THE SPRING EXHIBITION

THE SPRING EXHIBITION

THE ART COURT

A WELCOMING WAY TO COLLECT ART

The Art Court operates in the North of England to promote a welcoming approach to collecting art. We are passionate about supporting artists and collectors because we know that art has the power to connect people, create communities, and enhance lives.

We curate a program of exhibitions throughout the year in stunning spaces in collaboration with our partners.

If you are looking to purchase or commission art for either public or private settings, we offer tailored services that include personal art shopping, curation, project management and commissioning. We take the time to understand your taste, space, budget, and logistical considerations, guiding the search through our extensive network of artists to find options that will truly resonate with you.

EXHIBITING ARTISTS

DAVID APPLEYARD

KELLY CUMBERLAND

MICHELLE DUXBURY

HOWARD EAGLESTONE

ANDY EDWARDS

VICTORIA FERRAND SCOTT

HONDARTZA FRAGA

JONATHAN HOOPER

LORNA JOHNSON

JULIA POULTON

SARAH ROBERTS

HANNAH ROBSON

COURTNEY SPENCER

ZOE SPOWAGE

JAMIE STEWARD

ROSIE VOHRA

SARAH WARD

ROANNA WELLS

THE SPRING EXHIBITION

2 MAY - 1 JUNE 2024

Nestled on Kirkgate, the oldest street in Leeds, stands the historic First White Cloth Hall. Built in 1711 as a hub for the trade of undyed cloth, its walls have witnessed centuries of transformation, adaptation, and eventual neglect.

In 2016, the Yorkshire-based property developers, Rushbond purchased the building and five years later, the Grade II* listed building emerged from its slumber, meticulously refurbished. In collaboration with Rushbond, The Art Court presents a group exhibition that acknowledges the history of this stunning setting.

Step into ‘The Spring Exhibition’, where art evokes the essence of the season. The exhibition boasts an array of mediums, from intricate textiles to ethereal paintings, each weaving a narrative that resonates with the rebirth and renewal of spring that echoes the story of the beautiful building.

Suspended in the tranquil courtyard, looms ‘Furrowing’ (2023) by Hannah Robson. This towering testament to the interplay of light, shadow and form is created by two layers of woven paper that interconnect to create a 3D form of pleats that concertina.

Continuing with weaving, we have Sarah Ward’s exquisite off-loom weavings that were born amidst the solitude of lockdown.

These woven works invite contemplation on the intersection of artistry and sustainability.

Repetition is something that Roanna Wells explores within her rhythmic watercolours with controlled crisp edges and line that contrast with the pooling of paint and small disruptions to pattern.

Victoria Ferrand Scott’s sumptuous cement sculptures whose tactile creations bear witness to the delicate dance between material and memory. Cast using fabric forms that she stitches together, the resulting works retain the texture of the knitted material and seams which add to the tactile appeal of the works.

Dominating the white wall of the main space are four large-scale paintings by Zoe Spowage. These were made in 2023 whilst she was pregnant and explore changing bodies, relationships and perceptions. The women are strong, muscular and agile with an ethereal sense of flowing fabric.

With eighteen artists gracing the main exhibition space and three more upstairs in the Viewing Room, ‘The Spring Exhibition’ promises an immersive journey through the realms of artistry and imagination.

Courtney Spencer

The Art Court

DAVID APPLEYARD

B. 1978 OTLEY, UK

Since establishing his practice in 2007, David Appleyard has built a substantial portfolio, consisting of both studio projects and site-specific works throughout the UK. Each project has presented its own distinct narratives and challenges, contributing to a diverse body of work.

A significant part of his artistic output has been characterised by a meticulous and research-driven approach, fostering collaborations with local communitites, organisations, craftspeople and those invovled in the manufacturing process.

David’s work is infused with historical narratives, a sense of wit, and reflections on our place in the world. He shares our heritage and human experience.

Central to his practice is storytelling through objects and installations that often carry symbolic significance.

His work takes on many forms including sculptures, architectural interventions, time-based works, and engagement activities involving local communities. Utilising various materials and processes such as timber, metal, glass, stone, resin, light, and sound, I’ve had the privilege of creating large-scale temporary and permanent artworks.

Daivd has extensive experience of working within public and private art commissions, alongside working on large-scale heritage projects.

2023

Birds

14 x 9 x 8cm

Solid bronze with a stainless steel pirch

£225 each

Lucky

KELLY CUMBERLAND

B. 1974 DURHAM CITY, UK

Kelly Cumberland’s practice explores expanded definitions of drawing with a focus on scientific and medical research and imagery.

