Artists A - G
SOUTH DOWNS OPEN 10 OCTOBER 2026 - 13 MARCH 2027 Petersfield Museum and Art Gallery
OVER 150 ARTISTS CELEBRATING THE BEAUTY OF THE SOUTH DOWNS
Susannah Acland
The Water Meadows, South Downs, 2026 Acrylic on board 50 x 69 cm framed
£560
SDO084
Inspired by the expansive skies, the wildness and unpredictability of the sea along the south coast and the rolling hills of the South Downs, Susannah aims to capture the beauty and nuance of her local landscape. Working predominantly in acrylic, using a fresh palette often dominated by blues and pinks, combined with bold mark making, her paintings offer a characterful and joyful impression of the countryside around her. I am lucky to live within the South Downs National Park and every day I walk my dog in awe of my surroundings. I see a view around every corner that I wish to paint and often portray similar scenes as the seasons and skies evolve. The water meadows offer a bucolic scene where lambs frolic in the Spring, hares and deer run freely and the chalk stream ambles its way gently through the meadow, crowded with insects, wild flowers and grasses. A peaceful place to take a moment out of a busy day, to admire and contemplate all of nature's unspoiled beauty.
susannahaclandart
Catherine Ade
Garden, 2026 Lithograph printed from one photoplate and three grained aluminium plates, printed on paper 65 x 48 cm framed
£400
SDO035
Catherine Ade make lithographic prints about the relationship between landscapes and people in those places. She explores the dualities of identity, the slippery nature of memory and the passing of time.
Garden is from a collection of lithographs which depict my grandparent’s farmhouse and land in the South Downs on which two generations of my family grew up in. Recording flashes of memories, the personal connection to place, and transformative cycles of nature which continually shift from one state into another
catherineadeartist
Jacqueline Amies Rooted II, 2025 Monotype on paper 28 x 28 cm framed
£113
SDO342
Jacqueline Amies is an artist maker inspired by walking and nature. She produces series of work upon a theme to start conversations and to inform and educate on the often overlooked and forgotten corners of ancient pathways and ancient woodlands.
Walking across the Downs you will walk through sections of forests and tree plantations. The scenery changes for there are no views, so my attention is drawn to the ground and what is 'Rooted' there. The native trees play a huge important role in biodiversity and here I am looking at the destruction and decay of the many Ash trees that are being destroyed by Ash Dieback. Hugh tree areas are being lost but where they are lost they also produce life as they decay and new plants will flourish under the opening canopy.
jackieamiesartist
Rose Autumn
Goodyer Meadows II, 2026 Oil on board 27 x 27 cm framed
£199
SDO156
The paintings of Rose Autumn are inspired by the South Downs of Hampshire. These paintings have grown from years of walking the South Downs, returning to the same paths in different seasons and weather and observing how light, atmosphere and the landscape continually transform the familiar. They are not intended simply as records of place, but as responses to the quiet beauty and restorative presence of the Downs, capturing something of the experience of being immersed within the landscape. After more than twenty years specialising in photorealistic charcoal drawings of domestic interiors, this body of work marks my return to painting. While rooted in direct observation, the paintings move beyond representation towards a more expressive response, using colour and the materiality of paint to evoke atmosphere, memory and a sense of place. For me, the South Downs is more than a landscape to be depicted; it is a place of reflection, renewal, and continual discovery.
rose.autumn.ma.artist
Bernadette Baker
Harvest, 2026 Acrylic and silkscreen on board 50 x 50 cm framed
£285
SDO098
Bernadette Baker is a Sussex based mixed media artist who aims to capture the natural world and specifically, the beauty of Downland flora, layering fine art with collage and screen printed designs, to create evocative, colourful studies.
The end of summer flora in the foreground growing out of chalk, nature pushing forward inspite of harsh conditions, inspires me to lay colour and form to inspire new beginnings.
birdibibi
Philippa Bandurek Bradbury
Known Ground: North of Worthing, 2026 Ink and mixed media on vintage Ordnance Survey map (Sheet 182, Brighton & Worthing, Seventh Series, c.1960s) 70 x 70 cm framed
£852
SDO117
Philippa Bandurek Bradbury is an artist, designer and PhD researcher. Working primarily in pen and ink, her practice combines drawing with found printed materials, maps and everyday objects to explore communication, memory and place. Although now based in Cambridgeshire, she grew up in Worthing and the South Downs continue to inform her relationship with landscape, memory and drawing. This work is drawn directly onto a vintage Ordnance Survey map of the South Downs surrounding Worthing. Combining observational drawing with historical cartography, the work explores the landscape as both a measured place and a personally familiar one. Growing up in Worthing, the South Downs formed the backdrop to everyday life, and this drawing reflects an enduring connection to that landscape. The map and the drawing sit together as two ways of knowing the same place, one through survey and record, the other through memory, observation and lived experience.
philippa.bandurek
Faruk Barabhuiya
Harting Down Sunrise, 2025 Photograph 43.5 x 56 cm framed
£170
SDO344
A Liss based photographer, he is fascinated by the world and keen to explore how he lives in reciprocity with it and exploring the interconnectedness of people to nature and the environment.
