Fine Lines | August 2015

Jim Partridge & Liz Walmsley

Andrea Walsh

David Poston

6th August

Kirsten Coelho

Miriam Hanid

FINE LINES Edinburgh International Festival Exhibition 2015

Susan Hipgrave

Wendy Ramshaw

Paul Preston

5th September

Kirsten Coelho Bowl 2015 Porcelain Matt White Glaze and Banded Iron Oxide H5 x D15.5cms Photograph: Will Van Esland

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FINE LINES Edinburgh International Festival Exhibition 2015 6th Aug - 5th Sept Introduction Pg 4

Jim Partridge & Liz Walmsley Pg 6

Kirsten Coelho Pg 20

Miriam Hanid Pg 30

Susan Hipgrave Pg 38

Andrea Walsh Pg 46

Wendy Ramshaw Pg 52

Paul Preston Pg 58

David Poston Pg 62

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The Scottish Gallery Interior 2015 Photograph: Will Van Esland

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Introduction

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he Scottish Gallery is delighted to present Fine Lines which is an international showcase of artists reflecting innovation and our commitment to programming fine and applied arts exhibitions.

The Scottish Gallery is now in its 173rd year; we are a business that did not start out as an exclusive fine art salon but we have grown and developed through the vicissitudes of supply and demand and the fact that our existence has charted many cultural shifts and tastes in Scotland.

A steep change occurred when the Edinburgh International Festival began in 1947, our business further developed and embraced internationalism because our audience demanded it as they became accustomed to and were educated by international exhibitions year on year.

For over four decades The Scottish Gallery has exhibited and specialised in objects from every field; jewellery, metalwork, ceramics, glass, sculpture and textiles – developed from a demand from both clients and artists.

We show Scottish work within an

international context. The artist community is a mix of complex, interconnected relationships that cross borders, ensuring that The Gallery remains vibrant and forever changing.

The Scottish Gallery shares the vision that our Festival programme has to be part of the ‘incredible experiences’ that the EIF aims for every year and these incredible experiences are something that we strive for every month, not just for the duration of the Festival.

However, the Edinburgh International Festival and all the collective festivals which take place make August the jewel month in our calendar and we do not take for granted the opportunities, the energy and the talent that the Festival brings to Edinburgh. The Scottish Gallery is incredibly grateful to Jim Partridge and Liz Walmsley, Kirsten Coelho, Miriam Hanid, Susan Hipgrave, Andrea Walsh, Wendy Ramshaw, Paul Preston and David Poston who have all contributed to the experience of Fine Lines.

Christina Jansen, Director 5

Jim Partridge and Liz Walmsley’s Workshop, Oswestry 2015 6 Opposite: A bench undergoing the scorching process

Jim Partridge b1953 & Liz Walmsley

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im Partridge and Liz Walmsley are pioneers of modern British furniture and have been associated with The Scottish Gallery since the early 1990’s.

They both live and work together in Oswestry, in Shropshire near the Welsh border.

The last major presentation associated with The Gallery was From Black to Gold for Collect in the Saatchi Gallery, London in 2012 and the combination of their furniture and vessels quietly dominated the event. Their iconic work is rarely available due to the demands of their public and private commissions and we are delighted to present both their monumental works and small scale vessels which will be displayed throughout The Gallery.

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Jim Partridge studied at John Makepeace’s Parnham House School for Craftsmen in Wood in the 1970s, whilst Liz Walmsley’s first professional life in the crafts was in the world of ceramics. Since 1986 the couple have worked together designing and making furniture.

Their partnership has worked successfully on many architectural projects and environmental commissions. Their studio furniture, much of which is carved from blocks of green oak, often scorched and polished to a lustrous black finish, is in public collections across the world. They have always said that their intention was to make “work with a strong but quiet presence in the landscape”.

‘ The creative tension resides in the visual and intellectual fact that this work, whilst functional, and clearly so, is also sculpture.

We can admire it without using it. We can look at it, it has an aesthetic purpose in itself independent of human use.’

