Exhibiting at Victoria Hall, Oakham
Finalist For The Prestigious Jackson’s Art Prize 2025
FAI Where Mediums Meet and Art Transcends
The Art of Comfort: Britain’s Beloved Fish & Chips
DAVID IRISH
MIKE MORRIS
ASHER
LIZZIE JAYNE
Peaceful - Katja Luhrs
UNFOLDING SUMMER
As summer opens its palms to us— warm, wide, and shimmering— we welcome you to a new issue of Hidden Talents. These 48 pages are stitched together with brushstrokes, verses, stories, and voices that might otherwise go unheard.
This season, we invite you to pause with purpose. Inside, you’ll meet painters who turn silence into colour, writers who walk ancient roads, and creatives who transform conservation into calling. We travel across languages—English, French, German— through past and present, imagination and place.
Midway through, a musician lingers on a beach in Hidden Notes—the beginning of a story that will carry into our autumn issue. Each page is an invitation to listen deeper, see more fully, and rest in the company of expression.
A poem for this moment:
Beneath the noise of brighter things, A softer song begins to grow. It hums in ink and painted wings, In footsteps slow, in winds that know. A whisper says, “Create, begin— What’s hidden waits for you within.”
Thank you for journeying with us again. May the pages ahead feel like a walk through warm light—and may hope, wherever you are, whisper to you:
“Here I am. Keep going. You’re doing great.” words by Lizzie Jayne
With warmth and creativity
Evette Edmeade Editor Hidden Talents Magazine
BRISSY BROU EVARISTE THE PAINTER OF SOUND AND SOUL
LITTLE WHITE SAILS
FROM CANVASES TO CASTLES: DAVID IRISH’S WORK SHINES IN OAKHAM
CHEF DEAN
DANNY BYRNE DRAWING THE LINE
MIKE MORRIS FINALIST FOR THE PRESTIGIOUS JACKSON’S ART PRIZE 2025
PAINTING THE PAST AND PRESENT: CAROLE PUGH’S ART CELEBRATES NORTHERN HERITAGE AND ENCROACHING WILDLIFE
NATURE CONSERVATION AN ARTISTIC WAKE-UP CALL
DAVID IRISH DISCOVERS THE QUIET MAGIC OF KETTLE’S YARD
ASHER FAI WHERE MEDIUMS MEET AND ART TRANSCENDS
HIDDEN NOTES PART 1: THE SUMMER PRELUDE THE ART OF COMFORT
COMPETITION SEASON: A SUMMER GUIDE FOR EMERGING ARTISTS
SVETLANA BAKHAREVA PAINTING AS PORTAL
PERFECT TIMING LIZZIE JAYNE
Brissy Brou Evariste
BRISSY
BROU EVARISTE
The Painter of Sound and Soul
Brissy Brou Evariste, born on 26 December 1991 in Abidjan, Côte d’Ivoire, is a visual artist whose creative journey began at an early age. His early discovery of an artistic calling led him to enrol at the Lycée d’Enseignement Artistique in 2008. After obtaining his baccalauréat in the arts in 2010, he was admitted to the École Nationale des Beaux-Arts in Abidjan, where he graduated top of his class with a Master’s degree in Fine Arts (Arts Plastiques) with honours in 2016.
Evariste later turned to teaching, a vocation he now balances with his painting practice. As a lecturer in painting at the École des Beaux-Arts in Abidjan, his work focuses on scenes from everyday African life and musical culture. Using a mixture of collage and spontaneous mark-making, he overlays forms and contours, bringing expressive dimension to highly structured compositions.
He describes himself as an interpreter of a particular kind of emotion—one evoked by soundscapes, cultural vibrations, and the warmth of his environment. For Evariste, painting becomes a way of translating the music of life: its rhythms, cadences, vibrations, movements, sounds, colours, and even its silences. Each blank canvas becomes a stage where he scratches, shapes, and sculpts his emotional world into form.
A semi-figurative painter, Evariste has created numerous works exploring themes such as jazz and cultural identity. Rich not only in form and colour but especially in expression, his paintings use mixed media— collage, watercolour, and oil—to animate the background and figures. He masterfully plays with light and shadow, enabling the viewer to capture the essence of his subjects.
His passion for music, rooted in childhood and initially experienced as a quiet admiration, evolved into a profound artistic influence. The sound, its vibrations, and the warmth of ancestral music deeply inform his creative vision.
ARTISTIC APPROACH
In visual art—and painting in particular— there is an inherent challenge in representing that which cannot be physically seen or perceived by the human eye; the metaphysical, the abstract, the inaudible.
Yet for Evariste, this very challenge is the essence of creation. From the beginning of his career, he has been drawn to expressing what cannot be captured in a photograph or film. He typically produces one or two collections per year. Each series is the result of rigorous research and experimentation, enabling him to explore and refine new techniques. His inspiration stems from daily life, both past and present. He draws references from listening to music, reading, viewing photographs—or even capturing his own through photography.