Fascinated by wonder and awe, form and emptiness and the less examined life. The South Downs is a place I return to for space, movement and a closer connection with the natural world. This image captures one of the moments I value most, early morning light revealing the contours of the land.
Vivienne Barnes
After the Downpour, 2025 Willow Charcoal & Acrylic on board 73 x 59 cm framed
£640
SDO355
Vivienne Barnes is a Farnham based self taught artist working primarily with charcoal, oil pastel and paint. Having always had a deep affinity with nature, she finds daily walking is a constant source of inspiration, often returning to favourite Southdowns locations, Hawkley, Selborne, and Tillington. Working from both sketches and photos taken whilst out in the landscape and in her home studio, she aims to record what feels like a personal sensory response to a particular place and its atmosphere. This painting was made having been caught out in a sudden Autumn downpour, walking in lanes around Hawkley. It was dusk, the light suddenly became dramatic, a torrent of water flooding off the fields and rushing down the lane.
viviennebarnes
Emma Bennett
Sussex Coastline, 2026 Inkense pencil and acrylic paint on handmade paper and packing material on canvas 50 x 50 cm
£1,205
SDO027
Emma Bennett lives and works in East Sussex. She is inspired by the Sussex landscape and the juxtaposition of land, sky and sea where she currently lives, specifically the panoramic views around East Dean, Birling Gap and the Cuckmere Haven. Emma utilises a combination of found material, Inktense pencils and acrylic paint to create texture and depth in her work. I endeavour to use a variety of materials and application to interpret the wildness of the coastline stretching from Birling Gap along to the Cuckmere Haven. With a particular focus on the, sometimes, tumultuous skies and cloud formations that blend, undulate and echo the South Downs innate drama.
Hilary Boardley
Everything is Connected, 2024 Original digital film still printed as archival pigment ink print on Fotospeed paper, Limited Edition 1/12 55 x 75 cm framed
£560
SDO418
Hilary Boardley’s practice incorporates moving image, digital film stills, drawing, photography, printmaking and painting either individually or in a combination of mediums. Living on the South Downs, Hilary’s work reflects a particular interest in the vulnerability of the landscape and the objects in it. My work tries to harness a moment in time that feels uncanny; a mis-en-scène; fantasy punctuated by reality. Filming the deliberate burning of an acorn seedling was a figurative way to highlight the vulnerability of the landscape. Fused with my drawing, a surreal background was created to this destructive gesture.
hilaryboardley
Lola Claeys Bouuaert Bloom Pebble, 2025 Raku-fired ceramic 8 x 12 cm
£142
SDO213
Originally from Belgium and trained as an architect, Lola started working with clay at Nathalie Khayat's Studio in Beirut, Lebanon. She now lives in the Milland Valley within the South Downs National Park, and draws inspiration from the surrounding nature - the forest, trees, ferns, and wildflowers that flourish in this clay-rich landscape. Most of her pieces are hand-built, each carefully burnished to a smooth finish. After an initial bisque firing, her ceramics are smoke-fired or raku-fired, creating unique and surprising results. Her unique approach to ceramics marries her interest for photography, printing and fossils with a profound connection to nature. This hollow pebble, blackened by smoke, is glazed with the imprint of wild ferns growing along the South Downs National Park footpaths. Its texture and colours evoke the flint stones found amongst the chalk of the South Downs.
lolacbceramics
Joanne Briffett
Up and Down along The Southdowns Way, 2025 Woven tapestry wool on cotton warp 17 x 97 cm framed
£264
SDO345
The natural beauty of the Downs is a constant source of inspiration for Joanne Briffett’s tapestry work. The changing seasons, vibrant colours of trees and hedgerows, blooming wildflowers and the interplay of rain and sunshine transform the familiar landscape daily. These elements fuel her creativity and are reflected in her tapestries. This tapestry translates the shifting elevations of the South Downs Way into a woven landscape. The undulating profile of the route becomes both structure and narrative, charting a journey that is at once physical and reflective. The act of weaving mirrors the embodied experience of walking where distance is measured not only in miles but in sensation, time and attention. The highest point is Butser Hill at approximately 271 meters, while its lowest points lie close to sea level where the route crosses river valleys: the River Arun at Amberley, the River Adur at Bramber, the River Ouse at Southease, and the Cuckmere River at Alfriston.