Public collections include: The Crafts Council Contemporary Arts Society The Victoria & Albert Museum The British Council Kyoto Museum of Modern Art, Japan Boston Museum of Fine Art, USA

Marina Vaizey, London 2003

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Jim Partridge and Liz Walmsley Curved Bench 2013 Scorched Oak L270cms

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Jim Partridge Bowl Vessel 2015 Scorched Oak H11 x W41 x D34cms Photograph: Will Van Esland

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Jim Partridge White Beauty 4 2015 Whitened Oak H29 x W27cms Photograph: Will Van Esland

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Jim Partridge Black Winged Vessel 2014 Scorched Oak H13 x W35 x D16cms Photograph: Will Van Esland

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Jim Partridge and Liz Walmsley Pair of Block Seats 2015 Scorched Oak H42 x W74 x D52cms each

Jim Partridge Faceted Vessel 2014 Scorched and Whitened Oak H36 x W40 x D26cms

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Jim Partridge and Liz Walmsley Large Stool 2012 Scorched Oak H40 x W60 x D38cms

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Jim Partridge Three Disc Vessels 2015 Left Small White Disc Vessel Whitened Burr Oak H19.5 x W24.5cms Middle Large Scorched Disc Vessel Scorched Burr Oak H26 x W22.5cms Right Larger White Disc Vessel Whitened Burr Oak H24 x W32cms

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Jim Partridge and Liz Walmsley Block Seat 2009 Scorched Oak H46 x W100 x D40cms

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‘our intention is to make work with a strong but quiet presence in the landscape’ Jim Partridge and Liz Walmsley

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Jim Partridge Faceted Burr Yew Vessel 2015 Scorched Burr Yew H31 x W39 x D38cms

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Kirsten Coelho working in her studio 2015 Photograph: Tony Kearney

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Kirsten Coelho b1966

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once referred to the White Paintings as clocks, saying that ‘if one were sensitive enough to the subtle changes on their surfaces one could tell what time it was and what the weather was like outside.’2 In addition to the white is the inclusion of canisters and bowls in a russet glaze, this has the potential to create an interval - an added note - and a new chromatic element.

‘I have always felt drawn to the abstract in art – the potential for understanding through an ambiguous and imperceptible type of knowing.

Ceramic objects communicate on many levels and it is these possibilities of engagement and response that I find compelling. The intersection of form, colour, tone and light are the constant drivers.’ Kirsten Coelho, 2015

irsten Coelho trained in Adelaide at the South Australian School of Art where, after a brief period living in the UK, she also completed a Masters in Visual Art. Kirsten now works from a studio at her home in Adelaide, South Australia.

‘This series of work draws on an ongoing fascination with nineteenth century migration and exploration into Australia. With objects there is the possibility of creating narratives - each piece points to an associated purpose, imbued with multiple social and cultural histories and interpretations.

There is also the reference to the abstractions found in the everyday, the chip of an enamel mug, the scratched paint of a car or the ageing surfaces of industrial chimneys.’

The white/pale tones of the glazed surface of the works - whilst having their influences in the white porcelains of Japan, China and Korea - seek to capture light and tone. This can suggest histories but also allows for present day reverie and reflection. The composer John Cage in 1961 referred to the White Paintings of Robert Rauschenberg ‘as airports for lights, shadows, and particles …’1 Rauschenberg himself

Public collections include: Chatsworth House, Derbyshire UK National Gallery of Australia Newcastle Art Gallery, Australia Queensland Art Gallery GOMA, Australia 1 http://www.sfmoma.org/explore/collection/ artwork/25855#ixzz3bOvzITH4 San Francisco Museum of Modern Art 2 http://www.sfmoma.org/explore/collection/ artwork/25855#ixzz3bOvzITH4 San Francisco Museum of Modern Art

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Kirsten Coelho Medicine Jar and Two Bowls 2015 Porcelain Matt White Glaze Banded Iron Oxide Saturated Iron Left Glaze Bowl H5 x D14.5cms Middle Medicine Jar H24 x D11cms Right Saturated Iron Bowl H6 x D14cms Photograph: Grant Hancock

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Kirsten Coelho Canister, Two Bottles and Two Bowls 2015 Porcelain Matt White Glaze Banded Iron Oxide Saturated Iron Glaze Far left Canister H11 x D8cms Middle Left Bottle H23 x D9cms Middle Ring Necked Bottle H21 x D8cms Middle Right Bowl H6.8 x D10.5cms Far Right Ridged Bowl H6.5 x D11.5cms Photograph: Grant Hancock

