One Thing Touches Another by Maya Frodeman Gallery

ONE THING TOUCHES ANOTHER

31JULY— 14SEPTEMBER2025

ONETHING TOUCHESANOTHER

FEATUREDARTISTS

EILEENAGAR

REMIAJANI

KAROLINAALBRICHT

NEDARMSTRONG

CHARLESAVERY

BASILBEATTIE

MARIACHEVSKA

PRUNELLACLOUGH

DENISEDECORDOVA

ANDREWCRANSTON

MARTYNCROSS

JOSEPHDILNOT

PETERDOIG

JAMESFISHER

NICKGOSS

PHILGOSS

SUSIEHAMILTON

TOMHAMMICK

MARCUSHARVEY

CELIAHEMPTON

ROGERHILTON

PAULHOUSLEY

ANDRZEJJACKOWSKI

MERLINJAMES

KENKIFF

DEBORAHLERNER

JOHNMACLEAN

ELIZABETHMAGILL

KATHRYNMAPLE

SCOTTMCCRACKEN

JEFFMCMILLAN

MARGARETMELLIS

ROYOXLADE

CAROLRHODES

DANROACH

LORNAROBERTSON

WILLIAMSCOTT

MYRASTIMSON

GRAEMETODD

PHOEBEUNWIN

ALICEWALTER

ABRITISHGROUPEXHIBITION

ONETHINGTOUCHESANOTHER

By Emma Hill

Maya Frodeman Gallery is pleased to present One Thing Touches Another, a group exhibition curated by artist Tom Hammick and curator Emma Hill, on view at the gallery’s downtown location from July 31st through September 14th, 2025. An artist reception will be held Thursday, July 31st from 5 to 8pm. Hammick and Hill will be in attendance. All are welcome to attend.

One Thing Touches Another foregrounds painting as a vital medium of human expression. Central to its curatorial premise is the sense that painting offers a physical manifestation of another’s thoughts, opening our own minds to the thoughts and questions other individuals ask.

The exhibition brings together work by over 40 British artists, from internationally established figures to emerging young contemporaries. It reveals connections and currents in British art that span 75 years, with work by significant artists of the Modern British era, including Eileen Agar, Prunella Clough, Roger Hilton and William Scott, historic paintings by Ken Kiff and Roy Oxlade (whose influence as teachers travels into the present time), and recent work by artists including Basil Beattie RA, Andrew Cranston and Marcus Harvey.

Though not bound by any one formal aesthetic – a prevailing aspect of the selection is the exploration of ideas expressed through depictions of landscape, both real and imaginary. The rich diversity of current practice in the UK is reflected in examples by leading contemporary artists including Charles Avery, James Fisher, Nick Goss, John Maclean, Elizabeth Magill, Merlin James and Phoebe Unwin. The show also introduces a number of young painters to the US for the first time, selected by Hammick, who worked for many years as a teacher.

Within the exhibition, there are numerous meeting points: historic artists who have influenced, artists who have taught other artists, friends, partners, siblings. Conceived by an artist and a curator who have known and worked together in London since the late 1980s, One Thing Touches Another presents eloquent evidence of the value of painting as a vital language in the contemporary world.

Framed dimensions 9 x 12 1⁄2 inches

Eileen Agar, Untitled, c. 1940’s, Oil on canvas, 5 x 8 1⁄2 inches

EILEEN AGAR

Eileen Agar (1899-1991) was an Argentine-British painter who studied at the Slade School of Art in the early 1920s, before moving to Paris in 1928 with her husband, the writer Joseph Bard. In France she met the founders of the Surrealist movement, including André Breton and Paul Éluard and from the 1930s onwards she began making work based on the imagination, transforming the everyday into the extraordinary.

Agar exhibited in the London International Surrealist Exhibition in 1936 and in international exhibitions through-out the 1930s. “She painted scenes of indelible strangeness, constructed collages out of wallpaper, foliage and lino, fashioned ceremonial hats – including one to wear when eating bouillabaisse, made from an upturned cork basket stuck with crustacean shells”. (Laura Cumming). Her practice was broad, spanning painting, sculpture, photography and collage, fusing abstraction with imagery from classical art, the natural world and erotic pleasure. Between 1946 - 1985 she had 16 solo exhibitions and her later works explored Tachist abstraction which was considered to be a response to American Abstract Expressionism. Agar’s work was the focus of Angel of Anarchy – a retrospective held at the Whitechapel Gall ery, London in 2021.

Remi Ajani, Untitled, 2025, Oil on linen, 19 3/4 x 19 3/4 inches

REMI AJANI

Remi Ajani (b. 1984) graduated with distinction from the Slade School of Art in 2022, where she was awarded the Almacanter Scholarship. She has held solo exhibitions with Sid Motion, London (2023); Travesia Cuatro, Mexico City (2024) and Jahn und Jahn, Munich (2025). Her group exhibitions include ‘Memories of the Future’, Almine Reich, London (2024); ‘Abstract Colour’, Marlborough Gallery, London (2022) and ‘Greatest Source of My Longing’, Barbara Thum m, Berlin (2022).

Ajani’s paintings oscillate between subject and gesture, image and materiality. The work is initiated by found imagery sourced from her family’s photo archives which she uses as the basis for images that explore identity, mythology and the collective experience. “Not to say they are self portraits. It’s about me as an event, and what I am learning to create an image, versus what I am witnessing.”.

Karolina Albricht, The Aish Buds Wait, 2023, Oil and jute on panel, 11 1⁄2 x 6 1/2 inches

KAROLINA ALBRICHT

Karolina Albricht (b. 1983) graduated with an MA from The Academy of Fine Arts, Krakow, Poland in 2008 and completed a Turps Studio Programme in 2020. She currently lives and works in London. She has exhibited in over 70 group exhibitions in the UK and Europe since 2008, including ‘Unreal City: Abstract Painting in London at Saatchi Gallery (2024), and won the Waverton Art Prize in 2024. Her solo exhibitions include ‘Losing the Image’, JGM Gallery, London (2024) and ‘In Mystery, Worlds Collide’, La Bibi+Reus Gallery, Palma (Sept. 2025).

Albricht’s multi media paintings explore ideas about space, movement and time. She is interested in producing painted objects that act as a form of aperture, dissonance or syncopation. Large scale and small they are deeply connected to the body, and to the rhythms of music and dance. “Body being the agent of painting but also the nexus of seeing, the kind of seeing that calls for the entirety of your sense to participate.” Recent work examines ideas that stem from eastern orthodox iconography where a central image is surrounded by related scenes. “It’s a fascinating concept of conflating different points in time and space, but also different ideas of how an image can function: as a device of storytelling, didactic narrative, and as a portal – transmitter of the divine.”.

Karolina Albricht, The Sea Was the Crosswords, 2024, Oil and bamboo sticks on panel

Ned Armstrong, Night Daffodils, 2024, Oil on linen, 11 1⁄4 x 8 1⁄4 inches

NED ARMSTRONG

Ned Armstrong (b.1992) studied at City and Guilds, London and Edinburgh College of Art before completing the Turps Painting Programme in 2021. His solo exhibitions include ‘Wake’, South Parade, London (2023) and ‘Eyeful, Mouthful, Peaceful’, A.P.T. Gallery, London (2022) and he has exhibited in group exhibitions including ‘Conveyer’, Morgan Fine Arts, New York (2018), ‘Bloomberg New Contemporaries’, South London Gallery (2021) and ‘Hand in Glove’, A.P.T. Gallery, London (2022). In 2019 he won the Andelli Prize at the Wells Open Exhi bition.