She is currently collaborating with a team of neuroscientists at St. James’s Hospital and University of Leeds. This allows her to explore the shared processes between drawing and laboratory practices and offers opportunities for material experimentation and nontraditional drawing processes.

The imagery she works with is often underpinned by its link to the viral and cellular references that she uses as her motifs. Drawing processes evoke connections to the internal body and her installations and objects

demonstrate how something seemingly delicate and insubstantial can occupy space. Dissected drawings represent microbiological structures’ paradoxical fragility and strength.

A critical aspect of Kelly Cumberland’s artistic process is the continuous addition and removal, (re)production and reduction. Initially, the components may appear identical, but the handmade process ensures each work is unique, with the potential for expansion and modification. The works reveal how drawing is expanded through space, place, form, process, materials and meaning. The sequential work is often transposed from two-dimensional to three-dimensional forms, moving into expanded drawing.

Helix OPT [Cealum FWCH]

2024

Neobond, cine foil, digital print

Overall dimensions variable

NFS

FWCH] ffoyle

2024

Cinefoil

Overall dimensions

variable

NFS

Typis [murus

Vestigium Pulvis [duplici FWCH] 2024

Etched Acrylic, Paint, Mirror

250 x 500 x 50 mm

£1,850

Helix OPT [cealum] Superfluous 2023

Neobond

Overall dimensions variable

NFS

Vestigium Pulvis [tabulatum 5v1.2] 2024

Etched Acrylic, Paint, Mirror

500 x 500 x 125 mm

£2,550

MICHELLE DUXBURY

B. 1973 LEEDS, UK

Michelle Duxbury is an artist from Leeds with a studio in Wakefield.

Her practice draws on various creative and academic disciplines working across a range of media including embroidery, moving image, sound and immersive installation. Often combining multiple sensory experiences, embedded with accessibility, allowing her to interrogate the in/accessibility created by traditional hierarchies in visual art.

Her work considers the intrinsic link between landscape, body and identity, in individual and collective connection to landscape, and how this impacts on feelings of belonging/not belonging. These draw on her experiences as a disabled, neurodivergent woman from a working-class background.

OPPOSITE PAGE Installation view.

Rose I 2024

15.3 x 15.4cm (framed)

Embroidery thread, white rag paper

£600

Rose II 2024

15.3 x 15.4cm (framed)

Embroidery thread, white rag paper

£600

23 x 23cm (framed)

Embroidery thread, white rag paper

Rose III 2024

£900

HOWARD EAGLESTONE

B. 1949 BARROW-IN-FURNESS, UK

Howard Eaglelstone is a painter who is based in Leeds. He paints from found situations and objects and likes the element of surprise which allows him to see things as if for the first time. He likes to turn things upside down and contemplate objects and ideas from various angles.

The found situation becomes a catalyst for thoughts, ideas and feelings which are developed through the process of painting and composition.

Howard particularly likes to work from discarded objects, often found in the in the street. This allows a process of transformation, a metamorphosis whereby the destructive behaviour of mankind is countered by the creative practice of painting.

60 x 50cm (framed)

£900

Model Oil on linen

light minded Oil on canvas

26 x 33cm

£700

Innocent,

River buoy, occulting light

Oil on linen

60 x 60cm

£800

ANDY EDWARDS

B. 1962 MIDDLESEX, UK

Andy Edwards is an artist, graphic designer and until recently, was also a university lecturer. All aspects of his practice inform the other.

As a graphic designer he works with cultural organisations, public bodies and architects. Meanwhile, as an artist, he often uses materials that others have designed, produced, used, and discarded to create mixed media collages.

By elevating detritus and ephemera into artwork in this way, he challenges traditional hierarchies of materials and production values. He enjoys reimagining found material, and waste to find accidental juxtapositions that create new meaning within his work.

Andy makes collages in series and often works to a self-imposed brief. Whilst on a work trip to New York he made daily collages from discarded materials found on the streets. Emballage is a series where he worked with materials connected to a local cafe. He made playful works using delivery boxes and bits of pre-coloured packaging that reference the global supply chain.

“Collage has always been something I’ve made since I saw work by Kurt Schwitters, Hannah Hoch and Bob Rauschenburg in my teens. There’s a symbiosis between my art and graphic design, one informing the other. Order and accident, utility and futility, the found, the imperfect, re-used and reformed.”