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Kirsten Coelho Vase, Bottle and Bowl 2015 Porcelain Matt White Glaze Banded Iron Oxide Left Vase H23.5 x D12.5cms Middle Bottle H27.5 x D9cms Right Bowl H7 x D15cms Photograph Grant Hancock

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Kirsten Coelho Tea Caddy and Bowl 2015 Porcelain Matt White Glaze Banded Iron Oxide Left Bowl H6.5 x D13 cms Right Tea Caddy H20.5 x D10.5cms Photograph: Grant Hancock

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Kirsten Coelho Medicine Jar and Two Bowls 2015 Detail see pg 22 Photograph: Grant Hancock

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‘I have always felt drawn to the abstract in art, the potential for understanding through an ambiguous and imperceptible type of knowing. Ceramic objects communicate on many levels and it is these possibilities of engagement and response that I find compelling. The intersection of form, colour, tone and light are the constant drivers.’ Kirsten Coelho.

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Kirsten Coelho Medicine Jar, Bowl and Saturated Iron Bowl 2015 Porcelain Matt White Glaze Banded Iron Oxide Saturated Iron Glaze Left Medicine Jar H24 x D12cms Middle Bowl H8 x D11.5cms Right Saturated Iron Bowl H15 x D21cms Photograph: Grant Hancock

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Kirsten Coelho Canister, Bottle and Cup 2015 Porcelain Matt White Glaze Banded Iron Oxide Saturated Iron Glaze Left Canister H13 x D7cms Middle Bottle H22 x D11cms Right Cup H8.5 x D8.5cms Photograph: Grant Hancock

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Miriam Hanid b1986

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fter studying 3 Dimensional design at Farnham University of Creative Arts, Miriam undertook a Postgraduate training course for silversmiths at Bishopsland Educational Trust in 2008 where she developed specialist chasing and forming techniques. Having also spent a week in Malcolm Appleby’s workshop she began to incorporate the technique of hand engraving into her work, which allowed her to bring depth and intricate detail into the surface of the silver.

Miriam is greatly inspired by the essence of movement in water. She believes water is synonymous with nature and human beings in all its physical and metaphorical representations and finds silver the perfect medium through which to express her ideas. Through techniques such as chasing, repoussé and engraving, she represents the way water shapes the landscape, leaving an impression by carving and removing material.

“The essence of movement in water is the inspiration for my work. In water there is an endless range of forms and patterns, each with its own unique and intricate beauty, never repeating, giving me an infinite visual language with which to express my ideas. I find silver

the ideal medium as it is sensitive to heat, moisture, movement and emotion, and is multi-dimensional just as water is. It reflects 98 per cent of light and can look transparent, so is the perfect material for representing water.”

The Fine Lines collection draws on a multitude of visual themes, including delicate leaf, feather and flower forms taken from around Miriam’s Suffolk workshop, and from a recent trip to Morocco in spring 2015. Miriam was inspired to sit in the hot sun and sketch details of plants and trees for chasing, instantly imagining them intricately chased and picked out in bursts of lemon gold amongst scintillating textures on silver. Her fluid signature style of tactile water ripples, waves, birds, clouds and sea also play an integral part in the collection, embodying Miriam’s all time favourite subject matter - the power of water.

Public Collections include: Worshipful Company of Goldsmiths’, London New College Oxford Victoria & Albert Museum, London National Museum Wales, Cardiff The Pearson Collection 30

‘The essence

of movement in water is the inspiration for my work.’

Miriam Hanid in her studio 2015

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This Page and opposite Miriam Hanid Hosta Centrepiece 2015 Fine Silver H5 x W63 x D37cms Photograph: Clarissa Bruce

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Miriam Hanid Inner Light 2015 Fine Silver and Lemon Gilding H8.5 x D22cms

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Miriam Hanid Inner Light detail 2015 Fine Silver and Lemon Gilding H8.5 x D22cms

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Miriam Hanid Left Falling Leaves Tumbler 2015 Hand Raised and Planished Britannia Silver H7.5 x D8cms Right Olive 2015 Hand Raised, Chased and Engraved Fine Silver with Lemon Gilding H7.5 x D9.5cms

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Miriam Hanid Zephyr’s Breath 2015 Fine Silver and Lemon Gilding Hand Raised Chased and Chiselled H7.5 x D10cms

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This page and opposite Susan Hipgrave in her studio Photograph: Craig Wall

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Susan Hipgrave b1955

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raduating with a Bachelor of Arts in Graphic Design and with two decades of art direction in advertising behind her, Sydney based artist Susan Hipgrave has discovered a true passion, that of painting on porcelain – her preferred ‘canvas’.