joannebriffett
Orlanda Broom
Nightwatcher, 2025 Acrylic on cradled birch ply panel 50 x 50 cm
£2,625 SDO216
Orlanda Broom is an artist known for her landscape paintings characterised by expressive use of colour and an experimental approach with materials. After extended periods living in Portugal and London, her studio is now based near Liphook on the Hampshire and West Sussex border. 'Nightwatcher' is a twilight painting, set in the realms of dream state and magical thinking. The rolling hills look different at night, shifting perspectives bringing them closer to the floral elements at the forefront of the composition. What might be a tree can also be a blue figure hovering over, keeping watch. I am interested in using the familiar motifs of landscape painting as a way to explore surreal narratives and convey something about our experiences in the natural world. The South Downs are imbued with ancient history and have a scale that reminds us of our place in time.
orlandabroom
Julia Brown
Winter Rhythms: View from Findon to Chanctonbury Ring, 2025 Free machine embroidery & Acrylic paint over natural layered cottons and silks 44 x 33 cm framed
£198
SDO312
Julia Brown is a textile artist working in paint and thread over natural materials:- calico, silks and found scraps, layered for a textured background, painted and then stitched using free motion embroidery. Landscapes and artworks record the chalk paths and soft rolling grasslands of the South Downs and the light of the Sussex coast and are inspired by a love of the works by Eric Ravilious and his quiet colours and crosshatched grasslands and fields. Walking in the South Downs rewards with views suddenly opening out to our most ancient of sites in the Iron Age hillforts. On a muddy winter walk, slipping down slick grass slopes, we looked up and spirits were instantly lifted by the beauty of the rhythms in colour and shape in lines of grasses and trees leading up to the ancient outline of Chanctonbury Ring on the horizon.
stitched_design
David Browne
Hawthorn Trees, 2026 Charcoal on paper 44 x 56 cm framed
£426
SDO337
David Browne’s practice includes drawing, printmaking and sculpture in response to the natural landscape both along the South Downs near his studio in Ditchling and the Sabine Hills in Italy where he spends part of the year.
This summer, to hot during the daytime I regularly made evening walks from my studio in Ditchling onto the South Downs and began exploring through drawing a series of three dried out dew ponds between Ditchling Beacon and the Clayton Windmills. Each 'pond' was marked by one or more windswept Hawthorn trees that were clearly struggling in the searing heat. In drawing the trees from a number of viewpoints it felt as though they were in a conversation.
davidbrowneartist
Caron Buckingham-Rhyder Curtain of Light, 2026 Oil on canvas 103 x 103 cm framed
£1,420
SDO246
Caron Buckingham-Rhyder is a West Sussex based artist. Structure and repetition plays an important part in her work and she experiments with paint, wood, wire, plaster and clay, with drawing always as a starting point. Subject matter is often inspired by nature, whether it is animals, trees, or landscape and then exploring our human relationship to it. There is often a narrative and strong message, mainly about loss or connection and she uses a combination of images together with colour, surface and geometry to enhance these elements.
There are some spectacular trees in Midhurst and West Sussex and this willow tree in its autumn colour caught my eye and begged to be painted. It is part of a bigger body of work, celebrating our connection with trees and you can just see the Cowdray Ruins and flood plain beyond it.
caronbuckingham
Sarah Burns
Cissbury Ring, 2026 Block printed and naturally dyed textile 156 x 95 cm
£326
SDO243
Sarah Burns works together with Alice Garner in a small workshop at the foot of the South Downs, where they make handblock-printed and naturally dyed papers and fabrics. Sarah worked for many years as a hand printer at one of the last artisanal printing factories in England. She is the author of a monograph of the pioneering 1930's block printers, Phylis Barron & Dorothy Larcher and draws heavily on the South Downs landscape both for her inspiration and for her materials. Almost every evening I walk up onto the Downs above my house and watch the sun set behind Cissbury Ring. Up there I see the whole of my little world laid out before me - I see the clouds roll out to sea, casting their huge shadows over the land and underfoot and feel the ancient chalks and flints beneath my feet - the bones of creatures that lived millenia ago in tropical seas . Without fail, as I turn for home, I feel at peace once again with my small place in this incredible world and this textile is my attempt to capture this feeling of being surrounded by so much beauty.
patternmakers
Lesley Butterworth
Winter River, South Downs Way, 2026 Watercolour on paper 50 x 42 cm framed
£900
SDO070
Lesley Butterworth enjoyed a career in the cultural sector working for the Design Museum, National Gallery, Arts Council and Crafts Council before becoming General Secretary of the National Society for Education in Art and Design, the learned society, trade union and subject association for teachers of art and design across the UK, Lesley works from her studio in Winchester The work reflects the culmination of observational drawings and paintings made during a walk on the South Downs Way in 2025.
