuhiko Kudo, he expressed his delight in seeing his work excited in London- his first solo exhibition.

40

He went on to mention that it was an event that has never happened in Japan; he had never exhibited his work or sold there. He feels that the perceptions of art in the UK and Japan are very different.

Shinya declared how happy he was to see that many people took his work seriously.

Shinya goes on to candidly express the emotion that underlies his daily life is always hapless anger in himself. While working, he listens to folk music and draws to suppress the anger. He feels most comfortable when drawing. His inspiration from Balinese images and Buddhist art are incorporated in his work to stabilise his spirit. What he hopes to find in continuing to draw is to find exactly what his role is in life.

Health permitting, he works from 5 minutes to an hour every day drawing on Kraft paper with a fine-nibbed pen, his lines creating what he calls ‘waves of music lines’. The patterns resemble robots, insects, plants and seashells.

41

42

43

WA H E E D ADENIRAN

‘My name is Waheed Adeniran, born in London, UK, a self-taught, prolific artist from the age of 9 years old. I joined the British Army and was in the Gulf War in the ‘90s. I suffer from ADHD, PTSD, Manic Depression, Bipolar Affective Disorder and Schizoaffective Disorder. I now manage my illnesses with prolific artwork and medications prescribed by GP and consultants.’

Waheed has exhibited at Centre Pieces Bexley, Summer Exhibition Royal Academy, Horizon Line Market, Art and Community Erith, Kent, the Exchange, Erith. He has also recently curated an exhibition at artsdepot, London.

44

45

WA H E E D ’ S I N S P I R AT I O N THOMAS HARMER

46

47

LINKS TO VIDEO ARTWORKS

WATCH I’M STILL ALIVE YOU BASTARD

BY ANDREA MINDEL

48

WATCH HARRY’S LAMBETH WORLD

BY WAHEED ADENIRAN WATCH EYE OF INTUITION: GRAPHITE ON PAPER

BY SKYE WILLIAM EADE

49

50

“[I enjoyed] meeting people, being not alone, getting the help, getting the technology to work. Meeting people! I can’t emphasise it enough. Art is a lonely task.

Sometimes you don’t even get a model.”

FATMA DURMUSH - COURSE PARTICIPANT

51

52

THANK YOU A R T I S T S: Andrea Mindel Fatma Durmush Skye William Eade Susan Wales Waheed Adeniran

C OUR S E T U TO R: Julia Elmore

C O U R S E A S S I S TA N T: Marilyn Henderson

FUND ER: Jerwood Foundation

53

IMAGE CREDITS 1 2-3 4 7 8 10-11 12-13 (top) 14

(middle) 14

(bottom) 14

(top) 15

(bottom) 15

16 (top) 18

(bottom) 18

Kwei Eden, Colossal, unknown date, pencil and crayon, 84cm x 119cm, Outside In Collection Jasna Nikolic, Parrot, 2008, stoneware, glaze, 2008, black enamel ceramic, 23cm x 25cm x 12cm, Outside In Collection Hakunogawa, Untitled (13), unknown date, ink pen on paper, 10.5cm x 15cm, Outside In Collection Ben Wilson, Untitled (Cell Red), unknown date, pastel and acrylic on board, 60cm x 43cm, Outside In Collection Aradne, Spirit Totem 2, 2013, embroidery and fabric, 27cm x 37.5cm, Outside In Collection Carol Jaye, Voyage to the Rainbow [1], unknown date, ceramic, 15.5cm x 16cm x 11.5cm, Outside In Collection James Gladwell, Untitled (Whistles and Coathanger), unknown date, embroidery on fabric, 32cm x 34.5cm, Outside In Collection Andrea Mindel, I’m Still Alive You Bastard, Detail, 2024, Silk-screen on calico, Machine stitched with cotton thread, 18cm x 58cm Andrea Mindel, I’m Still Alive You Bastard, Detail, 2024, Silk-screen on calico, Machine stitched with cotton thread, 18cm x 58cm Andrea Mindel, I’m Still Alive You Bastard, Back View, Work In Process, Detail, 2024, Photographer Credit Jonathan Bassett, Silk-screen on calico, Machine stitched with cotton thread, 18cm x 58cm Andrea Mindel, I’m Still Alive You Bastard, Work In Process, 2024, Photographer Credit Jonathan Bassett, Silk-screen on calico, Machine stitched with cotton thread, 18cm x 58cm Andrea Mindel, I’m Still Alive You Bastard, Back View, Work In Process, 2024, Photographer Credit Jonathan Bassett, Silk-screen on calico, Machine stitched with cotton thread, 18cm x 58cm Andrea Mindel, I’m Still Alive You Bastard, 2023, Silk-screen on calico, Machine stitched with cotton thread, 18cm x 58cm Valerie Potter, I am here and alive you bastard, Detail, unknown date, embroidery on fabric, 48cm x 38.5cm, Outside In Collection Valerie Potter, The Drowning Woman Detail, unknown date, embroidery on fabric, 48cm x 38.5cm, Outside In Collection