Andy Edwards

Alpha 2022

Mixed media collage

43 x 53 cm | 16.9 x 20.9 in (incl. frame)

£300 (framed)

VICTORIA FERRAND SCOTT

B. 1958 ESSEX, UK

Victoria Ferrand Scott is a Yorkshire based sculptor who works primarily in concrete. She experiments with materials of a fluid origin, harnessing natural forces of flow, elasticity and expansion to allow the material to dictate its own form.

Studying History of Art at Manchester University lead to her first career as a picture valuer and auctioneer. She later returned to academia to do a BA in Sculpture and an MA in Fine Art (Leeds 2004).

Alongside her studio practice she has worked at Yorkshire Sculpture Park since 2005, delivering sculpture workshops as an artist in education.

Elected a member of the Royal Society of Sculptors in 2009, her work has been selected for exhibition in London at the RSS and the Royal Academy, in addition to the Royal West of England Academy and many exhibitions in the north, both indoors and in the open air.

Victoria plays with polarities by combining concrete (often seen as a brutalist construction material) with silky stretchy fabrics, tailored into moulds. The concrete flows and bulges, straining at the seams, demonstrating its capacity for creating sensual forms and recording tactile surfaces. The resulting minimalist sculptures retain the memory of their production, together with the suggestion of simple life forms and processes.

OPPOSITE PAGE Installation view.

Fossil Fruits

2022

Concrete

Aprox 30 x 30 x 35cm

£1,500 each

Pulling

2017

17 x 65 x 25cm

Concrete

£2,250

Reaching

2020

30 x 40 x 50cm

Concrete

£2,500

Overarch

2018

28 x 50 x 35cm

Concrete

£2,500

HONDARTZA FRAGA

B. 1982 A CORUÑA, SPAIN

Hondartza Fraga is a Spanish artist who works across a range of mediums including drawing, photography video and animation. Her work often reinterprets scientific imagery to explore alternative ways of meaning making.

She is fascinated by our relationship to extreme environments, from deep sea to deep space which are recurring themes she explores throughout her work.

Her work often explores the relationship between artistic and scientific processes and how scientific discoveries are represented and communicated via imagery that aids in attributing meaning. She is currently completing a practiceled PhD at the University of Leeds. Her research centres around making a new body of work using the archive of raw images from the space-research

Cassini mission to explore the similarities and differences between drawing and new technologies.

Her work is held in private and public collections in the UK and Europe. Her work is represented by Espacio Alexandra (Spain) and The Art Court (UK). She was featured in the book Vitamin D3: Today’s Best Contemporary Drawing published by Phaidon in 2022.

“Black dominates much of my work though sometimes a colour is used for a specific reason. The blue in the Incognito prints originates from digitally inverting the yellowing vintage paper I used for the drawings. The deep blues evoke traditional photographic techniques such as cyanotypes.”

Hondartza Fraga

OPPOSITE PAGE Installation view.

Lines to Sea 2012

Ink on paper

113 x 85cm (incl. frame)

£1,500 (framed)

Seaward Bound I

2013

Limited edition of 3

Photograph on metalic paper

124 x 100cm (incl. frame)

£1,200 (framed)

JONATHAN HOOPER

B. 1963 LONDON, UK

Jonathan Hooper is a painter who depicts the residential architecture of suburban Leeds, specifically the north-west areas including Headingley, Hyde Park, Burley, Kirkstall and Meanwood.

His work captures everyday scenes, highlighting the beauty and individuality of the built landscapes in his immediate surroundings.

Jonathan specifically focuses on houses because of their close connection to the human: partly through the emotional associations of “home” and also the

human scale of the buildings including their arrangement that corresponds to a human face or body; how their outside surfaces reveal their histories and inner lives; and the way their layout is rooted deep in our memory.

He uses limited colour palettes for each series, which are chosen to create an emotional atmosphere that mirrors the character of the subject rather than imitating its visual appearance.

Who knows where the time goes? (1) 2023

Oil on canvas

51 x 76cm

£1,100

Who knows where the time goes? (2) 2023

Oil on canvas

51 x 76cm

£1,100

Saturday sun, Sunday rain (1) 2023

Oil on board 46 x 61cm

£800 (unframed)

Saturday sun, Sunday rain (2) 2023

Oil on board 46 x 61cm

£900 (framed)

Fruit and vegetables (4)

2024

Oil on canvas

61 x 91cm

£1,150 (unframed)

OPPOSITE

Fruit and vegetables (2)

2024

Oil on board

36 x 46cm

£700 (framed)

Fruit and vegetables (3)

2024

Oil on canvas

61 x 91cm

£1,150 (unframed)

LORNA JOHNSON

B. 1982 LONDON, UK

Lorna Johnson is a visual artist who makes sculptural objects, installations, assemblages, collages and photography to explore aspects of heritage including her own lived experience and broader facets of heritage.