Armstrong’s paintings are developed from observed scenes in a process that often involves the disruption of the original image. Early work involved tearing up and collaging layers of painted papers and found material. More recent work gleans incidental imagery from the urban scene. “Drawing drags these forms back to the studio for further regurgitation. People and place shift between reality and imagination, photographs shift into short hand and recognisable forms disintegrate into abstraction. Disparate places/people/objects are cajoled together, creating a vision of the world between fantasy, memory and reality.’

Charles Avery, Figure 1A, 2025, Acrylic and gouache on paper, 30 x 38 1⁄2 inches

CHARLES AVERY

Charles Avery (b. 1973) is one of Scotland’s most highly regarded contemporary artists, who is known for his on-going twenty year project The Islanders – a detailed portrayal of the inhabitants, topography and culture of a fictional island, formed through drawings, writings, objects, architecture and design. The project has been described as a meditation on the central themes of the philosophy of art making, and on the colonisation and ownership of the wor ld of ideas.

Avery represented Scotland at the 52nd Venice Biennale in 2004 and iterations of The Islanders have been exhibited at the 16th Istanbul Biennale (2019), the Kochi-Muziris Biennale, Kerala (2017) and the Scottish National Gallery for Modern Art as part of the NOW series of exhibitions (2019).

His work is held in many public collections including Arts Council England, Museum Boijmans van Belinigen, Rotterdam; National Galleries of Scotland, Edinburgh and Tate Modern, London. He has had numerous international solo exhibitions including ‘The Eidola, Pigs and Blades of the Inner Vast’, Grimm, New York (2025), ‘Hunter Returns / goes away from’, Grimm, Amsterdam (2022) and ‘The Gates of Onomatopoeia’, Ingleby, Edinburgh (2019).

Basil Beattie, Another Way, 2010, Oil and wax on canvas, 30 x 24 x 1 1⁄2 inches

BASIL BEATTIE

Basil Beattie (b. 1935) graduated from the RA Schools in 1961 and he was elected as a member of the Royal Academy in 2006. A long time tutor at Goldsmiths College, over a sixty-year career he has become regarded as one of Britain’s foremost abstract painters. His early work was influenced by the formal tenets of American Abstract Expressionism (in particular the work of Mark Rothko and Barnett Newman) but in the late 1980s he began to explore a lexicon of primitive pictograms – of ladders, tunnels, thresholds and towers – that allowed him to explore language alongside gesture and materiality within his paintings.

Beattie’s work has featured in 46 solo exhibitions including ‘A Passage of Time’, Royal Academy of Arts, London (2018); ‘When Now Becomes Then’, MIMA, Middlesborough (2016); ‘Paintings from the Janus Series II’, Abbot Hall Art Gallery, Cumbria (2010) and ‘Basil Beattie: BP New Displays’ Tate Britain, London (2007). His work is represented in many public institutions including Arts Council England, Birmingham City Art Gallery, Contemporary Art Society, London; Tate, London and Whitworth Art Gallery, Manchester.

Basil Beattie, Another Time, 2010, Oil and wax on canvas, 30 x 24 x 1 1⁄2 inches

Maria Chevska, Flower (Under One Small Star Series), 2024, Oil on panel, 15 3⁄4 x 19 3⁄4 inches

MARIA CHEVSKA

Maria Chevska (b. 1948) is a British born artist who trained at the Byam Shaw School of Art, London (1970-74). She has won a number of awards for a practice that encompasses painting, sculpture and installation, including the Austin Abbey Award, British School at Rome in 1994. From 1990 - 2017 she was a Professor of Fine Art at the Ruskin School of Art, Un iversity of Oxford.

Her work is held in collections including the Arts Council, British Council and Contemporary Art Society, London.

Chevska works at the heart of a rich historical relationship between art and language. Deeply influenced by literature and poetry, past paintings have incorporated text within their surfaces. Her modestly scaled oil paintings on canvas appear like fragments of narratives that invite the viewer to ‘decipher a story that remains perpetually deferred.’ Often arranged in tandem with three dimensional objects, or abutted together in large scale installations, painterly gestures are extended across the supports, emphasising connection and duration in a l iteral and philosophical way.

Prunella Clough, Black Flower, 1993, Oil on canvas, 44 x 48 3⁄4 inches

PRUNELLA CLOUGH

Prunella Clough (1919-1999) is a highly regarded British artist whose distinctive later abstract works have influenced many notable painters from younger generations. Widely viewed as one of the most singular and significant British artists of the modern post-war period, she found her subject matter by touring London’s industrial wastelands – docks, power stations, factories and scrapyards – creating gritty, urban images. Her work encompassed paintings, collages, drawings, and graphics that increasingly centred on the components of the urban landscape as her art shifted away from representation through various influences including cubism and European abstraction. “In her paintings subjects previously deemed unworthy of serious consideration in art – the detritus of street and gutter, manual labour, the colour of plastics – are transformed into images of compelling mystery and beauty.”

Niece of the architect Eileen Gray, Clough was born into a creative family and trained at Chelsea School of Art in the late 1930s under tutors including Henry Moore and Ceri Richards. During the second world war she drew charts and maps for the Office of War Information and formed friendships with a group of artists including Michael Ayrton, John Craxton, John Minton, Keith Vaughan and the poet Dylan Thomas. She held significant solo exhibitions from the the 1940s onwards including Whitechapel Art Gallery, London (1960), Arnolfini, Bristol (1968), Scottish National Gallery for Modern Art, Edinburgh / Serpentine Gallery, London (1976) and Camden Arts Centre, London (1996). In 1999 following an exhibition at Kettle’s Yard, Cambridge, she won the Jerwood Painting Prize, three months before her death at the age of 80. Tate Britain mounted a major exhibition of her work in 2007. Her work is represented in major institutions including the Victoria and Albert Museum, London; Tate Gallery, London; British Museum, London; Museum of Modern Art, New York; Art Gallery of New South Wales, Australia; Scottish National Gallery of Art, Edinburgh; Walker Art Gallery, Liverpool; Wakefield City Art Gallery, Yorkshire.

Denise de Cordova, The Pensivity of Night Fires, 2023, Mixed media on wood carving

48 x 19 3⁄4 x 19 3⁄4 inches

Denise de Cordova, The Moonlight Dress of Prairie Fire, 2025, Mixed media on wood carving

1⁄2 x 11 1⁄2 x 11 1⁄2 inches

Andrew Cranston, thrice a dream, 2025, Oil and varnish on hardback book cover

8 1⁄2 x 5 1⁄2 inches

ANDREW CRANSTON

Andrew Cranston (b. 1969) was born in Hawick on the Scottish Borders and now lives and works in Glasgow. A painter-storyteller whose quiet, mediative images have gained increasing attention over the last decade, he studied at Grays School of Art, Aberdeen and completed postgraduate studies at the Royal College of Art, where he was taught by Peter Doig.

Painting for Cranston “is an act of remembering and forgetting, covering and uncovering, tracing and retracing, getting lost and finding a way”. Working in traditions that recall Bonnard and Matissehis images coalesce in the process of making - emerging gradually through the manipulation of materials: layering, lacquering, bleaching and collaging. He is constantly re-working his way into images that seem to shift backwards and forwards in time.

His paintings are held in collections around the world, including: Loewe Foundation, Madrid, Spain; He Art Museum, Shunde, China; the Huamo Museum, Suzhou, China; Royal College of Art, London, UK; Unilever Collection, London, UK; Hawick Museum, Royal Scottish Academy, Edinburgh, UK; National Gallery of Scotland, UK; Art Gallery of New South Wales, Sydney, Australia; Hall Art Foundation, Vermont, USA; Institute of Contemporary Art, Miami, USA; Portland Art Museum, Oregon, USA and the Aishti Foundation, Beirut.

