Little Lights

PA U L S M I T H S PA C E I S D E L I G H T E D TO P R E S E N T

LITTLE LIGHTS

C U R ATO R BY N I C O KO S E A R L E I N C O L L A B O R AT I O N W I T H

Little Lights

Inspired by the poetry of the late astronomer Rebecca

But we still have artists; alive to the world, processing

Elson, this group exhibition pays homage to the little

their impressions through imagination, and developing

ways we protect or restore our imaginative hearts,

forms in their chosen medium. Drawn to their inner

sparking new desires and glimmers of hope through

light, we rarely give pause to the darkness from which

the darkest of nights. Opening for Valentine’s Day, but

they emerged. What strategies do they employ - both

before the winter is over, ‘little lights’ is an opportunity

in their practice and life – to deliver new work, to rest,

to reflect on the regenerative potential of creativity,

to dream and to begin over, and over again? For this

and how crucial it is to safeguard what we love. Instead

‘little lights’ begins with a performance by Orlando

of curating a thesis, the works you see here were

Seale, a multidisciplinary artist who delves deep into

selected in wonderment, for how they spark feelings of

the strange hinterland of the unconscious, releasing

joy, desire or cede to a kind of dream state, not unlike

forms and giving voice to the unseen. On the way in you

sitting together around a fire, lost in the flickering light.

will encounter a magnificent, burnished oak, wrought under ‘The Influence of Light’ by Emma Levine, who

In essence, the visual arts are about light and

showed me there are three kinds of twilight with her

perception. The colours we see and impressions we

‘Dawn and Dusk’ series. The flicker of candlelight lifts

retain, are brought to life by our beautiful star, lifting

the wings of a dove in Houda Terjuman’s ‘Blowing the

the colours of this world with every sunrise, and laying

wings of destiny’ and sends into the lush dreamscapes

them to rest in the gentle gradient of twilight. And

of Catherine Anholt, ‘Heart with Nature’, pulsing with

yet, we do not want to rest. Since the beginning of

life. They speak to Robyn Litchfield’s works, like ‘Forest

civilisation, we have tried to ward off the dark with an

Portal Expanded’ that solemnize the fragile tapestry

increasing velocity of technological innovation that

of wild ecosystems, so poignant with the increasing

has led to all of us now carrying ‘little lights’ in our

devastation of wildfires; and Chloe S Moncrieff’s

pockets. Once a means of communication, too often,

landscapes, that suggest a fiery human presence, in

they now screen us from lived experience in the real

‘We’re not alone’.

world. We have become afraid of the darkness and have forgotten how to dream.

Follow the coruscating light, enfolded in swathes of

in its interaction with colour, is the primordial aspect

cloth in Florence Reekie’s ‘Knockout’ and feel the

of painting. The large-scale, figurative paintings by

tips of your fingers burning in expectation with Emma

Marie Elizabeth Merlin, key us into the history of art

Witter’s matchstick ‘Unidentified Objects’. Colm Mac

and the miracle of hues, whilst her works on paper hint

Athlaoich’s sensuous paintings are lit with the spark

at the interiority of light. “Light is a thing that cannot

of ‘Love is the drug’; there is an unquenchable thirst

be reproduced but must be represented by something

in Zach Toppin’s ‘JdA (Delivered by the Voices of

else - by colour.”

– Paul Cezanne

Angels)’; and flames blast from every instrument in Joachim Lambrecht’s homage to musical legends.

Mark Lazenby’s collages gather us into the twinkling

Every artist in this show has responded to the theme

miracle of our ever-expanding galaxy, and Phil Goss’s

in their own, inimical way, but what unites them all is

‘Isle of Rum’ in glazed earthenware is straight from

a sense that something dark, and indescribably hard

the furnace, just as we spin through the universe on

has been sublimated. Thank you, Sir Paul Smith, for

a rock with a molten core.

giving us this lucent platform, Katie Heller for being our guide, and James Elwes of Tin Man Art for holding

There are candles too, which, in the words of Anne

the light.

Frank, ‘can both defy and define the darkness’, both literally integrated and dripping into the structure of the canvas by Iwan Lewis and figuratively, in Paul Benney’s soul searching paintings that capture the spectacular quality of tenebrism. Geraldine Swayne’s paintings seem to hover on the surface of something glassy, there is a slippage. It is light that permits every visual impression, its presence is indispensable for our encounter with art and integral to the composition. The play of light and shadow is the basis of drawing and,

NICO KOS EARLE

This show is dedicated to the bright burning lives of Maddy Anholt, Miklos Kos, Edward Pettifer, and all the little lights that we carry with us.

For this we go out dark nights, searching For the dimmest stars, For signs of unseen things: To weigh us down.

To stop the universe From rushing on and on Into its own beyond Till it exhausts itself and lies down cold, Its last star going out.

Whatever they turn out to be, Let there be swarms of them, Enough for immortality, Always a star where we can warm ourselves.

Let there even be enough to bring it back From its own edges, To bring us all so close that we ignite The bright spark of resurrection.

– REBECCA ELSON, LET THERE ALWAYS BE LIGHT (SEARCHING FOR DARK MATTER)

ARTISTS

Catherine Anholt Chloe S Moncrieff Colm Mac Athlaoich Emma Levine Emma Witter Florence Reekie Geraldine Swayne Houda Terjuman Iwan Lewis Joachim Lambrechts Mark Lazenby Marie Elisabeth Merlin Orlando Seale Paul Benney Phil Goss Robyn Litchfield Zach Toppin

C AT H E R I N E A N H O LT

Catherine Anholt

BIOGRAPHY

CATHERINE ANHOLT (b 1958) holds an MA from the

Strangely I have never been a dreamer – or at least

Royal College of Art, where she was awarded the Rome

I rarely remember my dreams. Perhaps my work is a

Scholarship. She met her husband there, and after the

substitute for dreaming. I find the process calming and

birth of their children, the Anholts settled in the West

restorative, just like deep sleep. I need to paint, just as

of England, with studios above the sea near Lyme

I need sleep. Without it, I would become overwhelmed

Regis. Focused on providing for the family, they moved

in this complicated world. Although my paintings are

into the world of children’s publishing. In a career

filled with symbols and narratives, I am happy for the

spanning 30 years, the Anholts wrote and illustrated

viewer to create their own interpretation, as they would

more than 200 award-winning children’s books, which

with music, poetry or dreams.”

were published in 30 languages around the world.

Catherine continued to develop her practice alongside,

2023 was marked by the tragic loss of their 35-year-

producing hundreds of drawings and paintings on the

old daughter, Maddy from cancer. ‘The grief of a

themes of pregnancy, childbirth, family and nature.

mother can feel overwhelming,’ says Catherine.

As their children grew up and left home - their son Tom

‘But creativity has always been my lifeline. My recent

becoming one of the leading young artists in Berlin -

work is about finding some kind of meaning in it all.

Catherine returned to her studio full time.

My forthcoming solo show in Seoul will be called ‘Love Letters’. When I am painting, my daughter is at

“I have a habit when I paint, of listening to the same

my side and my paintings are a vision of the beautiful

pieces of music over and over – often Philip Glass or

place where her spirit resides.’

Pergolesi. I suppose it puts me into a reverie or an almost hypnotic state. As I gradually build the layers of colour, my mind becomes empty of conscious thought and worry, and the images arise from my subconscious.

“…into the white fire of a great mystery.

I want to believe that the imperfections are nothing—that the light is everything— that it is more than the sum of each flawed blossom rising and falling. And I do.”