lesleygb56
Angela Carter
Inspired by the Flames of the Beltain Fire festival, 2026 Ceramic 30 x 20 cm
£191
SDO353
Angela Carter has lived and worked as a potter in the Milland Valley for over 45 years, where she has spent her life making pots and passing the skills on to others at Milland Pottery. After studying ceramics at Farnham Art College, Angela came to Milland to work with Jane Hawkins. Jane and 2 partners built the pottery in 1947 and ran it for 30 years as a production studio. The local clay was dug on site and the pots fired in saggers in a huge oil-fired kiln. The decoration of this pot is inspired by the Beltain celebrations at Buster Ancient Farm heralding the beginning of summer. The decoration on this porous, non functional pot made on the potters wheel, is produced using a variation on primitive bonfire firing techniques. Sawdust, seaweed, copper wire and tape and various chemicals are burnt in an environment which restricts the oxygen supply to give random and exciting ‘flashing’ on the pot.
millandpottery.co.uk.
Joanna Cheer
Twyford South Downs Path, 2024 Reduction linocut 44.5 x 51 cm framed
£285
SDO310
Joanna Cheer is an artist printmaker and designer living and working near Winchester in the South Downs National Park. Her long walks throughout this beautiful area and the coast all inspire her work along with her love of nature, textures, structure and bright, bold colours. Joanna’s focus is on the design and production of intricately detailed reduction linocut prints using quality inks and acid free archival materials. This is one of my local paths I frequently walk along being lucky enough to live within the South Downs National Park. It's one of my favourites as the view changes throughout the different seasons as I walk through the field and look across to the undulating South Downs Hills in the distance. You can see the underlying chalk bedrock so typical of the South Downs area and the ever changing trees and skies with their interesting cloud formations and light effects.
cheer_jo
Shirley Chubb Downs II, 2025 Screenprint 43 x 61 cm framed
£360
SDO214
Shirley Chubb’s screen prints develop her interest in walking and reflect on the horizon as a space that is sought but never reached. Her prints combine monoprint techniques, where ink is applied directly to the screen, alongside paper and hand painted stencils, creating variable editions where each print is subtly different. In each work the use of multiple layers of transparent tinted colour produces subtle tonal values, with each edition developing spontaneously as accumulated layers evolve to a point of completion. The resulting works capture her experience of the shifting, fleeting nature of light on the Sussex Downs, drawing the eye towards the horizon and distant skies. 'Downs II' captures the early hours of a spring day looking across the South Downs. The work captures the complexity of cloud pattern over the newly emerging growth of fields and woods.
chubbshirley
Paula Chuter-Baker Early One Morning, 2025 Charcoal on paper 47 x 71 cm framed
£390
SDO013
As a semi-abstract artist, Paula Chuter-Baker works primarily in acrylics and mixed media, immersing herself in the raw beauty of nature. Her creative process is deeply influenced by the landscape of the South Downs, Cumbrian Fells and the rugged cliffs of Cornwall. These landscapes evoke expansiveness with wide open skies and dramatic rock formations. I aim to capture the light, movement and texture of the earth with gestural marks, layering and an array of tools. Working from both sketches and photographs taken during explorations, I then translate the impressions left by nature in my studio. Whilst walking early on the South Downs one morning from Linch Down to Treyford Hill, the white chalk path drew me in against the rather dull looking day.
paulachuterart
WINNER South Downs Open 2026
Philippa Clarke
Dew Pond (Here Comes the Rain Again), 2026 Pastel on pastel 48.5 x 38.5 cm framed
£575
SDO146
In October 2025 Philippa and fellow artist, Ruth Glasheen, began a series of monthly walks at Kingley Vale, a national nature reserve just 15 miles from Petersfield. Philippa made this drawing in February 2026. Kingley Vale lies beneath an elevated ridge of the South Downs known as Bow Hill. It is renowned for its groves of ancient yew trees and is a place of exceptional ecological richness, alive with birds, animals and plant life, while retaining an atmosphere deeply marked by time and human presence. This dew pond is one of several at the reserve, none of which are natural features. Dating back as far as the bronze age, dew ponds were traditionally made of clay and straw and were constructed in the porous chalk to provide water for grazing sheep. Returning regularly to the same site has allowed us to observe gradual seasonal shifts and to develop a deeper, more attentive engagement with the Downs.
philippajclarke
Liz Clifford
Oil Spill on Chalk Hill, 2021 Collage on paper 41 x 23 x 3 cm
£425
SDO181
Liz Clifford uses daily walking near Petersfield as the starting point for her work across drawing and sculpture. She aims for a sustainable practice through the use of salvaged materials, many of which are found littering the countryside of The South Downs National Park - the detritus of agri-business, transport, recreation and family life. This collage is made using a contour drawing of Wheatham Hill near Petersfield in combination with the artist’s photographic evidence of 4 x 4 vehicle sump oil pollution in the same location. The work references the geology of the South Downs as well as the assault upon it from fossil-fuelled recreation, and is part of a body of work documenting the life of Byway 745, a ‘byway open to all traffic’, in the South Downs National Park.