Andrew Cranston, History as Nightmare, 2019, Oil and varnish on hardback book cover

10 x 7 1⁄2 inches

Andrew Cranston, Still Life in Grangemouth, ed. 15/30, 2024, Etching, Framed dimensions 12 3⁄4 x 13 1⁄4 inches

Andrew Cranston, Room for One more Inside, ed 15/30, 2024, Etching, Framed dimensions 15 x 14 1⁄2 inches

Andrew Cranston, Reader, ed. 15/20, 2024,

Drypoint, Framed dimensions 18 x 16 inches

Andrew Cranston, If You Know Your History, ed. 15/30, 2024,

Etching, Framed dimensions 20 1⁄2 x 18 1⁄2 inches

Martyn Cross, Way Yonder Trouble, 2021, Oil on canvas,

12 x 18 x 3⁄4 inches

MARTYN CROSS

Martyn Cross (b. 1975) trained at Bath Spa University and lives and works in Bristol. For twenty years his practice ran alongside working as a book seller and his studio reflects a wide range of influences from images of medieval wall painting, old English churches, the work of Forest Bess, Cecil Collins and William Blake, to science fiction books and walking sticks. His paintings bear recurrent motifs – billowing clouds, tumbling waterfalls, oversized pointing fingers and bright suns – that conjure illusions of an imagined and immersive world. Biomorphic landscapes that speak to mythologies, but with narratives that are knowingly ambiguous. Familiar and mysterious, quiet and epic, scale and irregularity in proportion puzzles the viewer.

Cross has exhibited nationally and internationally with recent solo exhibitions including Hales London (2024); Marianne Boesky, New York (2023) and Ratio 3, Los Angeles (2021). His work is held in the collections of Arts Council England, Institute of Contemporary Art, Miami, USA and NN Contemporary Art, Northampton, UK, amongst others. He was shortlisted for the John Moore Painting Prize 2023 and is participating in The Roberts Institute of Art Residency, Scotland from July to August 2025.

Joseph Dilnot, Fen Steppers, 2025, Oil on canvas, 16 x 12 inches

JOSEPH DILNOT

Joseph Dilnot (b. 1997) is a self taught artist who lives and works in East Sussex. In 2019 he received the Newman Young Artist and RosePaul Scholarships to study at The Essential School of Painting, London. He has exhibited in galleries and institutions including Hastings Contemporary, Gylndebourne, East Sussex and Lido Stores, Margate.

Growing up between the English Channel and the South Downs National Park, Dilnot draws inspiration from the natural world. His images often feature a sense of journeying: “Figures walk in and out of the landscape, they are exiles, hermits, adventurers ghosts.”. Small scale, lyrical paintings and works on paper are inspired by personal mythology, historical research and literature. Within his painted scenes, ordinary objects like ladders, candles, abandoned shoes and hats seem to possess magical qualities with the potential to enable a transformative experience. The images offers the anticipation of an event or the quiet absence of an aftermath.

Joseph Dilnot, Nest, 2025, Oil on paper, 5 3⁄4 x 7 3⁄4 inches

Joseph Dilnot, Together, 2025, Oil on paper, 6 x 8 inches

Joseph Dilnot, Piper, 2025, Oil on paper, 4 3⁄4 x 5 3⁄4 inches

Joseph Dilnot, Doorway, 2025, Oil on paper, 9 3⁄4 x 7 3⁄4 inches

Framed dimensions 12 1⁄4 x 10 1⁄4 inches

Peter Doig, Echo Lake, ed. 75/100, 2000, Etching and aquatint,

PETER DOIG

Peter Doig (b. 1959) was born in Scotland and has lived and worked between the UK, Trinidad, Canada, Germany and the US. He currently lives in London. One of the most important painters of his generation anywhere in the world, Doig came to prominence in the late 1990s. He is known for large scale, landscape paintings that originate from photographs, newspapers clippings and movie scenes. “His subject matter is invariably, richly described and wholly specific, yet its mesmeric ambiguity – that persistent air of a puzzle not yet quite solved – endows it with an emotional charge whose potential far exceeds the confines of the canvas.”

In 1993 Doig won 1st prize at the John Moores Liverpool exhibition and in 1994 he was shortlisted for the Turner Prize. He has had major solo exhibitions at the Foundation Beyeler, Basel (2014); Tate Britain (2008), Dallas Museum of Art (2005), Pinakothek der Moderne, Munich (2004), Bonnefanten Museum, Maastricht (2003) and the Whitechapel Gallery (1998). In 2023 he showed recent work at the Courtauld Gallery, London and the Musée d’Orsay hosted two exhibitions, one curated by Doig from the historic collection, the other a selection of his large scale works. Institutions that hold his work include British Museum, London; National Gallery of Canada, Ottawa; Art Institute of Chicago; Hirshhorn Museum, Washington; Museum of Modern Art, New York an d Tate, London.

Framed dimensions 22 3⁄4 x 17 1⁄2 inches

Peter Doig, Figure by River, 2004, Etching and aquatint,

James Fisher, Frog Joyful, 2025, Oil on panel, 27 1⁄2 x 30 inches

JAMES FISHER

James Fisher (b. 1972) trained at the University of Brighton (1992-95), the Royal College of Art (1995-97) and was awarded a PHD in Fine Art at the University of Gloucestershire in 2009. He has exhibited nationally and internationally since the early 2000’s with solo exhibitions at Aldeburgh Music, Rochester Art Gallery, Eagle Gallery, London and White Conduit Projects, amongst others. His group exhibitions include ‘Fokelore’, APT Gallery, London (2005); ‘Cities and Eyes’, Peter Pears Gallery, Aldeburgh (2007); ‘Unfolding the Archive’, NCAD Gallery, Dublin (2015) and ‘Towards Night’, Towner Gallery, Eastbourne (2016). His work is held in collections including DLA Piper; Fidelity Investments, London and Jerwood Collection, UK.

Fisher’s work explores an interface between real and imaginary worlds. His paintings combine a sense of observed phenomena with details borrowed from art history, music and literature and are peopled by creatures derived from the altered reality of folklore and computer games. Strange characters that “show a journey from one idea or time or place to another.” He views the painted canvas as a form of palimpsest that can hold multi-layered references whilst retaining the history of the iterations an image undergoes in the process of its formation. Fisher is currently working with composer Tansy Davies on a collaborative project Linden Lea which explores ideas about how memory and experience can be embodied within an aural landscape

James Fisher, Bill and Coo, 2025, Oil and wax on panel, 17 3⁄4 x 14 1⁄2 inches

Nick Goss, Night Train, 2020, Destmper, oil and screen print on linen, 55 x 47 1⁄2 inches

NICK GOSS

Nick Goss (b. 1981) is an Anglo-Dutch artist who studied at the Slade School of Art and completed an MA at the Royal Academy Schools in 2006.

Goss’ images layer personal and collective history on the canvas through actions of accretion and erasure. The paintings summon the space of dreams, where time, space and identity slip – a sense of ambiguity or strangeness that give the images power and presence. His paintings have an unreliable relationship to time, being connected to memory and a kind of nostalgia, yet existing precisely in their own moment. Built slowly in thin layers of often muted pigment over screen-printed images, at times they slide towards abstraction in form, but never in mood, which almost always remains resolutely tangible.

Goss’ work is held in UK collections including the Victoria & Albert Museum, Zabludowicz Collection and Pallant House. Institutions in the US include The Metropolitan Museum of Art, the Dallas Museum of Art and the Museum of Contemporary Art Cleveland. His recent solo exhibitions include ‘Stations’, Matthew Brown, Los Angeles (2025) and ‘Smickel Inn, Balcony of Europe’, Ingleby Gallery, Edinburgh (2023) and he has had regular solo exhibitions at Josh Lilley, London; Simon Preston, New York and Contemporary Fine Arts, Berlin. His first institutional survey ‘Morley’s Mirror’, took place at Pallant House, Chichester in 2019.