– MARY OLIVER, HOUSE OF LIGHT

Catherine Anholt

Ridgeway Walk, 2024

Oil on linen

100 x 76 cm

£7,200.00 inc VAT

Heart with Nature, 2024

Oil on linen

100 x 76 cm

£7,200.00 inc VAT

Catherine Anholt

Blue Flower, 2024

Oil on linen

100 x 76 cm

£7,200.00 inc VAT

CHLOE S MONCRIEFF

Chloe S Moncrieff

BIOGRAPHY

Chloe S. Moncrieff (b. 1974) is a visual artist, working in

brushwork, the work is regularly informed by quotes

rural Hants and London. On completing her foundation

she jots down. Brush marks tend to appear fast,

at Winchester, she studied English literature; her

fleeting; there’s an urgency, a sense of transience,

practice has evolved through experimentation, and a

as if the painting might melt away. “I’m interested in

toggle between words and images, including 3 months

our cognitive dissonance with the environment, how

at the Royal Drawing School in (2010), Cel Del Nord

we dignify it, herald it, yet at the same time destroy

residency in Catalonia, and mentorship at the Turps

it. The artwork depicts a nod to this and ultimately,

Banana correspondence course. In her paintings,

the insignificance of humanity. Whether it’s a solitary

Moncrieff creates sensuous environments, exploring

figure, an empty scene, or a Lilliputian character next

our complex relationship with the land. As the global

to monumental surroundings, out of kilter space is key.”

situation becomes more turbulent, wracked with wars and aggression, her investigations increasingly depict

Participating in exhibitions across the UK and beyond,

longed for landscapes. These are wild places, tempered

her work is in notable private collections. She has

by a sense of abandonment - there’s a yearning for

exhibited at many British institutions including The

reimagined, more benevolent worlds.

Shard, Hastings Museum and Sunderland Museum and Winter Gardens. Last year, she was invited to

She draws inspiration from poetry and literature; from

conduct a workshop at Jane Austin’s House in Chawton.

a misty blue weaving vista to a fluid glimmering forest,

Her art is currently nominated for Clyde and Co Art

or waterscape pulsating with rhythmical intricate

Prize and Macfarlanes Art Prize.

“Do not let your fire go out, spark by irreplaceable spark in the hopeless swamps of the not-quite, the not-yet, and the not-at-all. Do not let the hero in your soul perish in lonely frustration for the life you deserved and have never been able to reach. The world you desire can be won. It exists.. it is real.. it is possible.. it’s yours.”

– AYN RAND, ATLAS SHRUGGED

Chloe S Moncrieff

Emergence of Earth, 2024

Oil and acrylic on canvas

100 x 100 cm

£2,880.00 inc VAT

Goddess Rhiannon’s Horse, 2024

Oil and acrylic on canvas

30 x 30 cm

£1,020.00 inc VAT

Chloe S Moncrieff

Nightfall, 2024

Oil on canvas

76 x 61 cm

£2,100.00 inc VAT

Dusk’s Cloak, 2024

Oil on canvas

30 x 30 cm

£1,020.00 inc VAT

Chloe S Moncrieff

The Wind Travelled Carrying the Scent of the Jasmine Flower, 2024

Oil and acrylic on canvas

120 x 90 cm

£3,120.00 inc VAT

We’re Not Alone, 2024

Oil and acrylic on canvas

120 x 90 cm

£3,120.00 inc VAT

Chloe S Moncrieff

And here I arrived, canopied by blue flames, 2024 / 2025

Acrylic and oil on canvas

76 x 61 cm

£2,100.00 inc VAT

Awakening, 2024

Spray and oil on canvas

77 x 61 cm

£2,100.00 inc VAT

C O L M M A C AT H L A O I C H

Colm Mac Athlaoich

BIOGRAPHY

Colm Mac Athlaoich (b. 1980, Dublin, Ireland), studied

What’s presented is a series of works, kaleidoscopic

at The National College of Art and Design, Dublin and

in arrangement, forming its own narrative and dialogue

Sint Luca, Brussels where he is now based. He also

amongst themselves. Captured memories pass through

studied and worked with master printmakers of both

the process of a dream-like state, fluctuating between

The Graphic and The Black Church Print Studios, and

representation and abstraction. Attention is given

was co-founder and co-director of Monster Truck

to the framing of subjects, playing with ready-made

Gallery and studios, Dublin. His earlier career as

structures within the original image while allowing

printmaker, illustrator and musician informs his painting

for chance occurrences to determine the painting’s

practice, which centres on ideas of materiality, process

outcome. The game of losing and regaining a purchase

and perception. His works sit between figuration

on memory plays out throughout the series.

and abstraction, exploring the space between - to question our relationship with the mass-produced

He exhibits extensively and has works in a number of

image. Sourcing material from online social platforms

Collections. Recent exhibitions include: Love is the

as well as self-documentation form a starting point to

Drug, Webber, Turin, ITA. The Art of Sport, Butler Gallery,

explore ideas of contemporary pathos and idyll.

IRE. Sweat, Grove Gallery Berlin, GER. Percept, Luan Gallery, IRE. Percept / Ethos, Galaria Webber, Turin,

‘Love is the drug’ attempts to chronicle a series of

ITA. Percept / Pathos, Grove Collective, London, UK.

moments caught, vignettes from a passing year. For Mac

Body Language and Truth, Atelier Coliseum, Brussels,

Athlaoich, the painting experience is both these terms

BE. Elsewhere to be found, Farmleigh Estate, Dublin,

at play, capturing the process of making and seeing.

IRE. Una Terrible Belleza, Rizoma Galeria, Madrid

“The artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation.”

– AUGUSTE RODIN

Colm Mac Athlaoich

Anti Atlas, 2024

Oil on canvas

140 x 100 cm

£4,800.00 inc VAT

Love is the Drug, 2024

Oil on canvas

50 x 40 cm

£2,160.00 inc VAT

Colm Mac Athlaoich

After the Samnite Wedding, 2024

Oil on canvas

70 x 60 cm

£2,640.00 inc VAT

On the Line, 2024

Oil on canvas

130 x 100 cm

£4,560.00 inc VAT

EMMA LEVINE

Emma Levine

BIOGRAPHY

Emma Levine (b 1968) is a multidisciplinary artist,

and growth. Her next body of work will feature flowers,

based in Hampshire, with a BA from Central Saint

insects, beetles through digital prints, screen prints

Martin’s. Having exhibited in London with Serena

and monoprints and is heading to Deyrolle in Paris

Moreton, London Contemporary Art, throughout

with an artistic collaborative collection captured from

the United Kingdom and the United Stated with Art

their extensive library of exquisite butterflies, beetles,

Bastion, Levine’s practice is centred in observation of

moths and dragonflies. “This collection for Paul Smith

the natural world and its cycles, in particular how the

draws on the magic hour of twilight where the light

majesty of winter trees throws the landscape into relief.

punctuates and fluoresces. The atmospheric shift of

Documenting many ancient trees across England, is

colours that open and close each day give theme to

an enduring subject. Capturing the singular beauty

the flowers and plants photographed and enhanced,

of oaks, cedars, alders, hawthorns, copper beeches,

lifted with light and drenched in spectacular colour.”

with her camera, she then laser cuts these figures, and places them hovering with etymology pins in box

Emma has a strong link to the Natural History Museum

frames grounded with silk and linen.

where she has set up a studio to photograph and document all such items as coral, birds, skeletons,

More recently Emma has refocused on her love of

fossils all collections gathered from a century of

flowers and found a contemporary digital medium to

collecting and stored in London and Thame. Exhibiting

bring alive thousands of her photographs of blooms,

widely across the United Kingdom and Europe, and

buds and plants. Playing and layering and creating with

held in major private collections, she is presently

nature own exuberant wellspring of superabundance,

collaborating with a major French brand on an exciting

she collides colours and textiles to manifest new nature

new body of work.