Denise Coble
Downland Hares, 2026 Linocut print 28 x 53 cm framed
£213
SDO040
Denise Coble studied Wildlife Illustration at Dyffed College of Art and has enjoyed a career which includes children book illustration and more recently creating work for the National Trust, Royal Society for the Protection of Birds and the Wildfowl and Wetlands Trust.
I enjoy walking on the South Downs and this linocut print depicts one of my favourite views from Butser Hill, with some hares that I often see there running in the foreground and red kites flying in the background.
Jo Collins
The Sea, the Wind, the Memory, 2026 Mixed media 33 x 43 cm framed
£165
SDO313
Jo Collins is a mixed media artist, working with photography, fabric, found material, mixed media and layers of texture to create atmospheric pieces inspired by the natural world. She is increasingly drawn to trees and the quiet, powerful presence they hold within. Through layering imagery, mixed media and tactile materials, Jo creates work that encourages the viewer to pause and look a little longer, to evoke a feeling rather than tell a particular story, to offer the viewer a moment of quiet, reflection and connection. I’ve always been fascinated by the small trees up on the Downs at Beachy Head and the scarcity of them given the strong south westerlies that blow across that part of our coast line and the salty air whipped up from the sea. Both these things and more, are testament to their resilience. I wanted to create a piece of work depicting these factors and a symbolic one, ‘the wind shapes the tree, but does not take away its roots’.
jocollins_art
Colleen Conti Intersection, 2025 Oil on canvas 44 x 44 cm framed
£497
SDO172
Colleen Conti is an artist and educator. Colleen’s work is a record of the changing light, forms and colours of the landscape through the seasons. She paints while her experience of a place is still fresh, by making sketches and taking photographs which are then developed further through studies exploring composition, light and colour. The resulting paintings are produced in series and executed quickly to retain the immediacy of the subject in bold colour with expressive, gestural brush strokes. The painting depicts a view across a valley on the South Downs taken from near Chanctonbury Ring and using strong colours and bold simplified shapes. There is a heightened use of contrast to capture the late afternoon light which I always find especially poignant, especially as the days shorten. Being up on the Downs, with the elevated perspective that gives, is literally up-lifting. When the fields and hedgerows are bathed in the light of early evening, the magical golden hour, it is impossible not to experience the glow internally and feel blessed to be in that place, at that moment.
colleenconti.art
Lucy Cooper
Goodwood Estate, 2026 Screenprint 30 x 30 cm framed
£127
SDO218
Lucy Cooper is a Brighton-based printmaker who specialises in limited edition fine art screenprints. The screenprint process both informs and develops Lucy’s work, encouraging her to strip back and simplify the subject and to focus on the interplay of colour, shape and negative spaces. She presents scenes which evoke memories of much-loved places or objects, inviting viewers to be transported to the calm and warmth of sunny places or be reminded of the beauty of familiar settings. This screenprint was directly inspired by a happy and memorable day visiting the Goodwood Foundation in the South Downs. It depicts a relatively secluded area of woodland where the trees cast beautiful shadows over the wall, evoking the calm and beauty of the area.
lucycooper_prints
Rosie Copeland
Sunlight, foliage, weeping willow, 2026 Oil on board 55 x 91 cm framed
£2,405
SDO030
Rosie Copeland grew up in the Cotswolds but she now divides her time between her studios in Hampshire and London. Her artistic practice is fundamentally rooted in her immediate landscape — the garden and open downland surrounding my home in the South Downs. Like Ivon Hitchens, who found an entire world of painterly possibility within his own patch of Sussex woodland, Rosie finds that inspiration lies close at hand, in the ever-shifting light, colour and atmosphere. I work from sketches made outside in charcoal and gouache, then take those studies back into the studio where the real searching begins. In the spirit of Hitchens I start by mixing a palette of harmonious colours and using the sketches start painting spontaneously. I think about colour against space, gesture and mark marking, rhythm and harmony working together across the canvas. It's a process of letting go of the literal and reaching for something that feels true to the experience of being in that landscape rather than simply recording it.
rosiecopelandart
Sarah Coppard
On Dyke Hill, 2024 Porcelain 18 x 8 cm | 10 x 12 cm | 6 x 8 cm
£248
SDO083
Sarah Coppard’s work uses clay to explore ideas of memory, the passage of time and a sense of place. Employing a range of ceramic processes including both throwing and slip casting, she enjoys using organic additions, oxide powders and matte glazes to create subtle surfaces indicative of the marks and traces left by natural forces. She draws on the language of decay and the ruin as an uncanny marker of both time and civilisations in order to draw the viewer’s awareness towards their own place within the chronology of the world, particularly within the context of impending climate disaster. My great grandfather was a shepherd on the Sussex Downs, as was his father before him who spent 18 years working ‘on Dyke Hill’*. As such, I’ve always felt a deep connection to its unique landscape. This trio of vessels responds to its distinctive topography, in particular the constantly shifting chalk cliffs which have been shaped by tides for centuries. *As documented in ‘Shepherds of Sussex’ by Barclay Wills, 1938.
sarah_coppard_
Mary Crabb
Chalk Core, 2026 Twined Vessel woven with a range of strings and threads 21.5 x 10 x 10 cm
£568
SDO303
Mary Crabb developed her creative practice, beginning with traditional willow basketry skills. This evolved into an experimental process led style with a mix of traditional and contemporary materials using adapted basketry and textile techniques.