Phil Goss, Plumes, 2023, Mixed media on panel, 23 1⁄2 x 15 3⁄4 inches

PHIL GOSS

Phil Goss (b. 1984) is the brother of Nick Goss. He studied English Literature at Edinburgh University and Visual Communication at the Royal College of Art, London. He is currently the Director of the Centre for Recent Drawing, London and lives and works in Bristol. He has shown in numerous group exhibitions including ‘The Art of British Printmaking’, Rye Art Gallery; ‘Happy Days’, Snetha Gallery, Athens; ‘Preparing for What’, Josh Lilley, London and the Victoria and Albert Museum, London. In 2022 he held a two-man exhibition ‘After Image’, with James Fis her, at The Bindery, London.

There is a deep correlation in Goss’ work between the literary and the visual. His images are often prompted by a line of poetry or a film still and originate from observational drawings that are developed as carved woodblock prints. Multiple different coloured impressions enable him to calibrate their emotional charge through shifts in tone or texture. Ultimately he chooses a single printed impression and returns to the wooden matrix, using it as the basis to make a painting in which the echoes of his cut marks remain imbedded.

Susie Hamilton, Weeping Again the King My Fathers Wrack (Ferdinand), 2011

Acrylic on canvas, 12 x 10 inches

SUSIE HAMILTON

Susie Hamilton (b. 1954) attended St Martin’s School of Art before studying English Literature at Birkbeck College where she attained a BA Cons 1st Class and was awarded the George Smith Prize. In 1992 she completed a Diploma in Fine Art at the Byam Shaw School of Art. Sine the late 1990s she has held regular solo exhibitions with Paul Stolper, London in addition to solo shows at Galeri Trafo, Oslo (2007); Triumph Gallery, Moscow (2008) and Galleri Hugo Opdal, Norway (2009). Her work has been acquired by numerous collections including Government Art Collection, UK; British Museum, Dept of Prints and Drawings and New Hall Art Collection , Cambridge.

Hamilton has written of her work: “My style has been called ‘iconoclastic’ since my painting is a process of construction and defacement … My materials are not simply employed as servants of representation, made to depict shoppers, samurai, explorers, surgeons, riders etc., but are used to assail the people depicted with blots, spots, lines or veils. My figures are invaded by pencil marks, obscured by thin layers of oil or dissolved into acrylic fluidity, with the result that they are transformed into hybrids who seem either fragile or predatory. My ‘alchemical’ process of making and unmaking leads to remaking, to the creation of uncertain and enigmatic images hovering between abstraction and figuration and between human and non-human, as if the human is always vulnerable to being transformed.”

Susie Hamilton, Hens, 2015, Oil on canvas, 12 x 16 inches

Susie Hamilton, Shopper, 2016, Oil on canvas, 12 x 10 inches

Susie Hamilton, Blue Forest, 2024, Acrylic and pastel on paper, 11 3⁄4 x 8 3⁄4 inches

Tom Hammick, Caged (Study), 2023, Oil on canvas, 27 x 22 1⁄2 inches

TOM HAMMICK

Tom Hammick (b. 1963) studied History of Art at Manchester University before attending Camberwell School of Art. A painter, printmaker and teacher, he has held numerous solo exhibitions over the last thirty years in the UK, Europe, US and Canada. Recent solo shows include ‘My Sister’s Garden’, Lyndsey Ingram Gallery, London (2022) and ‘Dark Woods of England’, Gallerie Boisserée, Cologne (2020). He has won a number of awards for his work including the V&A Award at the International Print Biennale, Newcastle (2016) and a Jerwood Drawing Prize (2004). From 2014-15 he was Artist in Residence with the English National Opera. His work is held in institutions worldwide including Arts Council of Ireland, Art Gallery of Nova Scotia, British Museum, Library of Congress, New York Public Library, Pallant House, Victoria & Albert Museum and Yal e Center for British Art.

“There is a quiet poetry in Hammick’s work that stands in opposition to much of the noise and brouhaha of the current art scene. He begins with what is local and known, depicting the land and seascapes around his home … Unafraid of being beautiful or emotional, or of speaking with authentic feeling, these paintings of lonely figures looking out across moonlit fields, or standing isolated, … seem to suggest the transience and fragility of human existence .”.

Marcus Harvey, Little Dover, 2025, Mixed media on canvas, 60 x 84 inches

MARCUS HARVEY

Marcus Harvey (b.1963) studied at Leeds College of Art and graduated from Goldsmiths College in 1986. A painter, sculptor, publisher and art educator associated with the YBA group of artists who came to prominence in the 1990’s Harvey gained notoriety for his iconic painting Myra which was featured in the exhibition ‘Sensation’ at the Royal Academy of Art, London in 1997.

From his early Readers Wives paintings, to more recent iconic large scale multi-media works that depict the white cliffs of Dover, he has consistently explored aspects of the British psyche, reflected in the iconography of popular culture and cultural history. His work has been shown in numerous international solo exhibitions including ‘The Führer’s Cakes’, Galleria Marabini, Bologna (2005); ‘White Riot’, White Cube, London (2009) and ‘Inselaffe’, Jerwood Gallery, Hastings (2016) and significant group exhibitions include ‘Some Went Mad, Some Ran Away’ Serpentine Gallery, London (1994); ‘Young British Artists III’ Saatchi Gallery, London (1995) and ‘Sex and the British’, Thaddeus Ropac Gallery, Salzburg & Paris (2000).

Harvey’s work is held in collections including British Council, UK; De Woody Collection, New York; Goss Michael Foundation, Dallas; MOMA, Denver; MOMA, New York; Saatchi Collection and Stedalijk Museum, Amsterdam. In 2005 he co-founded Turps Banana magazine and in 2012 he was one of the founders of Turps Art School.

Celia Hempton, Zurich, Switzerland, 8th July 2024, 2024, Oil on linen, 11 3⁄4 x 15 3⁄4 inches

Roger Hilton, Untitled, 1973, Gouache on paper, 12 1⁄2 x 16 inches

ROGER HILTON

Roger Hilton (1911-1978) was a pioneer of abstract art in post Second World War Britain. He studied at the Slade School of Fine Art in London from 1929 to 1931. Eager to refine his artistic approach, he moved to Paris in the 1930s and studied at the Académie Ranson where he was mentored by Roger Bissière, a key figure in the Nouvelle École de Paris. Influenced by European avant-garde movements including Tachism and Cobra, as well as artists such as Paul Klee and Joan Miró, he was a prominent member of the St. Ives School of Painting and associated with artists including Patrick Heron and Terry Frost. During his lifetime he had solo exhibitions at the Institute for Contemporary Arts, London (1958) and Serpentine Gallery, London (1974). He won the 1963 John Moores Painting Prize and he exhibited at the British Pavilion at the Venice Biennale in 1964, winning the UNESCO Prize. He was appointed CBE in 1968 and the Hayward Gallery, London mounted a major retrospective of his work in 1993.

As Hilton’s work evolved towards abstraction, it was characterized by bold colours, simplified forms, and gestural brushwork. In 1961 he wrote of his approach: “Abstraction in itself is nothing. It is only a step towards a new figuration, one that is truer... For an abstract painter, there are only two possible outcomes: either he abandons painting for architecture, or he reinvents figuration.” His later works are filled with images of stasis and spiritual voyaging. Memory, observation and the simple joy of making marks constitute a complex variety of impulses behind them, as he retrieved a childlike freshness of vision, marked by a lifetime’s experience.