She is particularly interested in working with objects and materials that could be perceived as non-precious and uses these to explore associations with value.

These themes are central to the research she is currently doing towards a practiceled PhD at the University of Leeds which focuses on four archaeological hoards

found in Yorkshire. Her work for the PhD has recently been included in exhibitions at Leeds City Museum and Leeds Art Gallery.

She has worked with the National Trust, The Churches Conservation and with private owners of heritage sites. She has been commissioned to make work in response to museum collections and to share the history of historic spaces.

She has exhibited in the UK, Europe and America. Her work is represented by The Art Court.

Salted Netter 1

2015

107 x 47 cm

Wood, adhesive, nails, paper, varnish, bamboo, salted string and thread

£2,000

Goldbrick Ends - right 2022

60 x 60 cm | 23.6 x 23.6 in (incl. frame)

Limited edition of 5 each hand finished

Metallic ink on photographic paper

£600 (framed)

60 x 60 cm | 23.6 x 23.6 in (incl. frame)

Limited edition of 5 each hand finished

Metallic ink on photographic paper

£600 (framed)

Goldbrick Ends - left 2022

Fanciful Coquilles 2013

Approx. 10 x 6 x 5cm

Material: Oyster shells, glass and plastic beads, clay, metal crab bells and glaze

£50 each

JULIA POULTON

B. 1970 WAKEFIELD, UK

Julia Poulton is a contemporary abstract oil painter based in Harrogate, North Yorkshire. Her work expresses emotional connection through an intuitive process.

By letting go of conscious thoughts and intentions, Julia tunes into her emotions to create evocative paintings full of depth and mood. Trusting the process and embracing the unknown are central to her practice.

With a focus on colour and texture, she builds her work in layers of oil paint over time. Together with the array of emotions held within each piece, a sense of depth can be felt through the history of all these layers.

Julia is interested in the connective experience that occurs between herself, her work and the viewer as her emotions are expressed and reflected outwards from the painting the viewer may resonate with this and ultimately find a meaningful connection with the artwork, in a way that is personal to them.

‘Painting allows me to find a connection with myself and express from a place of authenticity. Immersing myself in this process and painting intuitively gives me a sense of calm and equilibrium, which is often reflected in the finished artwork.’

Elevate 2022

Oil on canvas

150 x 120 cm

£5,000 (unframed)

150 x 120 cm

£5,000 (unframed)

Lucid Moment 2022

Oil on canvas

Let Go 2022

Oil on canvas

150 x 120 cm

£5,000 (unframed)

SARAH ROBERTS

B. 1980 TYWYN, WALES

Sarah Roberts is a Welsh artist based in Leeds. She is interested in our capacity for momentary encounters with the world, primarily with visible surfaces of architecture, landscape and the body. Moments in which these surfaces are seen as collisions of form and colour that reverberate and invite us to reencounter an object and the power of visually driven connections to take us back to the past.

Sarah creates collage, written works and immersive installations using sculpture, large format print, found objects, textiles, sound, moving image, fragrance and whatever else she associates with the place or emotion she’s exploring.

She takes a tactile approach as she researches the place of provenance, this can include meticulously collecting the scent, the sensation and the hue of a suburban concrete driveway, a casino carpet or a cliff edge.

Alongside her practice, Sarah is an associate lecturer in fine art and the founder and curator at Hyde Park Art Club and SHELF.

“I use colour to create environments and objects that offer a still place for looking in a fast-paced material world.”

Sarah Roberts

Baggage - a love letter to all the houses I have lived in and all those that have been died in 2023

Mixed media collage and drawing on paper 60 x 85 cm | 23.6 x 33.5 in (incl. frame)

£800 (framed)

A2 print with hand drawn and collaged elements

Signed edition of 45 + 1 AP

£100 (unframed)

HANNAH ROBSON

B. 1993 OXFORD, UK

Hannah Robson is an artist and weaver interested in the spatial qualities of textiles. Much of her work involves making three-dimensional forms on the loom to create self supporting sculptural pieces. Her work explores how textiles can amplify the elemental changes in environments: the interplay of light and shadow on a surface, subtle shifts in density and texture, and the movement of cloth in air currents.