Lines, strokes, spots, dots, and other graphic elements emerged in his work as a deliberate challenge to conventional representation, bringing a distinct narrative style that invites new stories to unfold. Over time, his treatment of faces, volume, light, movement, and backgrounds has evolved, reflecting a deepening of both technical skill and expressive intent. While he respects the academic rules of art, Evariste often paints freely, deliberately stepping outside the boundaries to embrace imperfection as a mark of authenticity.
His colour studies—layering transparent dyes, oil, and water-based paints—create dynamic atmospheres unique to each canvas. Realism is not his concern; rather, it is the emotional truth he seeks.
Music remains his enduring muse. His most recent painting is always his favourite, for each reveals a discovery. He ensures that each work remains original and unrepeated, eschewing any formula for success. For Evariste, the value of an artwork lies in its originality, research, and authenticity. He paints from the heart, and in doing so, touches others in kind.
As he reflects:
“My work as a painter aligns with the rhythm of life, which, like music, contains movement, vibration, silence, and colour. I face the blank canvas and mould it, shape it, touch it, scratch it—to express my emotions and my truth. The musicality of life is my lens on the society we live in today.”
“Little White Sails”
“The world is so busy and rushed,” sighed Pip. “Nothing seems the same anymore. Somedays, I just long for some peace.”
Marmalade knew just the place to take a weary little cat. He packed some tuna and cucumber sandwiches, juicy cherry tomatoes and rich fruit cake into a lunch pail.
“Come with me,” smiled Marmalade. The two friends walked down a sandy path, climbed over an old wooden stile and sat side by side watching the sailing boats.
“This is where I come when I need to be quiet, and I always feel better after. Look over there,” said Marmalade.
Pip watched the seagulls fly above the noise and the boats seemed happy floating on the gentle waves.
“I wish we could sail away,” said Pip. “Why?” said Marmalade. “Noise and strife will only follow, no matter how far you go, but don’t let the world trouble you. Rest today, and let the winds of peace fill the sails of your heart. Besides, what would I do without you? You’re just tired my friend and everything seems more gloomy when you’re tired. Here, have a sandwich. You’ll soon feel better.”
The two sat for hours gazing and breathing in the fresh sea air. Marmalade was right, today was just what he needed and Pip soon forgot about his woes. He didn’t need to sail away at all, he just needed a change of scenery. Peace descended on the little cat as they watched the sun set and the moon rise. Pip was ready to face tomorrow.
“You do make a good sandwich, Marmalade!” said a much happier Pip, licking his paws. “I feel better.”
“I knew you would,” winked the kind ginger cat.
What a wise friend you are, Marmalade. It’s good to have a day away every so often. Let’s promise to do the same.
Original Art & Short Story (c) ~ Lizzie Jayne, 2025.
FROM CANVASES TO CASTLES:
David Irish’s Work Shines in Oakham
When visiting Victoria Hall in Oakham, nestled in Rutland — England’s smallest county — you’ll be delighted to discover a wonderful range of paintings by David Irish on display.
Oakham is a charming English market town, full of character, with its stone buildings, thatched cottages, and plenty of lovely places to explore or enjoy a meal. Victoria Hall, right on the High Street, is a beautiful Grade II listed building brimming with history. These days, it’s a lively community venue, hosting everything from art exhibitions and antiques fairs to all sorts of local events.
While you’re in town, don’t miss Oakham Castle and its impressive Great Hall, one of the finest examples of domestic Norman architecture in Britain. Inside, you’ll find a fascinating collection of horseshoes in all shapes and sizes hanging on white plastered walls — a striking and unusual sight that’s truly a work of art in itself. For centuries, royalty and nobility have gifted horseshoes to the castle, including Queen Elizabeth II, who donated one from one of her racehorses.
There’s plenty more to see in Oakham, and if you fancy a bit of shopping, the town boasts a great selection of independent shops. It’s the perfect day out for anyone with a love of history and art — a little passport to another world.
DEAN Chef
1. Beef Croquettes with Kohlrabi Purée, Pickled Kohlrabi, Coriander Oil & Cress
Crispy, golden beef croquettes meet the cool elegance of kohlrabi in two forms—silky purée and delicately pickled ribbons. A splash of coriander oil and a sprinkle of fresh cress add a garden-bright lift, creating a dish that balances richness with summer freshness.
2. Stuffed Guinea Fowl with Broccoli, Broccoli Purée, Toasted Macadamia & White Wine Sauce
Juicy guinea fowl, carefully stuffed and roasted, is the centerpiece of this warm-weather favorite. A duo of fresh and puréed broccoli adds a summery green brightness, while toasted macadamias provide buttery crunch. A light white wine sauce brings it all together with a sun-kissed, aromatic finish.
3. Cod with Asparagus, Broccoli Purée, Fish Cream & Wild Garlic Oil
Fresh cod—delicate and perfectly cooked—is paired with crisp asparagus and a vibrant broccoli purée for a light yet satisfying summer plate. A silky fish cream adds richness without weight, while wild garlic oil gives a fragrant, seasonal punch.