Paul Housley, Sledge on Flaggy Fields, 2024, Oil on canvas, 7 3⁄4 x 10 inches

PAUL HOUSLEY

Paul Housley (b. 1964) graduated with a BA in Fine Art at Sheffield City Polytechnic in 1986, and attained an MA in Painting from the Royal College of Art in 1995. Deeply involved in the material and formalities of oil paint, Housley’s work “refracts his world and the phenomena that catch his eye. Reaped from the flow of our modernity, the social lives, histories, and restive objet de désir, pictured in his paintings recall those kaleidoscopic moments captured by the poetic M.G., Baudelaire’s modernist legend.”

He has shown in numerous international exhibitions including ‘The Poets Elbow’, Belmacz, London (2020); ‘Slow Painting’, Hayward Gallery Touring, curated by Martin Herbert, Leeds Art Gallery, Leeds (2019); ‘The Player Becomes the Game’, Monte Clark Gallery, Vancouver (2019);‘Dice. Apple. Knife’ with Joel Tomlin, Sothebys, Stockholm (2018); ‘Snooker Room’, new jörg, Vienna (2017); Between Things, University of Chichester, Chichester, ‘God & Sausages’ (curated by Maria Georgoula), Stoa Zerbini, Athens (2017); ‘Awkward’, Anna Zorina Gallery, New York (2017); ‘Factory to Palace’, Sid Motion Gallery, London (2016); ‘Mini Bar’, Farbvision, Berlin (2016); ‘Journeys to the Interior’, Belmacz, London (2015); ‘Concrete/ Oblique’, David Risley Gallery, Copenhagen (2014); ‘Studio Stories’, Galleria Bianca, Palermo (2014).

Paul Housley, Blood in the Sand, 2025, Oil on canvas, 11 3⁄4 x 15 3⁄4 inches

Paul Housley, Pollock and Krasner, 2025, Oil on canvas, 11 3⁄4 x 15 3⁄4 inches

Paul Housley, The House of Cezanne, 2025, Oil on canvas, 15 3⁄4 x 19 3⁄4 inches

Andrzej Jackowski, Crossing the River II, 2025, Mixed media on paper, 10 1⁄2 x 7 1⁄4 inches

ANDRZEJ JACKOWSKI

Andrzej Jackowski (b. 1947) trained at Falmouth School of Art and the Royal College of Art, London (1974-77). Born in north Wales to Polish parents his early years were spent in a refugee camp in the north of England. The experience had a profound effect on his work which is steeped in autobiographical memories, including recollections of a family history in Poland and a feeling of alienation. Using powerful, insistent images from his past he explores ideas of human memory and psyche, on both a personal and collective level. Meditative and often melancholy his recent paintings centre on the possibility of kinship and are suffused with a te nder radiance.

Jackowski was Professor of Painting at the University of Brighton for many years. His work is represented in many public art collections including Arts Council England; Bibliotheque Nationale, Paris; British Council; British Museum, London; Fogg Art Museum, University of Harvard, USA; National Museum of Wales, Cardiff and Walker Art Gallery, Liverpool. His solo exhibitions include ‘Seeing Voices’, Purdy Hicks Gallery, London (2025); Aberystwyth Arts Centre (2013) and ‘Remembered Present’, Abbott Hall, Cumbria (2009). HIs work has been featured in many significant group exhibitions including ‘Drawing the Unspeakable’, Towner, Eastbourne (2024); ‘Art on Paper since the 1960s: the Hamish Parker Collection’, Dept of Prints and Drawings, British Museum, London (2022), ‘Towards Night’, Towner, Eastbourne (2016) and ‘Dreams of Here’, Brighton Museum and Art Gallery (2012).

Andrzej Jackowski, Love’s Journey, 2023, Oil on canvas, 15 3⁄4 x 19 1/2 inches

Merlin James, Yellow Castle, 2023, Acrylic and mixed media on canvas, 32 x 26 1⁄2 inches

Ken Kiff, Untitled - After Domenichino, 1996, Encaustic on paper, 40 x 59 1⁄2 inches

KEN KIFF

Ken Kiff (1935-2001) was one of the most singular artists who practised in Britain at the end of the 20th century. Trained at Hornsey School of Art (1955-61) he initially taught in schools before becoming a Tutor in Painting at Chelsea School of Art and the Royal College of Art, London where over thirty years he influenced generations of artists. He was elected a Royal Academician in 1991 and from 1991-1993 he worked as Associate Artist in Residence at the National Gallery. His work was exhibited internationally and is included in major public collections including Tate Britain; British Museum, Metropolitan Museum of Art, New York; and MOMA, New York. Recent solo exhibitions include: ‘The National Gallery Project’, Hales Gallery, London (2025); ‘Ken Kiff: Man, Bird and Tree’, Carl Freedman Gallery, Margate (2022) and ‘Ken Kiff: The Sequence’, Sainsbury Centre for Visual Arts, Norwich (2018).

Kiff viewed painting as a form of affirmative visual poetics, aligned in its workings to music, upholding “Braques’s thought that the canvas comes alive as a musical instrument does when it is played”. His images were always led by colour and encompassed a personal iconography of figuration (that was often misread as confessional) with abstract, and at times, symbolic elements. Dualities, the split self, the tumult of consciousness, were abiding themes, expressed in recurrent motifs – of journeys, encounters, caves, anthropomorphic landscapes – and held in arrangements that borrowed from Cubist traditions. His approach was challenging to a then dominant, critical hegemony that viewed painting primarily through the prism of theoretical standpoints. Today however, many aspects of his work are finding increasing currency with a younger generation of contemporary artists.

Deborah Lerner, Interchange, 2025, Acrylic and oil on linen, 11 3⁄4 x 15 1⁄2 inches

DEBORAH LERNER

Deborah Lerner (b.1989) lives and works in London. She graduated from Camberwell College of Art in 2023 and participated in the inaugural year of the Apollo Painting School in Manchester, UK and Latina, Italy, in 2024. Her work has featured in recent exhibitions including ‘Apollo Painting School 2024’, Alice Amati, London (2025); ‘Small is Beautiful’, Flowers, London, (2024); ‘In Residence in Transit’, Museo Cambellotti, Latina, IT (2024); Drawing Biennial, Drawing Room, London (2024) and ‘Essential Structures’, Gerald Moore Gallery, London (2024).

Inspired by the work of Prunella Clough, over the past two years Lerner has been visiting the 67 collections through-out the UK that hold her works. This on-going research led to the recent twoperson exhibition ‘I called while you were out’ that Lerner curated at the Flexitron Gallery, London which featured her paintings alongside Clough’s in addition to photographs taken of the painter’s studio after her death. Lerner says of her own work: With key concerns such as texture, light and colour always present the paint is pushed back and forth between chance and control in an on-going negotiation between content and form. It is through this process that a conclusion is reached which is beyond logical thinking, something accessible only through t he act of doing.

Deborah Lerner, Interior Objections, 2025, Acrylic and pen on paper, 7 x 9 3⁄4 inches

John Maclean, Yellow Sky, 2025, Watercolor on board, 11 3⁄4 x 9 1⁄2 inches

JOHN MACLEAN

John Maclean (b. 1972) studied at Edinburgh College of Art (1990-94) and the Royal College of Art, London where he attained an MA in Painting in 1996. He lives an d works in London.

With a focus on landscape and contemplative outdoor scenes, Maclean sources his imagery from salvaged, hand-tinted postcards or print-outs from the internet. Although small, these paintings evoke ideas of a larger narrative, where we, the viewer, only experience a single vignette from a much broader storyline. With its story-telling qualities, it is difficult not to compare his approach to painting with his other creative pursuit in writing and directi ng films.

Though gaining an education in visual arts, Maclean took a hiatus from painting to follow his musical career as a founding member of the influential group The Beta Band (1996-2005). He then pursued film directing and only returning to painting during the pandemic, subsequently being offered his first solo show which took place at White Columns in New York in March 2022. His work has featured in group exhibitions including ‘Happy Hunting Ground’ curated by Andrew Cranston (1998) and ‘The Poster Show’, Cabinet Gallery, London (2000). He has presented four solo exhibitions with The Approach, London.