Hannah’s woven constructions are designed to enhance architectural spaces, draw in light, and soften hard lines of the built environment. Her work invites the viewer to consider what lies on the other side, exploring the tension of thresholds, views-through and hidden pockets of space. She weaves using materials with inherent sculptural properties such as paper and metal.

Furrowing 2023

Woven paper

740 x 120 x 80cm

£20,000

Hannah studied at Winchester School of Art and l’ENSCI, in Paris, before completing an MA at the Royal College of Art in 2016.

Shortly after graduating she was commissioned by the Crafts Council to develop new work for Collect Open 2018 and for the inaugural show at Make at Hauser & Wirth, Somerset. She has undertaken commissions for woven sculptures or installations in wide ranging settings: from Kettle’s Yard to Aesop skincare, and the Huguenot Museum.

In 2023 she presented an ambitious collaborative jacquard weaving project funded by Arts Council England and Leeds Inspired. Recently, she has been creating large scale work for architectural settings in the UK and abroad.

Paper Form 1

2021

Handwoven paper & copper

30 x 25 x 20cm

£820

Paper Form 5

2021

Handwoven paper & copper

30 x 25 x 20cm

£790

Paper Form

2021

Hand woven paper

14 x 48 x 9cm

£700

Depending 2021

Handwoven copper and nylon

250 x 90 x 3cm

£18,000

Fragment 2023

Handwoven paper, linen & birch-plywood frame

43 x 43cm

£960

Lacuna II 2023

Handwoven paper, linen & birch-plywood frame

43 x 43cm

£960

Junctions 2023

Silk, paper and birch-plywood frame

88 x 36cm

£2,000

COURTNEY SPENCER

B. 1980 SYDNEY, AUSTRALIA

Courtney Spencer is an Australian artist, curator and collaborator who has been based in Yorkshire since 2005. Her artistic practice explores aspects of her own identity. She is particularly interested in her primary school years when the family moved frequently across rural settings of Western Australia for her father’s job with the Bureau of Meteorology.

She often works with materials such as rocks, sand, dirt, and found objects sourced from locations from her childhood. Her work responds to the place and her associated feelings with the sense of place or the corresponding time from her childhood.

Her work takes an array of forms that can include sculpture, installation, drawing, photography and film.

She was the director of an arts venue in Leeds for five years, began the annual Leeds Summer Group Show in 2015, works as an independent curator and writes a monthly column for The State Of The Arts called Snooping Through Studios where she interviews artists in their studios.

2022

Ocean rope and cable ties

60 x 70 x 50cm NFS

Untitled

ZOE SPOWAGE

B.

1991 NOTTINGHAM, UK

Zoe Spowage’s artistic practice spans drawing, painting, and sculptural works that showcase a distinct blend of style and theatricality. Her work depicts a carefully orchestrated scene, brimming with tension that leaves viewer in anticipation, wondering if they’ve missed an unsettling moment or if one is about to unfold.

Her works has a real sense of physicality, evident not only in scale and bold lines but also in the portrayal of female figures. These characters, often depicted in active states and partial undress, exude a blend of strength and grace, embodying both a muscular presence and an ethereal agility.

The four canvases in this show were created whilst Zoe was pregnant. These pieces delve into the complexities of

parenthood and the shifting relationships, offering poignant reflections on the transformation of the body and the self.

Zoe graduated from Falmouth University in 2013. She was shortlisted for the British Women Artists prize 2018, awarded the Surface Gallery Prize in 2017, and the Nottingham Castle Open Prize in 2016. She has shown extensively in solo and group shows.

She has been selected for a range of UK and international residencies including: Charles Abbey - Nottingham 2021; Cyprus School of Art - Cyprus 2019/2020; ComPeung - Chiang Mai Thailand 2016; The Old Burtons - Ilkeston 2013/2014.

Zoe is based in Leeds and is an active member of the art collective PRECIOUS.

OPPOSITE PAGE Installation view.