The South Downs became my home, in particular the white chalk excavations at Amberley became a visual marker, a welcome sight. In 1990 I started volunteering at Amberley Museum and later worked there. My life became bound to that place. The chalk pit has changed in the time I have known it. It has aged - as I have grown older. There is less white from a distance it grows greener as it is reclaimed by the landscape. But the Downs remain a constant, visible from my home and comforting but their presence.
crabbbaskets
Harriet Crichton
Belted Galloway Grazing Beneath the South Downs, 2026 Acrylic and chalk on board 34 x 44 cm
£426
SDO191
Harriet Crichton studied at the Byam Shaw school of Art , in the classes of Diana Armfield. Painting throughout her life and now living very near to the South Downs, she finds constant inspiration there.
In particular I love to paint the Southdowns sheep or Belted Galloway cattle, grazing the slopes. I painted this in the early spring , from the old railway line, between Petersfield and Midhurst. The area of rough marshland is used to graze the Belted Galloway cattle.
hattycrichton
Ben Dale
Downland Dawn, Ditchling Beacon, 2024 Archival pigment print on Hahnemühle Photo Rag | Edition 1/15 41.5 x 66.5 cm framed
£345
SDO005
Ben Dale is a Sussex-based fine art photographer whose work explores the emotional resonance of landscape. Rooted in long walks across the South Downs and along the coast, his images focus on light, atmosphere and the quiet relationship between land and people. His practice centres on creating images that feel calm, grounded and connected to place. The South Downs are a place I return to repeatedly, often at first light, when the land feels both exposed and intimate. Walking the ridgelines at sunrise allows me to experience the Downs at their quietest, before roads, voices and movement alter the atmosphere. This image, created at Ditchling Beacon, reflects that experience of openness and layered contour, where sky and land meet in subtle gradations of light. The Downs are not dramatic in the conventional sense; their power lies in scale, rhythm and stillness. My work seeks to honour that understated presence.
bendalephotography
Laura Darling Vespers, 2025 Oil on board 64 x 64 cm framed
£1,846
SDO105
Laura Darling is an artist and writer who works in Sussex and Devon. She works in oils with marks made in pastel and pencil to capture atmosphere, space and silence and looks for lines of light, slivers of colour that draw the eye and pull the viewer into the scene. She is drawn to northern light and a sense of geographical form, exploring the bones of the land below, the feeling of the weather above and the paths that people make. I was drawn by the wisp of evening cloud hanging at the top of the hill. As a walker this is an area I know well, but seeing a much loved landscape in different light adds a deeper appreciation and a sense of, what is over the other side?
lauradarlingart
Michelle Deacon The Passenger, 2026 Oil on canvas 70 x 60 cm
£497
SDO132
Michelle Deacon is a Portsmouth based artist working primarily in oil on canvas and board. She aims to capture atmosphere and stories within the varied subjects that she paints using colour, line and texture to evoke emotion and atmosphere to achieve thought provoking work. Inspired by an early morning journey through the South Downs. As a passenger I captured a series of images as the sun began to rise. A veil of mist lay across the landscape, the light slowly emerged revealing the extraordinary sense of space, flowing curves that were impossible to ignore. Alongside the natural beauty I was drawn to the manmade elements cutting through the landscape, the rhythm of the road markings, fencing and other linear forms, the intersecting lines becoming an important part of the composition.
portrayalportsmouth
Rick Donoghue Cowdray, 2026 Acrylic on canvas 40 x 50 cm framed
£205
SDO219
Rich Donoghue is a West Sussex based artist working with acrylics, oils and occasionally pastels to create figurative paintings, beach scenes and landscapes.
The Cowdray Estate is at the heart of the South Downs National Park and when you see the iconic banana yellow of the estate property's doors and windows you know you are nowhere else.
rickdonoghueart
Katrin Eagle
Foxglove Drift, 2026 Acrylic on canvas 57 x 47 cm framed
£425
SDO058
Katrin Eagle is an artist and designer who works from her garden studio in Petersfield. Her current work is inspired by the natural world with her garden being a great source of inspiration.