John Maclean, Swamp Things, 2025, Watercolor on board, 11 3⁄4 x 9 1⁄2 inches

Elizabeth Magill, Violet Grows, 2025, Oil on canvas, 16 x 20 inches

ELIZABETH MAGILL

Elizabeth Magill (b. 1959) was born in Canada and grew up in Northern Ireland. She studied at Belfast College of Art (1979-82) and the Slade School of Art (1982-84) where she attained an MA inPainting.

Described by critic Isobel Haribson as “epic, enigmatic and evocative”, Magill’s paintings present subjective and psychological takes on the landscape genre. Rich with kaleidoscopic patterning and fragmented forms, these vistas are embedded in place – usually rural settings on the edges of settlements – but transported through the artist’s imagination, memories, photographs or moods to be presented as something other: lush, visionary recollections of hills, lakes, hedges and skies glowing with ambient light. Her revisioning of the tradition of the romantic sublime has resulted in a series of hauntingly distressed paintings of the landscape. The complex and densely layered works are produced using various techniques, at times incorporating stencilling, screenprinting and collage, as well as the pouring, blending, dripping, splashing and scraping away of paint. Film and photography are also central to her research, shaping the way the artist looks at landscape, and influencing her approach to conveying light, tone and atmospher e.

Magill’s work is held in collections including Arts Council England, Arts Council of Northern Ireland, British Council, UK; British Museum; Contemporary Arts Society, UK; Crawford Museum, Cork; Government Art Collection, UK; Dublin City Art Gallery; The Hugh Lane, Dublin; Irish Museum of Modern Art; National Gallery of Australia; Neuberger Berman Collection, USA; Southampton City Art Gallery; Tate, London.

Kathryn Maple, Shielded, 2025, Watercolor on paper, 60 x 43 inches

KATHRYN MAPLE

Kathryn Maple (b. 1989) studied Printmaking at Brighton University and completed The Drawing Year at The Royal Drawing School in 2013. She was awarded 1st prize at the 2020 John Moores Painting Prize and the Sunday Times Watercolour Competition (2014 and 2016). She has exhibited widely in the UK and abroad, with recent solo exhibitions including ‘Beneath the Swamp Cypress’ , Frieze, 9 Cork Street, London (2025); ’Encounters’, Bo Lee and Workman, Bruton (2024); ‘Kathryn Maple A Year of Drawings’, Lyndsey Ingram Gallery, London (2023) and ‘Under a Hot Sun’, Walker Art Gallery, Liverpool (2023). Her group exhibitions include: ‘We Are Making A New World’, Foreign Affairs Projects, Athens, Greece; ‘Drawing The Unspeakable’, Towner Eastbourne, Eastbourne, and ‘Across The Pond: Contemporary Painting in London’, Eric Firest one Gallery, New York, USA.

Maple’s work stems from a natural desire to explore, taking inspiration from the outside world and personal experiences. Her paintings are vibrant and highly charged, densely layered with different textures, repetitive marks and bursts of colour. Collage plays an active role in planning and research for the larger paintings.

Her themes vary from natural forms, trees and landscapes, to figures and buildings. Often drawn from real life or the artist’s imagination, she gives each object, person or setting the same treatment, creating a myriad of painterly marks.

Scott McCracken, Some Such Nonsense, 2023-2025, Acrylic and ﬂashe on canvas, 15 3⁄4 x 19 1⁄2 inches

SCOTT MCCRACKEN

Scott McCracken (b. 1987) received his BA and MFA at Edinburgh College of Art (2005-11) and studied at Turps Art School (2015-17). In 2017 he was awarded the Darbyshire Prize for Emerging Art and in 2019 he was shortlisted for the Contemporary British Painting Prize. His work has been exhibited in solo exhibitions including ‘Guesswork’ Thames-Side Studios Gallery, London (2024); ‘A Light Weight’, Galeri Hi10, Skien (2022); ‘Sidesplit’ Borough Road Gallery, London (2018) and ‘Big Crunch’ Darbyshire’s Ltd., London (2017). His group shows include OHSH Projects, London; HilbertRaum, Berlin; APT Gallery, London; Kingsgate Project Space, London, Terrace Gallery, London; Bankley Studios & Gallery, Manchester. He is a programme leader and mentor at Turps Art School and a regular contributor of Turps Magazine where he has written on the work of Prunella Clough, Graeme Todd and Phoebe Unwin, amongst others.

McCracken’s paintings knowingly quote details from a lexicon of past paintings yet arrive at singularly original images. “These paintings are built of curtailed attempts. Scott paints with provisionality, not so much as in the provisional painting that surfaced around the 2000s that looks unfinished (even when finished). Instead these are arrangements of unfinished things that are made to interlock, overlap, and finish with each other. What’s left is an aggregated, choreographed assortment of provisional moves, that each give way to the greater good of the whole and become beautifully bound together in small rectangles.” (Mark Jackson on Scott McC racken, Guesswork, 2024).

Scott McCracken, It Goes, 2024, Acrylic and ﬂashe on canvas, 16 x 18 inches

Jeff McMillan, Untitled (Pink Fade H-176), Ink on linen, 27 x 24 inches

JEFF MCMILLAN

Jeff McMillan (b.1968) is an American artist based in London. Born in Lubbock, Texas in 1968, he received a BFA from Texas Tech University (1991) and an MFA at the University of Alabama (1995) before moving to the UK in 1998.

McMillan’s work approaches painting through materiality and process, often in dialogue with the found object. For an on-going series of paintings entitled Hercules he mixes his own colours, applying the paint to canvases that are left outside for months unstretched and open to the elements. Biblio, a sequence of works on paper, are derived from found books wrapped in paper which are dipped in ink or oil paint, then opened up to create new paintings.

He has had recent solo exhibitions at Ivorypress, Madrid (2025), and Kristof De Clercq Gallery, Ghent (2024, 2021 and 2018). In 2023 he was Artist in Residence at Headlands Center for the Arts, California, and in 2020 he was awarded an Abbey Painting Fellowship at the British School at Rome. His group exhibitions include ‘The Autonomy of Colour in Abstract Art’, Fundación Juan March, Madrid (2025); ‘Colour’, Tristan Hoare Gallery, London (2025); ‘...With Things as Things’, Luxembourg + Co., London (2024); ‘Art is the Antidote’, Museum Voorlinden, Netherlands (2022).

As a curator McMillan created and ran the project space PEARL from 2001-2004 and has since organised a number of exhibitions including the abstract drawing show ‘Tell it Slant’ at Frith Street Gallery, London (2016) and ‘I AR YOU: Portraits by Self-Taught American Artists’ at Large Glass, London (2013). He was co-curator of ‘British Folk Art’ at Tate Britain in 2014. His work is held in public and private collections including Tate, London; the Whitworth Art Gallery, Manchester; Museum Voorlinden, Netherlands and San Antonio Museum of Art, T exas.