Welcome 2023

Conte pastel, acrylic and dye on canvas

152 x 97cm

£5,000

OPPOSITE PAGE

I’m sorry Bella 2023

Conte pastel, acrylic and dye on canvas

127 x 122cm

£5,000

The baby and the bathwater 2023

Conte pastel, acrylic and dye on canvas

152 x 97cm

£5,000

OPPOSITE PAGE

Ballet, living on compliments 2023

Conte pastel. Acrylic and dye on canvas

153 x 225cm

£7,500

JAMIE STEWARD

B. 1983 BRADFORD, UK

Jamie Steward is a multidisciplinary artist living and working in Leeds. Initially known for his graffiti, he has moved his practice to focus on mural painting and portraiture. Influenced by his graffiti roots, his work exudes a captivating blend of boldness and subtlety.

Employing a restrained palette and deliberate mark-making, Jamie’s art offers a glimpse beneath the surface, reflecting his belief in the importance of capturing depth in portraiture.

His portraits have a sophisticated sensitivity achieved through not only the layers and brushwork but also the composition of his sitters who have a presense that feels both assertive and also at ease.

With a career spanning decades, Jamie continues to evolve his craft, infusing each piece with his unique perspective and unwavering passion for artistic expression.

Olivia 2023

Mixed media on board

100 x 150cm

£2,300

Tradescantia 2024

Mixed media on board

21 x 29cm

£450

Hannah 2023

Mixed media on board

42 x 59cm

£1,200

Niall 2023

Mixed media on board 59 x 84cm £1,800

ROSIE VOHRA

B. 1992 HERTFORDSHIRE, UK

Rosie Vohra is a multi-disciplinary artist and tutor based in Leeds. She studied at The Royal Drawing School in 2014 after completing a Fine Art degree at Leeds Arts University.

Her practice emerges from a focus on drawing and collage and incorporates different types of making, from sculpting and whittling to sewing and painting.

Rosie’s work celebrates the transient nature of found imagery which she often repurposes to make new associations from the fleeting world around us.

She has experience teaching workshops and drawing courses in person and online at The Royal Drawing School, Assembly House Studios, Leeds Arts University, York St. John University, TOAST online Creative Residency Weekend and El Segundo Museum of Art in Los Angeles.

She is a member and co-founder of PRECIOUS Art Collective and is an active member of Assembly House Studios in Leeds.

Ink and acrylic on canvas

152 x 202cm (framed)

£7,000

Beetle with Women 2022

ROANNA WELLS

B. 1987 SHEFFIELD, UK

Roanna Wells’ practice is an intuitive expression of quiet order, subtle structure and collected detail, which is offset by a curiosity into the spontaneous and accidental marks or residues of human interaction and the hand-made process.

She has a BA (Hons) Embroidery from Manchester School of Art, MMU and even though she now works in watercolour, there is an embroidery or textile quality to her work.

She is continually interested in the effects of repetition through the study of multiples. This can include the visual effect of the marks created or the meditative mindset through which the work is made. This exploration is carried out through detailed mark making processes that are usually very ordered and regimented in structure, with a quiet

Peak Shift

2020

Watercolour on cartridge

100 x 140cm

£4,200

and delicate aesthetic, but often with a depth of concept in the subject matter and inspiration.

Roanna’s inherent nature is careful and considered, so the works she makes have a controlled organisation to them, however she is equally fascinated by the aspects of the processes that are spontaneous and unplanned, for instance the reverse side of embroidered work, the collected strips of paper used to mask the edges of her paintings, or even turning finished pieces upside down to create an entirely new perspective.

Her most current series of watercolour paintings focus on depth of movement whilst gently disrupting linear structures, exploring the modes with which we can relinquish control and expectations, either as a viewer or as an artist.

Moon Rising 2022

Watercolour on cartridge

100 x 140cm

£4,200

Diffraction One

2022

Watercolour on cartridge

80 x 80cm

£1,600

Diffraction Four 2022

Watercolour on cartridge

60 x 60cm

£800

Diffraction Six 2022

Watercolour on cartridge

40 x 40cm

£500

Diffraction Seven 2022

Watercolour on cartridge

40 x 40cm

£500

Diffraction Eight 2022

Watercolour on cartridge

40 x 40cm

£500

SARAH WARD

B. 1987 SOUTHEND-ON-SEA, UK

Sarah Ward is a UK based artist, weaver and teacher from Southend-onSea, Essex. With her parents Lorraine Podlesny, a painter, and Henryk Podlesny, a keen wood worker, she spent her childhood surrounded by creativity.

Graduating from Central Saint Martins School of Art in 2010, and having spent some years working in the textile industry at a silk jacquard mill, a hand weaving studio and a homeware brand, Sarah began her own practice, setting up her huge wooden floor loom in her 90 year old Italian grandmothers garage.