The solitary miracle of a dusky bloom In late winter, sets the heart alight Soft petals, flush ripe with the scent Of petrichor, hold a gradient of twilight In the stillness of a sleepy hollow, Where everything has come to rest, A flower stirs in fading starlight And lifts her face with dawns caress – NICO

Emma Levine

Morning Iris, 2024 ‘Artist Proof’, edition of 5

Giclee print, framed in ash

75 x 85 cm

£6,000.00 inc VAT

Night Iris, 2024 ‘Artist Proof’, edition of 5

Giclee print, framed in ash

75 x 85 cm

£6,000.00 inc VAT

Emma Levine

Dusk Rose, 2025 ‘Artist Proof’, edition of 5

Giclee print, framed in ash

75 x 85 cm

£6,000.00 inc VAT

Dawn Rose, 2024 ‘Artist Proof’, edition of 5

Giclee print, framed in ash

75 x 85 cm

£6,000.00 inc VAT

Emma Levine

Morpheus Orchid, 2025 ‘Artist Proof’, edition of 5

ChromaLux Metal Print

45 x 52 cm

£1,800.00 inc VAT

Luna Orchid, 2025 ‘Artist Proof’, edition of 5

ChromaLux Metal Print

44 x 52 cm

£1,800.00 inc VAT

Emma Levine

Didiers Tulip Morning, 2024 ‘Artist Proof’, edition of 5

ChromaLux Metal Print

52 x 58 cm

£1,920.00 inc VAT

Didiers Tulip Night, 2024 ‘Artist Proof’, edition of 5

ChromaLux Metal Print

53 x 58 cm

£1,920.00 inc VAT

Emma Levine

Night Orchid, 2025 ‘Artist Proof’, edition of 5

ChromaLux Metal Print

43 x 52 cm

£1,800.00 inc VAT

Blue Hour Orchid, 2025 ‘Artist Proof’, edition of 5

ChromaLux Metal Print

42 x 52 cm

£1,800.00 inc VAT

Emma Levine

The Influence of Light, 2019

Somerset Satin paper, linen, gold leaf, entomology pins box framed in stained ash with museum glass.

163 x 215 cm

£30,000.00 inc VAT

EMMA WITTER

Emma Witter

BIOGRAPHY

Emma Witter (b. 1989) lives and works in London and

reflect the fascination that Victorian Britain had with

is currently enrolled on the Art & Humanities MFA at

the sea, the advancements in scientific discovery and

The Royal College of Art. Emma holds a first-class

the profound impact this had on popular fictionand

honors degree in Performance Design from Central

culture. Emma forages for ocean biomass and old

Saint Martins. On graduating, she won the ‘Seed Fund’

metal contraptions, which she meticulously dismantles

Award’ from the University of the Arts London – a grant

– reassembling and combining them into curious

to set up her own studio practice, followed by ‘Best

new artefacts. Reminiscent of 19th century parlour

New Business Award’ during UAL Enterprise Week.

ornaments, nautical instruments, fishmongers tools and elaborate table ware of the past, these intricate works

Witter is an artist that dreams with her hands and

make us nostalgic for tales of sea-faring adventure

works to another time, where nothing is disposable and

Nico Kos Earle and prompt our uncharted imagination.’

everything she touches might turn to gold. Working intuitively with found and rescued biomass – by-

Numerous exhibitions include solo shows ‘Tender

products of London’s restaurant industry or salvaged

Resurrection’ with Eileen Agar at Bosse & Baum

mud larking on the banks of the river Thames – her

Gallery in London in 2024, ‘Small Ceremonies’ at

sculptures are sensational and beguiling. Witter

A.P.A.P. Art Space in Seoul in 2023, and ‘A Moveable

breathes new life into lost things and shows us value

Feast’ with the Portman Estate in London in 2023.

where we saw only waste. Her process is alchemical,

Emma is a former studio resident at Sarabande, the

transforming what has been discarded into what must

Lee Alexander McQueen Foundation, Xenia Creative

be saved, and her art speaks to our contemporaneous

Retreat in Hampshire and Selfridges in London.’

notion of the sublime. Witter’s ‘Unidentified Objects’

“…Flare up like flame and make big shadows I can move in.

Let everything happen to you: beauty and terror. Just keep going. No feeling is final.

Don’t let yourself lose me…”

“Go to the Limits of Your Longing.”

– RAINER MARIA RILKE

Emma Witter

Unidentified Objects 07, 2023

Found Object (shell) matches

6 x 9 x 7 cm

£1,740.00 inc VAT

Unidentified Objects 08, 2023

Found Object (shell) matches

8 x 11 x 10 cm

£1,500.00 inc VAT

FLORENCE REEKIE

Florence Reekie

BIOGRAPHY

Florence Reekie is a figurative oil painter from Scotland.

By using material and only alluding to the human

Longlisted for the John Moores Painting Prize in 2023,

interaction Florence is able to deal with complicated

in 2021 she received the Art Fund ‘Museum of the

themes in her work. “As with many of my works

Year’ Aberdeen Art Gallery Micro Commission. Reekie

‘Knockout’ is an investigation into how much of the

is interested in developing ideas around perception,

body can be concealed and still read as a figure.

iconography and coding within compositions while

But in this work in particular the decadence of the

experimenting with the materiality of paint. She looks

drapery is at odds with the fabric used as the substrate

at the concept of beauty ‘secrets’, the trappings of

for the painting, which is a second-hand cotton

the ways in which we attempt to make ourselves

curtain. My paintings are now exclusively made on

more desirable or construct our identity. Expectation,

recycled materials which poses a new challenge when

subversion, and decadence are important themes;

approaching any new composition; How much fabric

her paintings are often contemporary scenes drawing

to leave raw or seen and how the fabric will respond

upon classical impressions and techniques. This often

to the paint? In this piece the nature of the surface is

leads into historical comparisons, such as how painters

barely revealed but the knowledge it is a fabric with

have used drapery as a means of bringing being and

a new purpose is very satisfying for me.”

movement into compositions.

Her recent solo exhibition, Sumptuary Laws, MAMA, London (2023) was indeed a knockout. Included in numerous group shows, both in the United Kingdom and Scotland, her work is already held in important Private Collections.

“How far that little candle throws his beams!

So shines a good deed in a weary world.”

– WILLIAM SHAKESPEARE, THE MERCHANT OF VENICE

Florence Reekie

Knockout, 2024

Oil on fabric

120 x 55 cm

£4,920.00 inc VAT

Carbage 1, 2024

Oil on moire silk, framed

30 x 40 cm

£1,200.00 inc VAT

G E R A L D I N E S W AY N E

Geraldine Swayne

BIOGRAPHY

Geraldine Swayne, a UK (Sussex) based painter known

Following a solo presentations with the Saskia Neuman

best known for making vivid miniatures in enamel

Gallery Stockholm 2024, exhibitions include The Minds

on metal, as well as large figurative work on canvas.

of Geraldine Swayne at Project 73 UK; Coming from

Her practice also includes moving image and music,

Inside curated by Sarah Sparkes and Jane Milar at

directing an Imax film in 1999, with music by Nick Cave,

Dulwich Picture House, Small is Beautiful at Flowers

and becoming a member of seminal Krautrock group

Gallery Cork Street, London and Exceptional Faults at

Faust in 2006. She is currently a mentor at Marcus

ATP Gallery Dulwich. Recipient of the Royal Academy

Harvey’s ‘Turps Art School’. Consequently, her figurative

Summer Show Dupree Prize for Best Female Artist

paintings combine a rapid performative energy with

2018 and the Moth Art Prize Ireland 2020; Museum

the mysterious frozen narrative of a context-free film

and private collections include Magasin3 Stockholm,

still, typically using an omnivorous variety of sources;

Damian Hirst Museum, Worcester College Oxford and

personal photographs, found images, pornography

the Labour Party. Recent short films ‘Social Media’ and

etc. to conjure otherworldly narratives and portraits.