Jeff McMillan, Untitled (Rose H-241), Oil on linen, 36 3⁄4 x 30 inches

Jeff McMillan, Untitled (Orange H-169), Oil on linen, 15 3⁄4 x 14 inches

Margaret Mellis, Black Leaves in Blue Bottle, C. 1990, Crayon on envelope, 12 1⁄4 x 9 1⁄2 inches

MARGARET MELLIS

Margaret Mellis (1914-2009) was born in China and grew up in Scotland, where she trained at Edinburgh College of Art (1930-34). One of the early members and last survivors of the group of modernist artists that gathered in St Ives, in Cornwall, in the 1940s. She and her first husband, Adrian Stokes, played an important role in the rise of St Ives as a magnet for artists. In Cornwall Mellis began exploring collage and relief. Created from found materials and paper, these collages were exhibited in New Movements in Art, at the London Museum in 1942. After her second marriage to the artist Francis Davison she moved to Suffolk and in the 1960s she embarked upon a series of large abstract paintings known as ‘colour structures’. These were exhibited in London, with solo shows at Grabowski Gallery (1969) and Basil Jacobs Gallery (1972). Works from these exhibitions were acquired by the Arts Council and Government Art Collection

In the mid-1980s, Mellis was included in several high-profile exhibitions, including ‘St Ives 193964’, Tate Gallery, London (1985), and ‘Scottish Art since 1900’, Scottish National Gallery of Modern Art, Edinburgh. In 1987, the Redfern Gallery, London staged a retrospective exhibition, from which the Tate and Arts Council bought driftwood reliefs. The exhibition was also attended by a young Damien Hirst; intrigued by the driftwood constructions in particular, Hirst wrote to the artist, and was invited to visit Mellis in Southwold, forming a lasting friendship. Mellis was part of the Tate St Ives’ inaugural exhibition in 1993, and was the subject of a retrospective that opened at City Art Centre, Edinburgh, and toured the UK, in 1997. Recent exhibitions include ‘Modern Scottish Women 1885-1965’, Scottish National Gallery of Modern Art, and a joint-show with Damien Hirst at Pier Arts Centre, Orkney. In 2018, her work featured in an exhibition inspired by Virginia Woolf and her writings,atTateStIves.

Margaret Mellis, Untitled, 1999, Crayon on envelope, 9 x 9 inches

Roy Oxlade, Saucepan, 1998, Oil on canvas, 40 x 47 inches

ROY OXLADE

Roy Oxlade (1929-2014) played a critical role in the history of twentieth–century British art. Having initially come to attention in the 1950s, he worked across six decades producing paintings and works on paper that were rooted by his experiences of the physical world around him. “The artist has to in some way defeat the inevitable,” he commented. “I want authenticity, clarity and a certain peculiarity”. His work is inextricably entwined with his home and studio in Kent, which formed the foundation of his pictures. Articulated by recurrent motifs – scissors, jugs, lemons, lamps – selected for their aesthetic and functional qualities, domesticity and ritual are central to his oeuvre. The artist’s wife, fellow painter Rose Wylie, also appears regularl y in his pictures.

Oxlade trained at Bromley College of Art, Goldsmiths College and the Royal College of Art, London. He taught for many years in art schools and ran a renowned summer school at Sittingbourne, Kent. From the late 1960s he held regular solo exhibitions with London galleries including Air Gallery, Odette Gilbert Gallery, Artspace Gallery and Alison Jacques Gallery. His work is held in collections including Arts Council England; Deal Collection, Dallas; Jerwood Collection, UK; Radtrack Collection, London and South East Arts, UK.

Carol Rhodes, Roads Buildings (Night), ed. of 22, 2014, 13 color screen print, 22 x 22 1⁄4 inches

CAROL RHODES

Carol Rhodes (1959-2018) created a distinctive mode of landscape painting across her 25-year career, developing a world of semi-fictional locations that are at once familiar and ambiguous. Intimately scaled, densely rendered and typically taking an aerial viewpoint, her works depict uninhabited industrial terrains and ‘edgelands’ – factories, canals, motorways, reservoirs – described by the artist as ‘hidden areas’. Psychologically charged and often muted in colour, Rhodes’s paintings reflect on our experiences of place, the ways in which we perceive, make a nd adapt our environments.

Rhodes studied at the Glasgow School of Art (1977-82) but, following her graduation, became involved in social activism, organising and participating in feminist, pacifist, gay rights and social justice campaigns. She co-founded the Glasgow Free University and, between 1986 and 1988, was part of a burgeoning group of artists associated with Transmission, the artist-led gallery of which she was a committee member. She returned to painting in 1990 and was included in exhibitions such as ‘New Art in Scotland’, CCA Glasgow (1994). Greater exposure came as a result of her first solo exhibition at Andrew Mummery Gallery, London in 1998, at which point works began to enter public collections including Arts Council England; Museum Bonnefanten, Maastricht, Netherlands; British Council Collection, UK; City Art Centre, Edinburgh; Fleming-Wyfold Art Foundation, London; Glasgow Museums, UK; The Hepworth Wakefield, UK and Scottish National Gallery of Modern Art, Edinburgh. In 2007, a retrospective exhibition of Rhodes’s work was presented at the Scottish National Gallery of Modern Art in Edinburgh.

Dan Roach, Stacket, 2021, OIi on panel, 7 3⁄4 x 8 1⁄2 inches

DAN ROACH

Dan Roach (b.1974) gained a BA Hons in Fine Art at the University of Worcester (2007 – 2009) and an MA in Painting from the University of Gloucester (2011).

Roach’s creates images in which recurrent abstract forms are disrupted by instinctive painterly gestures. He works primarily with oil, graphite, and wax on canvas or board, leaving traces of previous imagery visible on the support. The paintings explore spatial ambiguities, focussing on enigmatic emblems that hover at different points within the pic ture’s surface.

His solo and two person exhibitions include ‘Mudlarks’ Eagle Gallery Cabinet Room, London and Oceans Apart, Manchester (2021), ’Cloud Chamber’ Eagle Gallery, London (2018), ‘Foundations of Remembrance’, Worcester Cathedral (2013) and ‘Recent Paintings’, Campden Gallery, Chipping Campden (2012). Group exhibitions include ‘Double Vision’, Lion & Lamb Gallery, London (2012); ‘The Art is Falling Apart’, Terrace Gallery, London (2012); ‘Plane Space’, Worcester Cathedral (2012); and ‘Abstract Critical Newcomers Award’, Kings Place, London (2012). His work has been featured in a number of group shows at the Eagle Gallery, London, including ‘Left Over’ (2022), ‘Counterpoints’ (2017) and ‘Wanderer’s Field’ (2013). Roach was selected for the inaugural Abstract Critical Newcomer Awards in 2012 and the Marmite Painting Prize in 2013. From 2011 to 2013 he was the Artist in Residence at Worcester Cathedral.

Dan Roach, Aloft, 2021, Oil on panel, 8 x 10 inches

Lorna Robertson, Portrait of a Lazy Woman, 2024, Oil, linseed oil and varnish on paper, 19 x 18 3⁄4 inches

LORNA ROBERTSON

Lorna Robertson (b.1967) was born in Ayr on the west coast of Scotland. She studied at Duncan of Jordanstone College of Art in Dundee and currently lives and works in Glasgow. Her densely coloured paintings, often made with a combination of oil paint and collage, have a distinctly nostalgic tone; shimmering female forms with swinging skirts from the 1950’s or bonneted bathers from the 1920’s jostle with richly described interiors; and crowded tabl e-tops.

“My paintings,” she says “sit somewhere between abstraction and figuration, a tangled game of hide-and-seek that plays with the visibility and readability of an image. I often paint to find out what to paint, creating harmonies and tensions through placement of shape, specificity of colour - the process itself becoming an act of revealing”.

Her recent solo exhibitions include Alison Jacques Gallery, London (2024); The Armory Show, New York / Ingleby Gallery (2023) and ‘thoughts, meals, days’, Ingleby Gallery, Edinburgh (2022). Her work has featured in group exhibitions including ‘Wings of a Butterfly’, Ingleby Gallery, Edinburgh (2025); ’Drawing the Unspeakable’, Towner, Eastbourne (2024); ‘Man Digging’, Exeter Phoenix, Exeter (2023) and ‘Papertrail’, Matthew Brown Gallery, Los Ange les (2023).