Foxgloves pop up everywhere in gardens and along the verges as Spring slips into Summer, the speckled pink bells attracting bees to feast on their nectar
www.katrineagle.com
Rose Eatherden
Fields of the South Downs 1839, from Steep to Stoughton, 2026 Gouache on paper 36 x 54 cm framed
£345
SDO177
Rose Eatherden is a calligrapher specialising in painted lettering. Each individual letter is painted with a fine pointed brush, most often in gouache. Painting letters is far slower than working with a nib, but it means that she can create different letter shapes as well as paint on surfaces such as silk, linen and wood. The pathways, fields and landscapes of the South Downs are a great source of inspiration for me. A love of maps, history and fresh air influences much of my lettering. I've a growing obsession with Victorian field names - sometimes straightforwardly descriptive, but often lyrical or whimsical. They're a poetic link to the past; individual stories buried in the landscape. 'Fields of the South Downs 1839' features a few of the many lyrical names found on Victorian tithe maps, from Steep and East Meon to Harting and Stoughton.
rosemaryeatherden
Philip Ebbrell
South Downs from Grittenham, 2026 Pen and ink on paper 41 x 51 cm framed Philip Ebbrell is a landscape artist and illustrator.
The South Downs rises up from the plain and bounds the land and sky together. The movement of black and white inks make the land sing with the movement of the moment.
surrey_dreamtimes
£454
SDO262
Nicholas Crispian Ebdon
Early Morning Newhaven Transfer Station, 2026 Ink on Paper 56 x 81 cm framed
£355
SDO423
Nicholas Ebdon is a painter and printmaker. His current work explores the Ouse Valley and our relationship with landscape, both as a working environment and a place for leisure.
This image explores the quiet relationship between landscape, industry and the changing character of place. In the distance, Newhaven Transfer Station sits within the wider landscape, its industrial presence contrasting with the natural surroundings. Rather than presenting the structure as simply functional, I am interested in how it becomes part of the visual identity of the area. The work reflects on the ways contemporary infrastructure exists alongside the coast, open space, and everyday life, creating a landscape where the natural and the constructed continually overlap. I am drawn to the understated atmosphere of the scene—the feeling of observing something familiar from afar and noticing its significance within the wider environment.
William Ede-Smith Lead Wait, 2026 Plaster and acrylic 17 x 9 x 6 cm
£355
SDO158
William Ede-Smith is an autistic British artist who has lived in South-East England. William is nonbinary and has no preferred pronouns. They began painting in their early 20s and have been sculpting for the last five years. As someone who has spent most of their life with a strong sense of feeling like they don't belong, William's work is concerned with a sense of place and identity. Living on the coast, particularly near Beachy Head and Cuckmere Haven, there's a very strong sense of the transience of the landscape of the South Downs. I wanted to try and capture that feeling of erosion and movement in a very solid, very inanimate piece.
williamedesmith.artist
Charlotte Edsell Held I, 2026 Oil on linen 54 × 69 cm framed
£1,600
SDO220
Charlotte Edsell works primarily in oils. She approaches painting as a site of enquiry where bodily sensation, memory, environment and material interaction converge. Her current body of work has developed through an embodied engagement with the West Sussex landscape, exploring how the movement, atmosphere and underlying forces of land can find physical presence through paint. I was born on a farm in West Sussex and have spent much of my life within the South Downs landscape and my relationship with it has been shaped increasingly through my involvement with farming, environmental practices and the changing ecology of the land. I am interested in what it feels like to be within a landscape: its rhythms, shifts of atmosphere, movement and weight and in a sense of the land as alive and active, shaped by forces and processes that are present but not necessarily visible.
charlotteedsell
Caroline Egleston
Fold, 2026 Wall-mounted ceramic on painted plywood 60 x 60 x 10 cm
£1,420
SDO129
Using the malleability and fluidity of clay slip, Caroline Egleston creates ceramic wall pieces which express gesture and movement. She seeks to articulate human interaction, a reaching out/responding or a withdrawal in self-protection, in abstract form.
The gentle folding of this ceramic piece in and out of the wall becomes an inner unconscious landscape which evokes the South Downs landscape where I walk so often. The strong, simple shape, the rhythmic movement of the gestural painterly brushwork on the ceramic surface, the contrasts between the grey clay and the chalky white slip articulate that abstract 'inscape'.
caroline.egleston
Susan England Far Horizons, 2025 Oil on canvas 75 x 75 cm
£640
SDO081
Sue England works in painting and printmaking and likes the physicality of painting, the process, the materials, the 'doing it' that excites her. Her subject matter often changes, but she always returns to nature, the land and the sea and the spaces where they meet. By walking through and being in the landscape she hopes to absorb with all her senses, not just her eyes and distil an essence of place and time. My finished paintings are often an amalgamation of 'place', not just one specific view. They develop from being IN, and walking THROUGH the landscape, from sketchs done in situ, from collected objects and photographic records.