54

19 20-21 (top) 22

(bottom) 22

(top) 23

(bottom) 23

24 26-27 28 29 30 31 32-33 (top) 34 (middle) 34 (bottom) 34

35 37 38

Valerie Potter, The Drowning Woman Detail, unknown date, embroidery on fabric, 48cm x 38.5cm, Outside In Collection Stephen White, Untitled 2, unknown date, Acrylic on canvas, 84cm x 96cm, Outside In Collection Fatma Durmush, Untitled, unknown date, Mixed media, collage and paint, 20cm x 30cm Fatma Durmush, Untitled, unknown date, Mixed media, collage and paint, 20cm x 30cm Fatma Durmush, Untitled, unknown date, Mixed media, collage and paint, 20cm x 30cm Fatma Durmush, The Bird, 2024, Mixed media, collage and paint, 20cm x 30cm Stephen White, Untitled (Windows), unknown date, acrylic and pen on paper, 46cm x 40cm, Outside In Collection Kate Bradbury, Piano Hammer Swans, 2019, wood, 12cm x 18cm x 10cm, Outside In Collection Skye William Eade, Vortex. Left hand drawing, 2024, Watercolour & graphite on paper. 50X50cm Skye William Eade, Eye of Intuition, Left hand drawing, 2024, graphite on paper, 50x50cm Pat Mear, Large Abstract, unknown date, paint on canvas, 92cm x 122cm, Outside In Collection Pat Mear, Sea Drawing ‘The Inner Self’ Exhibition of Drawings from the subconscious 5, 5, 2010, pen on paper, 10cm x 7cm, Friedrich Nagler, Collections of sculptures [1], metalwork, various sizes up to 30cm, Outside In Collection Susan Wales, Primulas, 2024, Watercolour on card, 21cm x 29.7cm Susan Wales, Untitled, 2024, Watercolour on card, 21cm x 29.7cm Susan Wales, Untitled, 2024, Watercolour on card, 21cm x 29.7cm Susan Wales, Untitled, 2024, Watercolour on card, 21cm x 29.7cm Shinya Fujii, Untitled 14, 2009, ink pen on Kraft paper, 12.5cm x 17cm, Outside In Collection Shinya Fujii, Untitled 13, 2010, ink pen on Kraft paper, 20.5cm x 29.5cm, Outside In Collection

55

40 41 42-43 44 45 (top) 46

(bottom) 46

(top) 47

(bottom left) 47

(bottom right) 47

48 (top) 49 (bottom) 49 50-51 52 57 58

Shinya Fujii, Untitled 13, Detail, 2010, ink pen on Kraft Shinya Fujii, Untitled 14, Detail, 2009, ink pen on Kraft paper, 12.5cm x 17cm, Outside In Collection Ben Wilson, Untitled (Yellow figures), 2012, painted Chewing Gum on stone, 11cm x 11.5cm x 5cm, Outside In Collection Waheed Adeniran, Harry’s Lambeth World, Detail, 2024, Acrylic, pens and woodboard, 70.5cm x 50.5cm Waheed Adeniran, Harry’s Lambeth World, Detail, 2024, Acrylic, pens and woodboard, 70.5cm x 50.5cm HTH, Untitled (Four figures), Detail, 1966, ink on paper, 33cm x 25.5cm, Outside In Collection HTH, Untitled (Four figures), 1966, ink on paper, 33cm x 25.5cm, Outside In Collection HTH, Untitled (Buildings and figures on green), 1965, acrylic, 121cm x 50cm, Outside In Collection HTH, Untitled (Buildings and figures on green), Detail, 1965, acrylic, 121cm x 50cm, Outside In Collection HTH, Untitled (Buildings and figures on green), Detail, 1965, acrylic, 121cm x 50cm, Outside In Collection Andrea Mindel, I’m still alive you bastard video Waheed Adeniran, Harry’s Lambeth World video Skye William Eade, Eye of intuition video Friedrich Nagler, Untitled (plate), unknown date, paint on plate, 25.5cm x 25.5cm, Outside In Collection Nigel Kingsbury, Untitled (Woman clasping hands), unknown date, pencil on paper, 13.5cm x 20cm, Outside In Collection Rachel Heller, Sit Down Prose, 2007, pastel on paper, 40cm x 50cm Nick Blinko, Untitled (Grid), unknown date, ink on paper, 19cm x 24cm, Outside In Collection

56

57

58