William Scott, Untitled, 1961, Watercolor and gouache on hand-woven paper, 19 1⁄2 x 24 inches

WILLIAM SCOTT

William Scott (1913-1989) was one of the leading British artists of his generation. During his lifetime, his work was exhibited widely, both in the UK and abroad, and continues to be to this day. His paintings can be found in public collections around the world, including Tate, London; the Solomon R. Guggenheim Museum, New York; the Metropolitan Museum of Art, New York; the Musée National d’Art Moderne, Paris and the Art Gallery of New South Wales, Sydney.

Scott was born in Scotland to Irish and Scottish parents, moving to Ulster when he was 11 years old where he spent the remainder of his early life. He studied first at Belfast College of Art (1928-1931) and later at the Royal Academy Schools, London (1931-1935), where he shared accommodation with the poet Dylan Thomas. After completing his studies, he lived in France for several years, mainly in Port Avon and St Tropez, developing a life-long kinship with French still life painting. He spent his adult life living in London and Somerset, with frequent visits to Cornwall where he connected with artists of the St Ives School. In 1953, he traveled to New York, becoming one of the first British artists to meet the Abstract Expressionists, including Jackson Pollock and Willem de Kooning. In 1958 he represented Britain at the Venice Biennale. His work was shown through-out the 1950s and ‘60s with exhibitions in Tokyo, Paris, Brussels, Copenhagen, Oslo and Rotterdam. He was made a CBE in 1966 and was elected a Royal Academician in 1 984

Scott’s work traversed figuration and abstraction. He said of his painting: “I am an abstract artist in the sense that I abstract. I cannot be called non-figurative while I am still interested in the modern magic of space, primitive sex forms, the sensual and the erotic, disconcerting contours, the things of life.” Drawing inspiration from pre-historic art and the untrained work of children, his work was distinguished by its airy depiction of space, flat planes of colour and a lexicon of direct, open markmaking.

William Scott, Grey and Pink, 1961, Gouache on paper, 15 x 16 inches

William Scott, Untitled, 1961, Oil pastel on paper, 9 x 11 inches

Myra Stimson, Spoil, 2022, Cotton thread and paint on linen, 22 1⁄2 x 32 1⁄2 inches

MYRA STIMSON

Graeme Todd, The Hollow Tree, The Listening Wood, The Seeing Field, 2006, Mixed media on panel,

x 47 inches

GRAEME TODD

Graeme Todd (1962-2022) was born in Glasgow and studied at Duncan of Jordanstone School of Art, Dundee (1979-1985). From 1991-2020 he was a Lecturer at Ed inburgh College of Art. Todd had an extraordinary ability to absorb elements from different cultures and to turn their impact on him into a visual language that was uniquely his own. Artist’s residencies in Osaka, Japan and the mountainous region of Riehen (on the border of France, Germany and Switzerland), popular music, cartoons, art history, fed into images that presented imagined worlds. Motifs that referred to actual geographies were combined with a personal and surreal calligraphy and executed with an extraordinary range of mark making and material to create sensual, hallucinatory surfaces that explore painting’s illusionistic potential.

A highly respected teacher, Todd exhibited in the UK and Europe in regular solo exhibitions with Mummery and Schnelle, London; Galleria Alessandra Bonomo, Rome and Galerie Brigitte Weiss, Zurich from 1998-2015. His institutional exhibitions included ‘Mount Hiddenabbys’ Fruitmarket Gallery, Edinburgh and Leeds Metropolitan University Gallery (2000); Kunsthaus, Glarus (2002) and Osaka Contemporary Art Centre, Japan (2004). His work is he ld in public collections including Arts Council England; City Arts Centre, Edinburgh; Feming-Wyfold Foundation; Kunsthaus, Glarus; Kunsthaus, Zurich; Scottish National Gallery of Modern Art, Edinburgh and Government Art Collection,UK.

Graeme Todd, Terminus, 2020, Mixed media on panel, 5 x 7 inches

Graeme Todd, We Cannot Feel Her Boundaries (black stream), 2021, Mixed media on panel, 5 3⁄4 x 8 1⁄2 inches

Graeme Todd, The Galaxy Went on Turning, 2020, Mixed media on panel, 9 x 11 3⁄4 inches

Phoebe Unwin, Morning, Midday, 2025, Oil and marble dust on canvas, 60 1⁄4 x 72 inches

PHOEBE UNWIN

Phoebe Unwin (b. 1979) trained at Newcastle University (1998-2002) and attained an MFA in Painting from the Slade School of Art in 2005.

Unwin’s paintings are rooted in figuration but resist narrative or symbolic interpretation. She treats painting as a site of perception: surface, colour, scale, and mark-making do the emotional and conceptual work. Her approach is informed by a reciprocal kind of looking, where nature, people, pattern, design, and architecture shape the painted world, and paintings, in turn, influence how we see. She explores how visual form in paint can communicate experiences or things that are so deeply familiar they are felt before they are named. While her visual language shifts across bodies of work, she consistently draws on subjects with sensory range - subjects which somehow reveal an essence of themselves. Her practice shares affinities with Imagist poetry, minimalist music, Colour Field painting, and Intimist interiors: traditions that privilege precision, presence, and mood over message.

Recent group exhibitions include ‘Wings of a Butterfly’, Ingleby, Edinburgh (2025) and ‘A Room Hung with Thoughts’, Green Family Foundation, Dallas (2025). Her solo exhibitions include ‘The Pointed Finger’, Amanda Wilkinson Gallery, London (2023); ‘Iris’, Towner Gallery, Eastbourne UK (2019) and ‘Field’, Collezione Maramotti, Reggio Emilia, Italy (2018).

Unwin’s work is held in private and public collections including Tate, UK; Arts Council Collection, UK; Southampton City Art Gallery; British Council Collection; Government Art Collection, UK; Yale Center for British Art, New Haven, Connecticut; Space K, Seoul; Collezione Maramotti, Reggio Emilia; Museum Boijmans Van Beuningen, Rotterdam. She is represented by Amanda Wilkinson Gallery, London.

Phoebe Unwin, Mirror, 2025, Acrylic and powder pastel on canvas, 23 3⁄4 x 19 3⁄4 inches

Phoebe Unwin, Fountain, 2025, Oil on canvas, 23 1⁄2 x 19 3⁄4 inches

Alice Walter, They Cradle Swamp, 2025

Oil, acrylic, pastel, graphite and canvas on plywood, 10 1⁄2 x 8 1⁄2 inches

ALICE WALTER

Alice Walter (b. 1992 ) graduated in 2014 with a BA (Hons) in Painting from the University of Brighton. She works predominantly as a painter, investigating the metaphysical and physical properties of paint on supports that she assembles from found wood and canvas. The art critic Paul Carey Kent says of her work:

“Alice Walter builds her endearingly ramshackle paintings from small sections of sawn plywood, frayed odds and ends of previously used canvases and oddments that have fed themselves from the locality into the decidedly functional mess of her St Leonards studio. If that sounds abstract, it is – until the textures and colours suggest some sort of figuration – then she goes with that, adding in some recurring tropes, such as a ‘blockhead’ that might be a self-portrait of sorts – she likes ‘the idea of the cartoon bringing things down to earth in a humorous way’. Out of all that something of the medieval, the folksy and the surreal coheres in a peculiarly Walterish way, topped off by riddling titles. Where is the sunflower in ‘Demise of Sunflower’? Ah, of course… Then we go back and forth between the material reality, the ambiguous space and scale, and the compelling presence of her small worlds.”

In 2024 she was an invited artist at the ING Discerning Eye, Mall Galleries, London and she has exhibited in group exhibitions through-out the UK, including ‘Towards Night’, Towner, Eastbourne; Oriel Davies Open, Wales and Kingsgate Project Space, London – in a two person exhibition with Sherman Sam. In 2013 Walter was Young Artist in Residence at Glyndebourne Opera, East Sussex.