‘Jude Backwards’, (which were originally commissioned

by Greg Rook for his NFT platform ‘Blackbird’), at

‘The alla prima, ‘paint as paint’ quality of her work, is

the MSS festival Schiphorst in July 2024, where she

emphasised by abstract passages and semi-accidental

also showed ‘The Go-Between Again’ which was first

effects, the transformations and distortions of which

screened at the Schiphorst Avant Guard Festival in

assist in probing psychological states, such that we can

2010 . She will also perform with Faust alongside

we not quite pin down the ‘events’ we come upon. The

composer Yumi Hara and Lou Reed’s Saxophonist

alluring, painterly qualities of the painted surface also

Ulrich Kreiger player.

cause her images to further depart from ‘normality’, which makes for an unsettling undertone, uncannily appropriate for times in which people go about their daily business vaguely aware, without grasping it fully, that the very continuation of daily business is under threat.’ Paul Carey-Kent 2020.

“…My artificial desert beaches Where my dry heart used to beat slowly consumed themselves At the end of my final night, I decided to venture out...

Let’s take a trip to the other side of the sun Where the light reigns On the other side of the sun…”

– ‘SOLEIL’ LYRICS BY AMAURY CAMBUZAT (ULAN BATOR) 2009

Geraldine Swayne

Red Starlet, 2020

Enamel on aluminium in a black frame

27 x 31cm

£2,400.00 inc VAT

Roz in Orange, 2024

Enamel on aluminium

13 x 18 cm

£2,160.00 inc VAT

Geraldine Swayne

Fire Has it’s Own Weather, 2020

Oil and acrylic on board

100 x 150 cm

£3,000.00 inc VAT

HOUDA TERJUMAN

Houda Terjuman

BIOGRAPHY

Houda Terjuman (b. 1970, Tangier, Morocco) is a

release – a way of disentangling complex emotions

Syrian/Swiss/Moroccan visual artist who lives and

and thoughts – and as an expression of solidarity

works in Barcelona. Her artistic practice encompasses

with displaced individuals and communities across

paintings and floating sculptures that recall the

the globe.

language of Surrealism and takes us on a journey through the Middle East, Europe and Africa. A reflection

In addition to numerous exhibitons across the globe –

of her own multicultural experience of the world,

from Contemporary dilemmas: Eternal displacements,

Terjuman’s work explores identity, displacement and a

RoFa Projects, Maryland, USA (2023) to Femmes

search for stability. The longing for a home, symbolised

et Religion, Bibliothèque Nationale du Royaume du

by the recurring motif of the tree often juxtaposed

Maroc (2015) - solo exhibitions include (Upcoming)

with homely pieces of furniture or floating uprooted

Salon, Kristin Hjellegjerder Gallery, West Palm Beach,

trees in her sculptures, becomes part of a stressful

Florida, USA (2025); L’ARTE DELLA MIGRAZIONE

and painful process that reflects the connectivity and

E DELL’APPARTENENZA, Vetrina, Pietrasanta, Italy

heterogeneity of our de-territorialised world.

(2024-2025); Échos de Terre Évanescentes, African Arty, Casablanca, Morocco (2024); Glide Through

Terjuman’s life is made up of visual symbols that she

Evanescent Lands, Kristin Hjellegjerde Gallery, Berlin,

collects and paints into exquisite dreamscapes that

Germany, (2023); When Hope Smells Like Petrichor,

reflect on the passage of time and stories of migration.

Kristin Hjellegjerde Gallery, London, UK (2022);

‘When I was a child, I literally felt as if I was floating

Galerie GVCC, Casablanca, Morocco (2021); Untold

between my various identities, I was not rooted in any

Stories, Galerie Siniya in Marrakech, Morocco (2019);

place and felt as if I did not belong to any community.

Because these wings can no longer fly, an artistic

Being uprooted produces an underlying feelings

project with Arts Cabinet in London, UK (2019); Un

of fear, loneliness and instability, but it also brings

Oeil Ouvert sur le Monde Arabe, a collaboration with

adaptation, open-mindedness, tolerance, empathy

FFCreative Paris, for “La Nuit Blanche” at L’Institut

for the unknown, a sense of freedom and creativity.’

du Monde Arabe, Paris, France (2018); Casa Arabe,

Art-making came to her, then, as both a form of

Madrid, Spain (2018).

“The time has come to turn your heart into a temple of fire. Your essence is gold hidden in dust. To reveal its splendour, you need to burn in the fire of love.”

– RUMI

Houda Terjuman

The Road Less Taken 4, 2021

Oil and acrylic on canvas

93 x 93 x 3.5 cm

£8,040.00 inc VAT

Illuminating the Path, 2021

Oil on canvas

96.5 x 60 cm

£7,200.00 inc VAT

Houda Terjuman

No Foreign Land II, 2021

Oil and acrylic on canvas

45 x 35 cm

£4,320.00 inc VAT

No Foreign Land III, 2021

Oil and acrylic on canvas

45 x 35 cm

£4,320.00 inc VAT

Houda Terjuman

Blowing the winds of destiny 2, 2020

Oil and acrylic on canvas

85.5 x 98 cm

£8,040.00 inc VAT

I WA N L EW I S

Iwan Lewis

BIOGRAPHY

Iwan Lewis (b. North Wales) and based Ynys Môn is

Lewis has exhibited extensively for the last two decades,

an artist who graduated from the MA Painting, Royal

a selection of recent group and solo exhibitions include

College of Art, London in 2011. Lewis builds his works

Rapid Eye Movements, SID MOTION, London (2024);

through layers of paint being erased and replaced

A Closed Door, A Den, ARUSHA GALLERY, Somerset

until the image locks into its place. Unafraid of vibrant

(2023); Lle, KINGSGATE PROJECT SPACE, London

tones and dissonant textures, each piece functions as

(2023) and Radical Lethargy, SID MOTION, London

diaristic meditations – or compressions of time. “I’m

(duo) (2022). His work is in various international private

interested in how identity often manifests through a

and public collections including Soho House and The

coalition of fragmented memories. Language also

Government Art Collection. Lewis is co-founder of the

plays a big role in what I do, bilingualism creates a

artist-led space STUDIO CYBI, established in 2016,

measuring device which forces me to question the

which has received Arts Council of Wales funding and

value of something through two oppositional lenses.

The Artes Mundi Venice10 commission in 2023.

Both pieces explore notions of living with nature. One takes a moments rest on a dry-stone wall after an uphill hike, whilst the other depicts a menacing figure seeking out its prey.”

“She’s mad, but she’s magic.

There’s no lie in her fire.”

– CHARLES BUKOWSKI

Iwan Lewis

Hare Coursing, 2024

Oil and wax on canvas on board

24.5 x 30 cm

£2,160.00 inc VAT

Mast Nebo, 2025

Oil on canvas

51 x 41 cm

£2,160.00 inc VAT

JOACHIM LAMBRECHTS

Joachim Lambrechts

BIOGRAPHY

Joachim Lambrechts (b. 1986) is a renowned urban

tribute to historical jazz legends. ‘There’s something

artist from Antwerp, Belgium. In 2001 he began his

very primal about the music that transcends cultural

studies at an art school in Antwerp, then became

and social boundaries and inhabits our bodies. Even

involved with the graffiti and street art scene and

the oldest human civilizations had music and what’s

in 2004 he distanced himself from his academic

fascinating is that, like art, music isn’t necessary to

education and left art school. In the years that followed,

human survival: it isn’t going to feed or clothe you but

Joachim spent a lot of time experimenting with various

it has the power to move and connect, to create an

approaches to graffiti and became quickly integrated

atmosphere and emotionally transport you.’

into the Belgian street art scene. Since 2010, painting on canvas has been Joachim’s main focus in addition

Solo exhibitions include (Upcoming) Solo show,

to creating street art across Europe. In contrast to

Kristin Hjellegjerde Gallery, Berlin, (2025); On The

his murals, Joachim never makes preliminary studies

Sunny Side Of The Street, Kristin Hjellegjerde Gallery,

or sketches when he starts working on a canvas.

Tower Bridge, London, UK (2024); No Regrets, Kristin

Paradoxically, he feels freer within the four walls of his

Hjellegjerde Gallery, London, UK (2023); 223 DAYS,

studio which is reflected in his paintings. They are the

Verbeeck Van Dyck Gallery, Antwerp, Belgium (2019);

result of a more spontaneous process, and as such,

Born to Paint, Graffitistreet, London, UK (2018); Till

possess a sense of urgency and innocence – like jazz.