“Victorian ornithologists and botanists would have heartily commended Susan Hipgrave’s remarkable series of hand-painted plates. The meticulous execution (each extra-fine brushstrokes adding an important detail), the resulting life-like renditions and the consistent format (monochromatic black on white; identical one-size ceramic plates) adhere to the ethos of scientific study. Susan’s ability to focus is well matched by her possession of a steady hand. However, it soon becomes clear that all is not quite as it seems.

Susan departs from a straightforward replication of flora and fauna by concocting strange hybrids or by exaggerating features, such as piercing eyes to convey the extreme visual acuity of an eagle. For spectators, an interactive experience awaits: birds, caught in the moment, watch us,

‘As my

work with natural subjects becomes more detailed, so my subjects become more assertive.’

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Susan notes. ‘We have a house on the south coast, so I spend much of my time there, painting in daylight.’ ”

ready to strike or to fly away; clusters of twisted vines and treacherous spikes draw us inside. ‘As my work with natural subjects becomes more detailed, so my subjects become more assertive,’ the artist states. ‘When I’m contemplating a new piece, I start by going through my collection of natural history books until I find something that “speaks” to me. I work with it in terms of size and placement, and then begins the slow and meditative practice of putting paint to porcelain.

I obsess about how fine a line I can do; ultimately, I love seeing all the little black lines that I’ve painted come together to create an image.’ Despite the striking maturity of her work, Susan has been working in ceramic art for less than a decade. For many years she worked as an art director/designer in advertising. Then, in 2005, ‘I walked into a shop that was running ceramic painting classes and it was immediately obvious that it was something I had to do’. While she has worked with earthenware as well as porcelain, her medium has always been the plate. ‘My art is contained, so I can pack it up and travel easily,’

Olivier Dupon

P216, Encore! The New Artisans by Olivier Dupon

Thames & Hudson, 2015

Susan Hipgrave hand-painted plates Black Underglaze on Porcelain Photograph: Craig Wall

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Susan Hipgrave Cactaceae, cactus 1 2014 Hand-painted, Black Underglaze on Porcelain D28cms Photograph: Craig Wall

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Susan Hipgrave Araceae Colocasia Odorata 2014 Hand-painted, Black Underglaze on Porcelain D28cms Photograph: Craig Wall

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Susan Hipgrave Caltha Palustris Flore Simplici 2014 Hand-painted, Black Underglaze on Porcelain D28cms Photograph: Craig Wall

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Susan Hipgrave Asclepiad 2010 Hand-painted, Black Underglaze on Porcelain D28cms Photograph: Craig Wall

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Susan Hipgrave Carpinus Betulus,the Hornbeam 2012 Hand-painted, Black Underglaze on Porcelain D28cms Photograph: Craig Wall

‘ I seek to make pieces that

embrace investigation, and some themes akin with jewellery prevail, such as to hold, contemplate and cherish.’

Andrea Walsh in her Edinburgh studio 2011

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Andrea Walsh b1974

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metal finish has accentuated the overall concept of the work.

More recently I have been exploring the introduction of additional materials within my practice. Particularly inspired by a recent research trip to Japan, I am interested in exploring a balance and combination of elements. Working with a variety of shared casting techniques within my studio, I have been developing my ideas to include cast metal, which has brought a new dimension to my work, enabled new forms, and has brought additional qualities and weight to the objects that I make. Exploring ideas of preciousness and value through considered, tactile objects, I wish to encourage a spontaneous response to the work. Inspired by a passion for exquisite craftsmanship I seek to make pieces that embrace investigation, and some themes akin with jewellery prevail, such as to hold, contemplate and cherish.”

Andrea Walsh, 2015

ndrea Walsh studied fine art at Staffordshire University before completing an MA in glass design at Edinburgh College of Art in 2001. In 2009 Andrea was awarded a residency with Wedgwood from the British Ceramics Biennial. During her time at the factory she developed her practice, combining glass and ceramics, and was inspired by the Minton brand archives.

Andrea’s boxes and fine vessels continue to develop, becoming increasingly refined with new shapes and forms. The combination of glass and ceramics is now encompassing new materials which have helped inform her recent body of work.