During the pandemic, she was unable to weave in her studio, and so she turned

her hand to off-loom weaving. Sarah’s work centres around celebrating woven structure as an art form, and sustainability. She spends her time teaching the joy of weaving.

She says: “Weaving is deeply connected to what it is to be a human. Like music, weaving developed in many parts of the world simultaneously, before civilisations had communication with one another.”

She draws inspiration from historic French, Japanese and Indian textiles, and there is a constant cycle of learning and reworking, whilst maintaining the utmost respect for the craft.

OPPOSITE PAGE Installation view.

A4 on 6mm birch plywood

Woven with white Gima Cotton

44 x 35cm (framed)

£800

Slate woven with cotton

32 x 27cm (framed)

£800

A6, woven on 3mm birch plywood

Cotton cord dipped in latex

28 x 23 x 3cm (framed)

£550

OPPOSITE PAGE

White tile woven with cotton

Tile, cotton and latex

14 x 14cm (unframed)

£400

Japanese Tiles

Tiles, cotton, linen, silk, and latex

8 x 8 x 0.5cm (unframed)

£300 each / £500 a pair

THE VIEWING ROOM

AT FIRST WHITE CLOTH HALL

The Viewing Room is an informal space upstairs at First White Cloth Hall with pristine white walls and huge wooden beams that pre-date the building and are thought to be over 500 years old.

We have artworks on display and further works in storage that we’re happy to show on request.

This collection includes new works alongside works from the recent exhibition ‘Beyond Colours From Life’.

Within The Viewing Room we have works by the following artists:

Helen Dryden

Michelle Duxbury

Hondartza Fraga

Fiona Grady

Jonathan Hooper

Phill Hopkins

Lorna Johnson

Courtney Spencer

Roanna Wells

OPPOSITE PAGE

Installation view of works by Phill Hopkins.

Grotto 3

2014

Photograph printed on metallic photographic paper

Limited edition of 5

60.5 x 60.5cm | 24 x 24in (incl. frame)

£600 (framed)

28.4 x 40.7cm | 11.25 x 16in

£450 (unframed) each

Grotto 4

2014

Photograph printed on metallic photographic paper

Limited edition of 5

60.5 x 60.5cm | 24 x 24in (incl. frame)

£600 (framed)

28.4 x 40.7cm | 11.25 x 16in

£450 (unframed) each

LORNA JOHNSON

LORNA JOHNSON

Shops in Headingley

(Letting agent; Fast food) 2023

Oil on cradled board

44 x 54 cm | 17 x 21 in (incl. frame)

£700 (framed)

Beckett Park 2022

Oil on canvas

91 x 61 cm

£1,200 (framed)

JONATHAN HOOPER

JONATHAN HOOPER

MICHELLE DUXBURY

Untitled red thread I 2022

Cotton thread on Japanese paper

42 x 42cm | 16.5 x 16.5in (incl. frame)

£600 (framed)

MICHELLE DUXBURY

Untitled red thread II 2022

Cotton thread on Japanese paper

42 x 42cm | 16.5 x 16.5in (incl. frame)

£600 (framed)

HELEN DRYDEN

Golden Acre Palm 2023

Acrylic and spray paint on canvas

40 x 60 cm | 15.75 x 23.5 in £800

HELEN DRYDEN

It started like any other recreational activity, I guess 2022

Acrylic on canvas

80 x 100 cm | 31.5 x 39.5 in £1,600

COURTNEY SPENCER

Broome Lansdcape (i) 2023

Natural pigment on Fabriano watercolur paper

77 cm x 57 cm | 30.25 x 22.5 in (incl. frame)

£500 (framed)

COURTNEY SPENCER

Untitled

2023 40 x 40 x 150cm

Natural pigment on paper NFS

COURTNEY SPENCER

Untitled 2023

Felt, sticks, concrete

block, MDF and casters

NFS

ROWANNA WELLS

Diffraction One

2022

Watercoklour on cartridge

80 x 80cm

£1,600 (framed)

FIONA GRADY

Afternoon Ratio I 1/5

2017

Screenprint in four colours on Somerset Satin

300gsm paper

60.5 x 43.5 cm | 23.8 x 17.1 in (incl frame)

£500

FIONA GRADY

Afternoon Ratio II 1/5

2017

Screenprint in four colours on Somerset Satin

300gsm paper

60.5 x 43.5 cm | 23.8 x 17.1 in (incl frame)