Death Do Us ‘Art’, Huberty & Breyne Gallery, Brussels, Belgium (2017); Write & Squeeze, Art Gallery, Knokke,

Lambrechts’ work is almost always rooted in his life

Belgium (2017); Bipolar, Brato Gallery, Antwerp,

experiences and childhood memories; music is a

Belgium (2016); and Krank, Aim Space Gallery,

recurring theme and is closely related to the evolution

Antwerp, Belgium (2016).

of his artistic practice. For his latest series, he pays

“…You can’t start a fire You can’t start a fire without a spark This gun’s for hire Even if we’re just dancin’ in the dark…”

– BRUCE SPRINGSTEEN, DANCING IN THE DARK

Joachim Lambrechts

Bobby Haynes, 2024

Enamel paint and oil stick on canvas

100 x 80 cm

£9,600.00 inc VAT

Louis Armstrong, 2024

Enamel paint and oil stick on canvas

100 x 80 cm

£9,600.00 inc VAT

Joachim Lambrechts

Chet Baker The pretty boy who went wrong, 2024

Enamel paint and oil stick on canvas

120 x 100 cm

£11,520.00 inc VAT

MARK LAZENBY

Mark Lazenby

BIOGRAPHY

Mark Lazenby holds an MA Communication Art and

Almanac section. Sir Peter Blake, a collector of his

Design from the Royal College of Art (2000–2002),

work, also remarked on his innovative but elegant use

and a BA (Hons) Graphic Design from Bath College of

of typography. His work ‘Axis of Rotation, Homage

Higher Education (1993–1996). He has developed

to Joseph Cornell’, was inspired by the The Royal

a collage-based practice alongside his design, and

Academy of Art’s seminal exhibition – ‘Joseph Cornell

learnt to pivot between the imperatives of commercial

Wanderlust’.

objectives and the freedom of fine art. For this, the London-based designer, has been dubbed a cut-

Numerous group shows include “All that Glitters” at

and-paste virtuoso, pushing the boundaries of his

Ubicua Gallery; “Freeze For Frieze” in conjunction

chosen medium in the tradition of Kurt Schwitters and

with Frieze, Moncler and the Royal Collage of Art; and

Joseph Cornell. Gliding between our expectations and

has exhibited with England & co, London, alongside

colliding disparate worlds, his works express a kind

Cornelia Parker and Tracey Emin. “Colour Form Play -

of wonderment.

Mark Lazenby and Liam Stevens” joint show London.

Group and solo exhibitions at The Royal College of Art

In essence, paper has become his playground. “It’s

and numerous shows in the UK and USA. Published

not often that one sees a plane bursting through a

work includes “CUT & PASTE, 21st Century Collage” by

fireplace, blocks of cheese floating up above the

Richard Brereton, Laurence King Publishing. “Cutting

ordered pews of a church, or a giant piece of hard

Edges, Contemporary Collage” by James Gallagher,

candy abandoned on a beach, but in the strange,

Gestalten. “Masters Collage” Lark Books (US), and

dream-like scenes that artist Mark Lazenby fashions

featured in countless titles - Albam, The Guardian,

within his collages, almost anything appears possible.”

Time Magazine, The New York Times, The Independent,

- “A Lesson in Craft: the topsy-turvy collages of artist

WPP, Penguin, Vogue, Elephant, The World of Interiors,

Mark Lazenby” by Natasha Levy for “Inigo” in their

Dazed & Confused.

“In one of the stars I shall be living.

In one of them I shall be laughing.

And so it will be as if all the stars will be laughing when you look at the sky at night. You, only you, will have stars that can laugh!”

– ANTOINE DE SAINT-EXUPÉRY, THE LITTLE PRINCE

Mark Lazenby

I Howl with the Jackals, I Hoot with the Owls, 2024

Collage

20.1 x 14.4 cm

£1,548.00 inc VAT

Everyone Lives Forever, 2024

Collage, Pencil and Smoke

56.2 x 51.2 cm

£3,588.00 inc VAT

Mark Lazenby

Light of the World, 2023

Collage and watercolour

27.9 x 23.4 cm

£1,788.00 inc VAT

The Garden 2, 2024

Collage

19.8 x 16.3 cm

£1,548.00 inc VAT

Mark Lazenby

Yet We’ve So Narrowly Missed Being Gods, Bright with Eden’s Dawn Light, 2023

Collage

13.2 x 10.5 cm

£1,548.00 inc VAT

You Hold the Reins, Your Name Echoes Around the Universe, 2023

Collage

13.1 x 11.9 cm

£1,548.00 inc VAT

Mark Lazenby

Fired Up, 2024

Collage

45.3 x 59.8 cm

£3,588.00 inc VAT

Set a Fire in My Heart, 2024

Collage

29.7 x 47 cm

£3,108.00 inc VAT

MARIE ELISABETH MERLIN

Marie Elisabeth Merlin

BIOGRAPHY

Marie-Elisabeth Merlin (b. 1968) obtained her Diplôme

Merlin’s paintings conjure a world that is both

de l’École Supérieure d’Art d’Aix (1988 – 1989)

marvellous and frightening; evoking feelings of

École Stylisme IICC, Marseilles, following three years

innocence or tenderness - tinged with foreboding.

(1985 – 1988) Ateliers Beaux-Arts, Ateliers Privés

In this new series, ‘Incandescenes, Séries dès Feu’,

Aix, Paul Cezanne’s birthplace. Before she could paint,

the fire is the face of the wolf she has set free. Like

she was given charcoal. It was the early 80s, at the

the wolf, the fire represents duality. It animates and

zenith of France’s love affair with abstract minimalism.

burns, gives light but destroys – and it might also

As artists like Antoni Tàpies and Pierre Soulages took

represent the essence of her all-consuming desire

hold of the public’s imagination, choosing the path of

to paint, regardless of what the world tells her she

figurative painting was increasingly difficult. Then in

must do. “The wolf was transformed into fire both,

2008, Merlin visited Peter Doig’s exhibition in Paris.

literally and figuratively,” says Merlin, “in a painting

“I was overwhelmed with emotion to discover I was not

‘Etincelles ou Dans la Gueule du Loup’.” In the flick of

alone as a figurative painter. It’s like we had existed in

a brush, the fire’s edge shape shifted into the figure

a parallel universe, unawares, and somehow the world

of a wolf, its pointed flames an outline of this apex

was now ready for us.”

predator. “Incandescences, is really about the fire in our bellies – that burning desire to be someone, do something. It can drive us, but it can also destroy us if we let it burn too quickly.”

As a counterpoint to this, we have the “Petits Mondes

under a summer sun. Something impossible has

(little worlds)”, a series that stands apart from her large

happened, and we, the viewer, cannot enter here. With

and medium format paintings. Circular in format, these

the new circular paintings, Merlin reverses this order.

images are coherent, self-contained, and absent from

“The danger is elsewhere, outside these circles,” says

any danger. We cannot enter these little bubbles; they

Merlin, “Inside we see something beautiful, mysterious

are the painted equivalent of wormholes and exist in

and abundant, it envelops each figure passing through

a parallel universe. They speak to the artist’s need

– diving, swimming, watching – but forever contained

to paint through her innermost thoughts, without

within these little worlds.”

being disturbed. Each one resolves like a poem – the shimmer of water on a swimmer’s back, the tilt

Winner of the 9th Paul Ricard Painting Symposium

of wings as they reach for the sky – we look at them,

(2018), collectors include Brad Pitt and Angelina

but we cannot access them. Figuratively, they link

Jolie, Charles Saatchi and Paul Ricard among others

back to a painting entitled “Perdus” (lost) from 2022,

worldwide. Solo shows include ‘Mondes Hypothétique’,

in which one circumscribed winter scene seems to

TIN MAN ART, London (2023); ‘Imagined Worlds’,

hover magically in front of another landscape – like

Galerie de la Prévôté, Aix-en-Provence, France (2021);

a portal. In it, three men stand over a circular opening

‘Inhabited-uninhabited’, Château du Seuil, Puyricard,

in a frozen lake, two red foxes encircling them. Behind

France (2012) and numerous international exhibitions

this is another picture plane, with fresh green grass

and art fairs with TIN MAN ART.