“I am fascinated by materials, by their inherent characteristics and symbolism, together with the historical associations and familiarity that they signify. My practice has focused specifically on working with ceramics and glass over the past ten years, creating box and container forms which explore and celebrate the qualities that these ancient and alchemic materials share, including their clarity, purity and translucency.

The addition of a unique precious

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Andrea Walsh Collection of Faceted Boxes on Opaque Grey Plinth 2014 Fine Bone China with 22ct Burnished Gold and Opaque Grey Glass H5.5 x W21 x D21cms Photograph: Shannon Tofts

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Andrea Walsh Pair of Round Boxes 2015 Cast Bronze with Ice and Opaque White Glass Lids H4.75 x D8cms each Photograph: Shannon Tofts

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Andrea Walsh Small Round Box and Small Round Tiered Box 2015 Left Small Round Box Fine Bone China with 22ct Burnished Gold and Clear Glass Lid H3.5 x D7cms Right Small Round Tiered Box Black Fine Bone China with 22ct Burnished Gold and Black Glass Lid H6.25 x D7cms Photograph: Shannon Tofts

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Andrea Walsh Rectangular Faceted Box 2015 Cast Silver and Opaque White Glass Lid H4 x W12 x D5.25cms Photograph: Shannon Tofts

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Wendy Ramshaw b1939

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endy Ramshaw, CBE, RDI, is an international champion of modern jewellery and her work has become synonymous with The Scottish Gallery.

We have exhibited some of her most ambitious ideas through exhibitions such as Picasso’s Ladies (1989), Room of Dreams (2002), Prospero’s Table (2004) and a Journey Through Glass (2007).

Exhibitions such as Room of Dreams, which was designed and created as a theatrical stage set for the jewellery, have become embedded not only in Ramshaw’s spectacular career, but also illustrate the commitment by the gallery to truly original ideas. Her signature Ringsets are represented in over 70 public collections worldwide. Ramshaw’s work also encompasses designs for textiles, screens, gateways and sculpture. She is regarded as one of the UK’s leading sculptors and one of her largest works, The Edinburgh Gate, is located in Hyde Park, London.

“You may know that the lines of imaginary maps are often evident in my pieces. They are some kind of

homage to my father’s profession. [He was a deep-sea navigator] Constructed from fine gold wires they may be symbolic of travel and potential discovery. I am often working on a subconscious level. Titles are given to the finished pieces, for example, Lines of Navigation.” Wendy Ramshaw, Rooms of Dreams, 2012. Published by: The Harley Gallery & Ruthin Craft Centre. The Scottish Gallery holds an important collection and her works in Fine Lines are a reminder of her talent, commitment to art and her astonishing contribution to modern jewellery.

Public Collections include: National Gallery of Western Australia, Canberra British Museum, London Metropolitan Museum of Art, New York National Museum of Modern Art, Kyoto National Museums Scotland, Edinburgh Victoria & Albert Museum, London

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Wendy Ramshaw Silver Sentinel Neckpiece 1990 D48 cms Photograph: Will Van Esland

Wendy Ramshaw Left Geometric Earrings c.2008 18ct Yellow Gold H10 x W1.5cms Right Earrings 1994 18ct Yellow Gold, Amethyst H4 x W3cms Photograph: Will Van Esland

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Wendy Ramshaw

Plan in a Gold Circle Brooch 1988 18ct Yellow Gold D12cms Photograph: Will Van Esland

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Wendy Ramshaw Left 10 Part Ring Set 1995 18ct Yellow Gold and Amethysts Right Pink Dream Ring set 6 Parts c.2004 18ct Yellow Gold Tourmaline Garnet Photographs: Will Van Esland

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Wendy Ramshaw Left Pendant Earrings c.2007 18ct Yellow Gold with Garnets H9 x W2cms Right Earrings 1994 Ceramic 18ct Gold, Amethyst H7 x W3.5cms Photographs: Will Van Esland

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Paul Preston b1943

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orn in Leeds, Paul Preston a.k.a. the ‘Red Mole’ originally practiced architecture before becoming a self taught jeweller. His combination of fine workmanship and imaginative ideas make him one of the most distinctive contemporary British jewellers today.

Paul practiced architecture for just two years before retiring to dive the waters round Lands End for crawfish and the recovery of non-ferrous metals from wrecks. He is a self taught artist who became interested in jewellery after seeing the jewellery of artist and sculptor Breon O’Casey.