£500

HONDARTZA FRAGA

Incognito 1

2019

Archival pigment print on Hahnemuhle photo rag

Signed edition of 3 + 1 AP + 1 exhibition copy

42 x 59.4cm | 16.5 x 23.5in

£350 (unframed)

60 x 80 cm | 23.6 x 31.5 in (incl. frame)

£500 (framed)

HONDARTZA FRAGA

Incognito 2

2019

Archival pigment print on Hahnemuhle photo rag

Signed edition of 3 + 1 AP + 1 exhibition copy

42 x 59.4cm | 16.5 x 23.5in

£350 (unframed)

60 x 80 cm | 23.6 x 31.5 in (incl. frame)

£500 (framed)

HONDARTZA FRAGA

Incognito 3

2019

Archival pigment print on Hahnemuhle photo rag

Signed edition of 3 + AP + 1 exhibition copy

42 x 59.4cm | 16.5 x 23.5in

£350 (unframed)

60 x 80 cm | 23.6 x 31.5 in (incl. frame)

£500 (framed)

HONDARTZA FRAGA

Incognito 4

2019

Archival pigment print on Hahnemuhle photo rag

Signed edition Edition of 3 + 1 a/p + 1 exhibition copy

42 x 59.4cm | 16.5 x 23.5in

£350 (unframed)

60 x 80 cm | 23.6 x 31.5 in (incl. frame)

£500 (framed)

HONDARTZA FRAGA

Incognito 5

2019

Archival pigment print on Hahnemuhle photo rag

Signed edition of 3 + 1 AP + 1 exhibition copy

42 x 59.4cm | 16.5 x 23.5in

£350 (unframed)

60 x 80 cm | 23.6 x 31.5 in (incl. frame)

£500 (framed)

HONDARTZA FRAGA

Incognito 6

2019

Archival pigment print on Hahnemuhle photo rag

Signed edition of 3 + 1 AP + 1 exhibition copy

42 x 59.4cm | 16.5 x 23.5in

£350 (unframed)

60 x 80 cm | 23.6 x 31.5 in (incl. frame)

£500 (framed)

HONDARTZA FRAGA

Incognito 7

2019

Archival pigment print on Hahnemuhle photo rag

Signed edition of 3 + 1 AP + 1 exhibition copy

42 x 59.4cm | 16.5 x 23.5in

£350 (unframed)

60 x 80 cm | 23.6 x 31.5 in (incl. frame)

£500 (framed)

HONDARTZA FRAGA

Incognito 8

2019

Archival pigment print on Hahnemuhle photo rag

Signed edition of 3 + 1 AP + 1 exhibition copy

42 x 59.4cm | 16.5 x 23.5in

£350 (unframed)

60 x 80 cm | 23.6 x 31.5 in (incl. frame)

£500 (framed)

PHILL HOPKINS

Guelder-Rose above Grasses (Gibraltar Point)

2021

Acrylic on gessoed board

85 x 61 cm

£2,250 (framed)

OPPOSITE

PHILL HOPKINS

Across the Beach to the Dunes (Gibraltar Point)

2021

Acrylic on gessoed board

85 x 61 cm

£2,250 (framed)

PHILL HOPKINS

Channel Running to the Sea (Gibraltar Point)

2021

Acrylic on gessoed board

85 x 61 cm

£2,250 (framed)

Figure with a Wildflower Bouquet, St Ishmael (Walking Ahead)

2023

Acrylic on canvas

174 x 128cm

68.5 x 50.4in

£8,500

PHILL HOPKINS

PHILL HOPKINS

Figure Beyond the Mud and Fallen Branches (Walking Ahead)

2022

Acrylic on canvas

180 x 130cm

70.8 x 51.1in

£9,000

Figure at the End of the Arbor (Walking Ahead) 2022

Acrylic on canvas

180 x 130cm

70.8 x 51.1in

£9,000

PHILL HOPKINS

Figure in a Muddy Path Near the Quarry (Walking Ahead)

2022

Acrylic on canvas

180 x 130cm

70.8 x 51.1in

£9,000

PHILL HOPKINS

Nearing the Bend in the Road (Walking Ahead)

2022

on canvas

180 x 130cm

70.8 x 51.1in

£9,000

PHILL HOPKINS

Acrylic

Late Autumn, Early Snow: Winterise (Walking Ahead)

2022

180 x 130cm

70.8 x 51.1in

£9,000

PHILL HOPKINS

Acrylic on canvas

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