“Light is a thing that cannot be reproduced but must be represented by something else - by colour.”

– PAUL CEZANNE

A woman sits behind a small fire, her bare foot

about the fire in our bellies – that burning desire to

precariously close to a burning log. She is holding on

be someone, do something. It can drive us, but it can

to a crackling twig, or maybe a wand; white flames

also destroy us if we let it burn too quickly.”

cast a warmth of tones onto her glowing figure, but the rest of the picture plane is saturated in a deep

As a counterpoint to this, we have the “Petits Mondes

coldness of Prussian blue. An owl swoops in from the

(little worlds)”, a series that stands apart from her large

left, the tips of its wings catch the edge of a moonlit

and medium format paintings. Circular in format, these

cloud – or is it a mountain - hovering in the distance.

images are coherent, self-contained, and absent from

The cloud dissects the moon, which might also be

any danger. We cannot enter these little bubbles; they

a sun in eclipse, shining yellow and lilac; the orb is

are the painted equivalent of wormholes and exist in

framed by a garland of leaves that seem to drip into

a parallel universe. They speak to the artist’s need

this scene from exactly the point where we might be

to paint through her innermost thoughts, without

standing, under a tree, watching this scene. Entitled

being disturbed. Each one resolves like a poem –

‘Incandescences, Feux I’ this painting is the first in a

the shimmer of water on a swimmer’s back, the tilt of

new series by the artist Marie Elisabeth Merlin.

wings as they reach for the sky – we look at them, but we cannot access them. Figuratively, they link back

When Merlin was a little girl, she began taking

to a painting entitled “Perdus” (lost) from 2022, in

painting lessons at a small atelier in Aix-en-Provence,

which one circumscribed winter scene seems to hover

Paul Cezanne’s birthplace. In this new series,

magically in front of another landscape – like a portal.

‘Incandescenes, Séries dès Feu’, the fire is the face

In it, three men stand over a circular opening in a frozen

of the wolf she has set free. Like the wolf, the fire

lake, two red foxes encircling them. Behind this is

represents duality. It animates and burns, gives light

another picture plane, with fresh green grass under

but destroys – and it might also represent the essence

a summer sun. Something impossible has happened,

of her all-consuming desire to paint, regardless of

and we, the viewer, cannot enter here. With the new

what the world tells her she must do. “The wolf was

circular paintings, Merlin reverses this order. “The

transformed into fire both, literally and figuratively,”

danger is elsewhere, outside these circles,” says Merlin,

says Merlin, “in a painting ‘Etincelles ou Dans la Gueule

“Inside we see something beautiful, mysterious and

du Loup’.” In the flick of a brush, the fire’s edge shape

abundant, it envelops each figure passing through –

shifted into the figure of a wolf, its pointed flames an

diving, swimming, watching – but forever contained

outline of this apex predator. “Incandescences, is really

within these little worlds.”

Marie Elisabeth Merlin

Etincelles ou dans la Geule du Loup, 2024

Oil on canvas

146 x 114 cm

£13,200.00 inc VAT

Interieur, 2023

Oil on canvas

130 x 97 cm

£9,768.00 inc VAT

Marie Elisabeth Merlin

Incandescences, Feux I, 2024

Oil on canvas

100 x 81 cm

£6,270.00 inc VAT

Incandescences - Feux II, 2024

Oil on canvas

100 x 81 cm

£6,270.00 inc VAT

Marie Elisabeth Merlin

La Lune Orange (Kew Gardens) Large, 2024

Oil on canvas

80 cm diameter

£5,544.00 inc VAT

Nuit, 2024

Oil on canvas

80 cm diameter

£5,400.00 inc VAT

Marie Elisabeth Merlin

Petite Femme, 2024

Oil on canvas

60 cm diameter

£2,244.00 inc VAT

Peut-etre, 2024

Gouache on paper

60 cm diameter

£2,971.00 inc VAT

Marie Elisabeth Merlin

Loups, 2024

Oil on paper

50 cm diamter

£2,420.00 inc VAT

Le Déjeuner sur l’Herbe, 2023

Oil on canvas

150 x 150 cm

£18,680.00 inc VAT

Marie Elisabeth Merlin

Comme un Nuage, 2024

Oil on canvas

73 x 92 cm

£6,600.00 inc VAT

They Arrive, 2021

Oil on canvas

89 x 116 cm

£7,328.00 inc VAT

ORLANDO SEALE

Orlando Seale

BIOGRAPHY

Orlando Seale (b 1973) studied English and French

Recent solo shows and exhibitions include a solo show

Literature at Oxford University, acting at the Conservatoire

at Gallérie Etcetera, Eugenie-les-Bains, France (2024);

National Supérieur d’Art Dramatique in Paris, and clown

Something Rich and Strange (Conditions for life),

at the Ecole Philippe Gaulier. He grew up above his

performance art piece at b12 festival, Berlin, Germany

father’s art gallery so some of his earliest memories are of

(2023). In 2022 he created art pieces for ‘Lee’, feature

marvelling at the pieces on display and sneaking down to

film about the photographer and war correspondent Lee

the busy openings with his little sister Delilah. Alongside

Miller; followed by a solo show, Porto Heli, Greece; ‘Once

his mainstream career in theatre, film and TV he continued

Upon a Time’, London group show curated by Katie Heller

to tour and perform clown and improvisation. From 2001

and Flora Fairbairn (2022); and was selected as artist in

onwards he studied Creative Dreamwork with Sandra

residence for INDIE, Vienna, Austria and Montaut, South

Seacat and Kim Gillingham, and this informs his creative,

West France. He has performed for the Royal Shakespeare

interdisciplinary practice to date.

Company and in the West End, with roles in film and TV including Death on the Nile, Motherland, Hamlet, Industry,

Orlando recently completed the two year ‘Integrative

Pride and Prejudice, Sleepy Hollow, Monday, Bobby,

movement and performance practice’ programme at

Hysteria, Jaques et la Mécanique du Cœur, Reign, HBO’s

the Thomas Prattki Centre in Berlin, where he now

Doll & Em, the IT Crowd, Count Arthur Strong, The West

teaches, and is committed to supporting other artists

Wing, and many others. With his bands Orlando has played

and facilitating creative work in communities where this

festivals across the UK and Europe, done live sessions

has been overlooked. This provides rich material for

for BBC6, and supported the likes of Nadine Shah, Tom

his own drawing, writing and performance work, which

Robinson, and Supertramp.

underscores his paintings, rich in metaphor, symbolism and references to the collective unconscious. In this spirit, he has created an inaugural ceremony for this ‘little lights’ exhibition at Paul Smith Art.

We counted on a rain of comets

And what recedes?

It did not come

Oh well I’m sure it will come back

The shelves are bare Of dark materials this year

Where are the green pastures and the still waters?

(The will is there)

What of the myriad creatures?

Perhaps next spring or What if the deer eats the shoots If we are to believe

If you shout

The forecast black

If the comets come early

Jewel-encrusted snow

If they do not come at all

Will fall towards the end

If I am too whimsical

Of this week

If he pinches your plump cheeks every time he calls

Though poorly understood Doors may open automatically But not at all stations Not on all trains The root of the tongue The tip of the finger Coral pink and tangerine A fringe of tentacles

If the termites are too many, too efficient stripping the leaves, if every Reverent visitor to the grove takes a small piece of the bark and you Said rest perturbed spirit, rest And I replied but All of the dancers are professionals On zero hour contracts

A ridge of spines Garlanded with intestines

And yet And yet

Sorry I interrupted you What were you going to say?