A large proportion of Paul’s work is based on themes from nature, especially birds and fish. This natural world in metal, often has a strong element of fantasy influenced by cartoons and story books, as well as a whimsical, poetic quality.

“I’d always been immersed in craft work, I admired and collected Bernard Leach pottery when in St Ives. A studio artist who cared more for work than money, I wished to emulate the great man and to make collectable work. It

was after seeing jewellery, based on nature especially birds and fish, made

by Breon O’Casey that I knew which way to go.

I was able to support myself by diving for crawfish and later on for scrap metal from the various wrecks around Land’s End; since I could live off the sea, there was no pressure on me to make commercial work. I did what I pleased. It’s not been easy to keep it up, but I have.” Paul Preston now works from his studio in West Wales.

His work is in many public and private collections including the Victoria & Albert Museum, London.

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‘ ...there was no pressure on me to make commercial work, I did what I pleased. It’s not been easy to keep it up, but I have.’

Paul Preston in his studio, West Wales 2015 Photograph: Jean Thomas

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Paul Preston Below The Seas Gift to Man Brooch 2007 Yellow Precious Metal Beads Silk H5 x W5 x D2.5cms

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Paul Preston Left 20 metre Yacht Brooch 2006 Yellow Precious Metal H4 x W4 x D1cms Right Bits and Bats Brooch 2012 Yellow Precious Metal W5 x D0.5 cms

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David Poston Arthur’s Bracelet 2013 Wood Recycled Mild Steel H10 x W9 x D8cms

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David Poston b1948

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He currently works from his studio in Suffolk.

avid Poston is a highly unusual artist and is currently subject to a touring retrospective of his work; Necklace for an Elephant and Other Stories: The Working lives of David Poston. Born of British parents in Moscow, Russia in 1948 he was educated in the United Kingdom and graduated from the jewellery design course at Hornsey College of Art. David worked as an artist-jeweller using mainly non-precious metals and other materials from 1970 until 1984, and then again from 2000 until the present day. In between he has worked to assist in the development of sustainable livelihoods in twelve different African countries. He has contributed inventions through medical technology research, introduced a 3D haptic interface to potential developers in the UK, was involved internationally in several high-tech start-up companies and spent three years as leader of the Jewellery and Silversmithing programme at Loughborough University.

Information compiled from his biography p68-69.

David Poston, Necklace for an Elephant and Other Stories: The Working lives of David Poston.

‘Those who know Poston, in whichever of his diverse fields, recognise him as a pioneer and pathfinder, driven by an unremitting sense of curiosity….Ideas tumble out of him as fast as he can express them, and often faster than others can grasp them.”

Elizabeth Goring (p18-19 David Poston, Jewellery For Life, Necklace for an Elephant and Other Stories: The Working lives of David Poston. Published by The Harley Gallery & Ruthin Craft Centre, 2014)

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‘ Ideas tumble out of him as fast as he can express them, and often faster than others can grasp them.’ Elizabeth Goring

David Poston Beads and Rectangles Bangle 2011 Stainless Steel with Black Glass Beads Interior measurements H10 x W10.5 x D4.5cms

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David Poston left Bangle with Glass Beads 2010 Stainless Steel and Glass Beads Interior measurements H6.6 x W7cms Right Titanium Bangle 2009 Forged Titanium with Patina Finish H7 x W6.5 x D4cms

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Published by The Scottish Gallery to coincide with the exhibition Fine Lines

Susan Hipgrave Caltha Palustris Flore Simplici 2014 Hand-painted, Black Underglaze on Porcelain D28cms Photograph: Craig Wall

Edinburgh International Festival Exhibition 6 August – 5 September 2015

Exhibition can be viewed online at www.scottish-gallery.co.uk/finelines ISBN: 978-1-910267-18-9 Designed by Sarah Diver Lang Printed by J Thomson Colour Printers All rights reserved. No part of this catalogue may be reproduced in any form by print, photocopy or by any other means, without the permission of the copyright holders and of the publishers..

The Scottish Gallery is a partner of the Edinburgh Art Festival.

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FINE LINES ‘I have always felt drawn to the abstract in art, the potential for understanding through an ambiguous and imperceptible type of knowing’ Kirsten Coelho

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