28sueengla0547
Frances Ewing-Press Blue, 2026 Mixed Media 42 x 30 cm
£142
SDO333
It was the sea that carried the sediment of Coccoliths which in the fulness of deep time became Chalk. As a relatively recent event, maybe 65 million years ago when the major mountain build-up phase with structured folding creating the gentle folds that shape the west Sussex landscape. For walkers and artists alike, these are fascinating, truly monumental stories of deep time to be considered. They may even prompt personal investigation leading to inspirational studies or origins and creation of landscapes we know and love.
Ali Lou Field
Seven Sisters, 2025 Handwoven tapestry 35.5 x 30.5 cm framed
£639
SDO367
Ali Lou Field is a tapestry weaver and dyer and creates landscape inspired tapestries. Her work is drawn from the natural world, capturing the essence of special places and infusing the emotions they evoke into her pieces. Ali is a member of The British Tapestry Group and the West Surrey Guild of Spinners, Weavers and Dyers. One of my favourite places is the Seven Sisters cliffs, as the South Downs plunge into the sea. I have always been fascinated by the layers and striations in rock formations, and loved using many different yarns and textured weaving techniques to create the limestone in this tapestry. Limestone cliffs have endured for millions of years, but they also continuously change as erosion keeps the cliff faces white and magnificent. It is incredible how nature can create such stunning layers and striations of rock from a tapestry of tiny grains.
rosewoodandmoss
Celia Ford
Across the Valley, 2026 Linocut 43.5 x 38 cm framed
£248
SDO412
Celia Ford is prompted by a love of landscape and the natural world. She works from a combination of sketches made in situ and photos taken for reference and adapt the image by drawing until it will work well as a print. While experimenting with a range of printmaking techniques, she found that she liked the versatility of linocut, which can produce simple, bold images or achieve considerable delicacy and detail. This print was based on a view seen while walking on the edges of the South Downs with friends one New Year.
cowprintmakers.co.uk
Chloe Margaret Gerhardt South Downs Stile, 2026 Watercolour on paper 42 x 53 cm framed
£640
SDO091
Chloe Margaret Gerhardt is an artist based in Chichester. Her main medium is watercolour, as well as pen and wash. Her work is inspired by living in the Sussex, East and West, drawing from the landscape, coast and local wildlife.
This is a stile near Ditchline Beacon, providing a crossing into Access Land from the South Downs Way. It includes a Dog Latch for walkers. The view is facing north.
Chris Gilbert
St. Hubert's, Idsworth, 2017 Woodcut print 41 x 78 cm framed
£350
SDO124
Chris Gilbert's work covers both 'city life' and rural landscapes. He works in two disciplines, intaglio and woodcuts. His use of photography informs his observations in an urban environment but his love of drawing is more evident in his nature inspired work.
Set on the edge of woods in the South Downs this "Hunting Chapel" has a beautiful "presence". This print tries to describe how it relates to nature in it's isolation.
inkky_fingers
Allan Grainger Mount Caburn, 2026 Print on canvas 78 x 78 cm framed
£994
SDO168
Allan Grainger is a Sussex landscape artist using a lens-based medium to create work that considers place, memory and art. Mount Caburn is part of a body of work from his portfolio titled Chalk Paths. Each piece is formed by multiple images within a single frame, creating reimagined landscapes; landscapes that are experienced from different perspectives and different viewpoints. His work is engaged with psychogeography: that momentary recognition of a familiar thing or scene that opens a memory. Eric Ravilious painted Mount Caburn in 1935. I set out to create a work that is an homage to the artist, bringing my own interpretation to this celebrated landscape feature by reconstructing elements of and around the location and adding them to the finished artwork. My work is often a response to a psychogeographical encounter. I imagined the finished work having a pathway cutting through a cornfield to the 12th-century church, with visual motifs associated with Eric Ravilious: a snake, a cockerel, and an aeroplane.
allangraingerart
Helen Grimbleby
Strandline, Seven Sisters, 2026 Oil on board 45 x 55 cm framed
£262
SDO347
Helen Grimbleby is an expressive British landscape painter working in oils and acrylics from her studio on the borders of North Hampshire and West Berkshire. Her paintings explore the experience of being outdoors, not only what is seen but the atmosphere, movement, light and feeling of a place. She is particularly drawn to the coast and the changing moods of the British landscape. This painting explores the place where the South Downs meets the sea, where the distinctive chalk geology of the hills is revealed in the magnificent cliffs. I have a longstanding fascination with the sea, and here I was particularly drawn to the strandline, where wrack, seaweed and other sea debris create a fascinating band of colour and texture. Together, the strandline and chalk cliffs speak of the deep relationship between the Downs and the sea, and the watery origins of these familiar hills.
helengrimblebystudio