A sink-hole yawns – ORLANDO SEALE,

A siren approaches

BLACK JEWEL-ENCRUSTED SNOW

“If we are to believe The forecast black Jewel-encrusted snow Will fall towards the end Of this week”

Orlando Seale

Black jewel-encrusted snow, 2024

Oil painting and charcoal on board

30 x 30 cm

£1,320.00 inc VAT

“Who’s there?”, 2024

Oil on canvas

120 x 90 cm

£5,760.00 inc VAT

Orlando Seale

Guarding the Fire, 2023

Oil on canvas

30 x 40 cm

£2,520.00 inc VAT

Sleeping in the valley, 2023

Oil on canvas

30 x 40 cm

£2,520.00 inc VAT

Orlando Seale

“Woot drink up eisle eat a crocodile?”, 2024

Oil on canvas

100 x 80 cm

£5,640.00 inc VAT

4

6

Orlando Seale 1

2

7

3 7

5

1. D riftwood smiling pink man, 2024

3. J oyous dog, 2023

5. D riftwood priest, 2024

7. D riftwood little green man, 2024

Oil paint on driftwood

Oil paint on driftwood

Oil paint on driftwood

16 x 6 cm

26 x 13 cm

Oil paint on driftwood

21 x 9 cm

£345.00 inc VAT

£264.00 inc VAT

23 x 9 cm

£174.00 inc VAT

2. D riftwood pink devil, 2024

£168.00 inc VAT

4. D riftwood little cadmium, 2024

6. D riftwood startled man, 2024

Oil paint on driftwood

Oil paint on driftwood

Oil paint on driftwood

25 x 20 cm

17 x 7 cm

20 x 8 cm

£444.00 inc VAT

£168.00 inc VAT

£264.00 inc VAT

13

10

8

11

12

9 14

8. D riftwood boxer, 2024

10. P ursued by man, 2023

12. D riftwood gold man, 2024

14. D riftwood, little king, 2024

Oil paint on driftwood

Oil paint on driftwood

Oil paint on driftwood

8 x 14 cm

13 x 7 cm

40 x 17 cm

Oil paint on driftwood

£168.00 inc VAT

£345.00 inc VAT

£444.00 inc VAT

17 x 12 cm £204.00 inc VAT

9. D riftwood moonface, 2024

11. D riftwood face, 2024

13. D riftwood lost boy, 2024

Oil paint on driftwood

Oil paint on driftwood

Oil paint on driftwood

30 x 15 cm

15 x 6 cm

37 x 15 cm

£444.00 inc VAT

£168.00 inc VAT

£444.00 inc VAT

8

Orlando Seale 1

3 5 6

2 4 7

1. D reaming harpy, 2023

3. C helsea pensioner, 2024

5. H indsight, 2023

7. Tango dancer, 2023

Ink, paste and watercolour

Pastel and pencil on card

Watercolour, pastel, pencil

Watercolour, acrylic and

on found card box

31 x 18 cm

and acrylic on found card box

pencil on found card box

33 x 22 cm

£450.00 inc VAT

20 x 15 cm

17.5 x 21 cm

£348.00 inc VAT

£480.00 inc VAT

£600.00 inc VAT

2. S he comes to all the competitions, 2022

4. D ictator “from this day forward…”, 2022

6. You saved us from the dream lion, 2022

8. K ing, 2022 Pastel and acrylic

Watercolour, pencil and

Collage, pastel, ink, watercolour,

Watercolour, pastel and

on found card box

acrylic on found card box

acrylic and pencil on found card box

acrylic on used envelope

24.5 x 19 cm

14.5 x 13.5 cm

27 x 27 cm

23 x 36.5 cm

£360.00 inc VAT

£354.00 inc VAT

£570.00 inc VAT

£504.00 inc VAT

14 9 12

17

15

13

10

16 11

9. Family constellation, 2023

15. T his Big! 2022

11. M y bodyguard, 2022

13. E mpress, 2021

Pastel, watercolour, pencil

Pencil and watercolour

Pencil and acrylic

Pastel and watercolour

Pastel, watercolour,

and acrylic on found card box

on found card box

on found card box

on found card box

acrylic on found card box

25 x 27 cm

30 x 40 cm

34 x 14 cm

34.5 x 20 cm

36 x 17.5 cm

£450.00 inc VAT

£564.00 inc VAT

£360.00 inc VAT

£450.00 inc VAT

£360.00 inc VAT

14. I f you want to know what I think, 2024

16. H ow can I tell you about love? 2023

10. O n the lamb, 2024 Pastel and acrylic on card

12. You don’t see me before I see me, 2020

35 x 22 cm

Ink on found box

Collage, pencil and watercolour

Pencil and acrylic on

£480.00 inc VAT

32 x 25 cm

on found card box

Greek grocery paper bag

£564.00 inc VAT

26 x 26 cm

33 x 20 cm

£510.00 inc VAT

£300.00 inc VAT

17. S entry Duty, 2022

PA U L B E N N E Y

Paul Benney

BIOGRAPHY

Paul Benney (b. 1959) is a British artist who rose to

into the telescope, while the left eye peers into the

international prominence as a contemporary artist

microscope.” These paintings explore the precarious

whilst living and working in New York in the 1980s,

film of reality - how beings hover between life and

then developed a practice as a portraitist in the United

death. Emphasizing contrast in his composition, he

Kingdom. A self-taught painter, Benney was a member

highlights this duality: the inner and the outer; matter

of the Neo-Expressionist group of the early 80’s

and spirit; the known and the unknown. In essence

in New York’s East Village; he became known for

they are about illusion, and how what we chose to see

his depictions of stygian themes and dark nights of

reflects what we belive about the world and ourselves.

the soul. Incorporating the classical technique of

Primarily working in the medium of paint, he has

tenebrism, he weaves formal portraiture with personal

recently collaborated with MUSE to create digital

expression. His paintings capture the strange elision

assets, which offer limited editions of time-based

of the self with art history, religious iconography and

media

contemporary themes, continuing in the tradition of ‘British Mysticism’.

His paintings are represented in many notable public collections including the Metropolitan Museum of

His works are characterised as ‘otherworldly’ or

Art in New York, The National Gallery of Australia,

‘visionary’, touching on themes of surrealism. Laterally,

The Brooklyn Museum of Art, NYC and The National

they call to mind the works of Leonora Carrington,

Portrait Gallery in London, alongside many prominent

and the idea that “The task of the right eye is to peer

private and corporate collections.

“People will do anything, no matter how absurd, in order to avoid facing their own souls. One does not become enlightened by imagining figures of light, but by making the darkness conscious.”

– CARL JUNG, PSYCHOLOGY AND ALCHEMY, PAGE 99

Paul Benney

Potter’s Hand 1, 2021

Oil on panel

50 x 35 cm

£6,600.00 inc VAT

Potter’s Hand 2, 2021

Oil on panel

30 x 25 cm

£6,600.00 inc VAT

Paul Benney

Potter’s Hand 3, 2021

Oil on panel

30 x 25 cm

£6,600.00 inc VAT

Auto Da Fe, 2018

Oil on panel

200 x 180 cm

£25,200.00 inc VAT

Paul Benney

Scrying Mirror (Ghost Dog), 2016

Oil and resin on board

134 x 61 cm

£25,200.00 inc VAT

Scrying Mirror (Party Girl), 2016

Oil and resin on board

134 x 61 cm

£25,200.00 inc VAT

Paul Benney

Reliquary Series, 2025

Oil on canvas

Set of 6, £55,500.00 inc VAT

Available individually on commission, £10,700.00 inc VAT and Frame

PHIL GOSS

Phil Goss

BIOGRAPHY

Phil Goss (1984, Bristol) studied English Literature

a line taken from a series of figurines I saw in Holland.

at Edinburgh University and Visual Communication at

The second blue vase depicts a horse under a stylised

the Royal College of Art, London. His background in

tree. This horse motif had been appearing lots in my

literature has played an important role in developing

work. The last motif is of figures moving across an

his work. Through drawing, he creates images that

abstract landscape. This was based on a personal

conjure up ways of seeing which resist clear formulation

experience of walking across the Scottish island of

through language. Often using his surroundings as

Rum through the beginnings of a two-day storm. The

inspiration. His work ranges from ink drawings to

energy in the brush strokes of the figures captures

working with textiles and installation.

this charged atmosphere.”

Showing three hand coiled stoneware pots, glazed

Goss has shown at the V&A Museum and London

with designs taken from his drawings and print work,

Design Festival; has designed print for Folk and Paul

that speak directly to the vessels in Catherine Anholt’s

Smith. He has recently had solo shows in London and

paintings, and intuitive process. “The pots often sit in

Athens and is currently the Director of the Centre for

my studio for many months until it makes sense to put

Recent Drawing in London.

a particular motif on it. The first is a series of birds in

“Keep a little fire burning; however small, however hidden.”

– CORMAC MCCARTHY, THE ROAD

Phil Goss

Birds, 2024

Glazed Earthenware

35 x 35 cm

£1,560.00 inc VAT

Isle of Rum, 2024

Glazed Earthenware

36 x 34 cm

£1,560.00 inc VAT

Phil Goss

The Horse, 2024

Glazed Earthenware

35 x 35 cm

£1,560.00 inc VAT

ROBYN LITCHFIELD

Robyn Litchfield

BIOGRAPHY

Robyn Litchfield (b. New Zealand) lives and works in

paint in expressive brushstrokes and works back into

London and holds and MA Fine Art from the City and

the paint using various implements and processes

Guilds of London Art School (2017), and a BA Fine Art

such as scraping, layering and erasure to reveal the

from the London Metropolitan University. Her paintings

luminous ground below. The monochrome sepia

are representations of sublime encounters with pristine

coloured works evoke memory, history and nostalgia

and untouched landscapes. Drawing from archival

taking the viewer back in time. Ferns tower above

material and personal documents relating to the early

or stretch endlessly to the horizon. Giant centuries

exploration and colonisation of New Zealand, Litchfield

old trees loom into fragmented views amongst the

aims to reimagine and examine the experience of forays

verdancy and decomposition of these vestiges of

into a hitherto unknown space. She is interested in

primeval landscapes.

the idea of wilderness and the unknown, as a terrain of the mind and as a place that induces reflexivity.

Her work was short listed for the Clifford Chance

Landscape becomes a medium for exploring personal

Postgraduate Printmaking Award (2017) and selected

history, notions of cultural identity, alienation and a

for MA and Other Postgraduates (2018) and Recent

sense of belonging.

Graduates at the Affordable Art Fair. Litchfield was highly commended for her contribution to Exceptional:

In recent work, the viewer is immersed in the lowland

The Collyer Bristow Award (2018) and was a finalist

forests and wetlands of New Zealand, with their

in the Signature Art Prize (2019). She was selected

complex ecosystem and ancient trees, that once

for the Collyer Bristow Award (2019) and won the

extended to almost all of New Zealand’s shoreline.

Landscape/Cityscape/Seascape category prize in

Today less than fifteen percent remains. These new

the Jackson’s Arts Painting Prize (2020). She has

paintings draw from her own photographs taken during

been long listed for the Contemporary British Painting

recent visits walking and kayaking in the remote

Prize (2019) and (2021), the John Moores (2020)

Southwest of the South Island. Working mainly in a

and is short listed for Beep Painting Prize (2022).

monochromatic palette, Litchfield applies transparent

She has exhibited widely, including the Royal Academy Summer Show and the Cello Factory, London.

“The very life of any creature is a quick-fading spark in fathomless darkness.”

– ANTHONY DOERR, ALL THE LIGHT WE CANNOT SEE

Robyn Litchfield

Swampdrift, 2024

Oil on linen

50 x 40 cm

£3,600.00 inc VAT

Whakapohai, 2024

Oil on Linen

68.5 x 53.5 cm

£5,040.00 inc VAT

Robyn Litchfield

Time’s Torrent Bed, 2022

Oil on linen

120 x 190 cm

£13,200.00 inc VAT

Forest Portal Expanded, 2022

Archival pigment inks on Hahnemuhle German Etching with hand applied acrylic paint, edition of 25

80 x 50 cm

£1,470.00 inc VAT

Robyn Litchfield

In Deep Verdure, 2024

Oil on linen

80 x 60 cm

£5,520.00 inc TAX

ZACH TOPPIN

Zach Toppin

BIOGRAPHY

Zach Toppin (b. 1987) is a London based

Explorations into identity fantasy are borrowed from

multidisciplinary artist with a BA in the History of

ancestors – imagined and real - as well as through

Art, The University of Edinburgh, 2005-2008,

dissecting the construction of masculinity. Desire and

Fine Art Foundation, Camberwell College of Arts,

longing are actualised through the fetishization of items,

2008-2009, and drawing Intensive, The Royal

possessions, signifiers, relics; and by investigating

Drawing School, 2023. Toppin’s work is rich in

this collage of desire, we find a way to navigate the

narrative, symbolism and cultural reference, weaving

dichotomy of trans unease and euphoria, and how to

together important stories about emotion, gender,

arrive at strength and authenticity via the armour of

sex and love. Working across painting, drawing and

dress and signifiers. They bend our notion of soft power

sculpture they archive and reimagine queer histories,

into the powerfully seductive. Exhibitions include a

constructing visual pathways that provide access to a

solo presentation with Gemma Rolls-Bentley for the

deeper, more open, but also humorous take on what

London Art Fair (2024); ‘Tales from the Riverbank’,

it means to be a human living today.

London (2023); Canal Boat Art Fair, London (2023); ‘Coming Out’, Sunbury Workshops, London (2023).

Out of the mid-wood’s twilight Into the meadow’s dawn, Ivory limbed and brown-eyed, Flashes my Faun!

He skips through the copses singing, And his shadow dances along, And I know not which I should follow, Shadow or song!

O Hunter, snare me his shadow!

O Nightingale, catch me his strain!

Else moonstruck with music and madness I track him in vain!

– OSCAR WILDE, IN THE FOREST

Zach Toppin

JdA (Delivered by the Voices of Angels), 2024

Oil on canvas

60 x 45 cm

£4,800.00 inc VAT

Nico Kos Earle

Nico Kos Earle is a bi-lingual writer and curator and holds an MA in Literature with Philosophy from Trinity College, Dublin. Vice Chair of the Critics Circle, she has a column on Artlyst (A Quiet Lunch / Huffington Post) & ongoing collaboration with The Colour Project. Focused on developing artists in early to mid career, she regularly writes features, title essays and poetry for a wide range of artists (Aigana Gali, Marie Elizabeth Merlin, Nancy Cadogan, Deborah Tarr, Chris Levine, Andrea Hamilton); recent books include Joost Vandebrug’s Cince Lei, Jeff Becton, Emma Witter, Thom Yorke & Stanley Donwood ‘This Is What You Get’ for the Ashmolean Museum, Oxford. Her curation highlights our connection to nature (Botanicae, Sense of Place, DRIFT) and she conceived of the BLUE Edition, for Blue Marine Foundation. Currently working on a book ‘Aftershot’ with Kasia Wozniak, lyrics, a special commission for the Science Museum, and animated film Oceanum Voces with Dawn Dudek.

BIOGRAPHY

For all art enquiries please contact:

art@paulsmith.co.uk Katie Heller Art & Exhibitions Manager Paul Smith 9 Albemarle Street London W1S 4BL +44 (0)7553 352 959 +44 (0) 207 493 4565 katie.heller@paulsmith.co.uk Brontë Crouch Arts and Interiors Consultant Paul Smith 9 Albemarle Street London W1S 4BL +44 (0) 207 493 4565 bronte.crouch@paulsmith.co.uk

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