4. BBQ Hispi Cabbage with Garlic Mayo & Crispy Onions
This summer showstopper transforms humble Hispi cabbage into a smokysweet star. Charred on the grill and served with a punchy garlic mayo, it's crowned with crispy onions for an irresistible crunch. Bold, bright, and made for sunny days.
5. Wild Garlic Gnocchi with Asparagus, Broccoli Purée, Onion Sauce & Wild Garlic Oil
Soft, handmade gnocchi infused with wild garlic offer a fresh twist on comfort. Paired with summer asparagus, a light broccoli purée, and a mellow onion sauce, this dish is finished with wild garlic oil for a vibrant, herbaceous note that sings of the season.
DANNYBYRNEDrawing the Line
In Danny’s family, service was tradition. His older brother followed their father into the forces, and even his sister married into military life. So, it was little surprise when Danny was encouraged to consider the same path.
But Danny had different ideas.
THE ART OF DEFIANCE
A LIFE ON THE MOVE
From an early age, Danny Byrne’s life was one of transience. As the son of an RAF military policeman, he spent his childhood moving from one base to the next—never living in one place for more than two years. While this nomadic lifestyle offered a passport to many corners of the world, it also came with the expectations of a military legacy.
Art was something of a mystery in the Byrne household—seen more as a hobby than a career. Yet, amid the uniforms and regimentation, Danny found unexpected support from his art teacher, Mr Norman Leater. It was Mr Leater who recognised Danny’s remarkable talent and gave him the encouragement he needed to pursue art seriously.
Without ever attending art school, Danny taught himself the skills he needed to make his mark. By the age of just 13, his cartoons and caricatures were appearing in both local and national newspapers. He quickly earned a reputation for his sharp humour and visual wit, and his early success led him to a professional role as a political cartoonist with the Mirror Group.
BEYOND THE HEADLINES
Danny’s illustrations didn’t stop at newspaper columns. His bold, graphic style found a home on greeting cards, calendars, and jigsaw puzzles, and he went on to publish a series of popular cartoon books under the title Danny Gets to Grips with…
But over time, his creativity stretched beyond cartoons. Danny began to explore painting—a new medium, but one that still echoed the expressive lines and storytelling flair of his early work.
A PAINTER'S EVOLUTION
Despite no formal training in fine art, Danny once again found his own way. He brought the graphic energy of cartooning into his oil paintings and watercolours, creating works that were rich in narrative and character. His portraits nod to the storytelling traditions of William Hogarth, James Gillray, and Ruskin Spear, while his landscapes carry echoes of Stanley Spencer and the unflinching realism of Otto Dix.
Each canvas is unmistakably Danny’s—bold, thoughtful, and infused with a sense of searching.
A NATIONAL STAGE
In the past 25 years, Danny’s work has gained recognition from some of the UK’s most respected institutions. His paintings have been accepted into:
• The Royal Academy Summer Exhibition
• The Royal Watercolour Society
• The Royal Society of Portrait Painters
• The Royal Society of Marine Artists
• The Royal Institute of Painters in Watercolour
• The Society of Equestrian Artists
• The Royal Birmingham Society of Artists
• The Royal West of England Academy in Bristol
He’s been featured in the Times Watercolour Competition, the Jackson Art Prize, and claimed the Dorset Art Prize three years in a row.
In 2020, he appeared on the television series Sky Portrait Artist of the Year, and this year, he reached a new milestone: shortlisted for the prestigious Herbert Smith Freehills Portrait Award at the National Portrait Gallery in London. Still Searching
For all his success, Danny sees his journey as unfinished. "What I’m trying to achieve," he reflects, "reminds me of the famous quote by Bono: ‘I still haven’t found what I’m looking for.’
To me, it’s not about finding; it’s all in the search."
And what a search it’s been—one that’s taken Danny Byrne from military housing to gallery walls, proving that even without a map, talent has a way of finding its own direction.
Ihave been teaching art in Birmingham for over 30 years—across private, grammar, and, most extensively, in an inner-city secondary school where I spent over 23 years. My role as Head of Department consumed much of my focus, leaving only short breaks or longer summer holidays for my own creativity to emerge. Fortunately, for the past 15 years, I have worked in a studio in Ladywood, central Birmingham. I have exhibited numerous times, both individually and with fellow like-minded artists, whose support has been invaluable.
I am of mixed Welsh and Irish ancestry, a background typical of Birmingham during a particular period. As a child in the 1970s, we moved to Tredegar in South Wales, which reaffirmed my personal connection to Wales and my extended family.
MIKEMORRIS MORRIS
Finalist For The Prestigious Jackson’s Art Prize 2025
Though my father has long since passed, I can still hear his Welsh accent and the tales he once told me. Perhaps this is one reason I strive to create ethereal paintings that aim to be lyrical in their intent. Whether I have achieved this remains uncertain. What is certain, however, is that the economic turbulence of the 1970s continues to echo through our collective memory and is present in some of my work.
I find delving into the past deeply stimulating. My inspirations include references to Expressionism and niche art movements such as the Nabis or Vorticists.
These offer both comfort and a wellspring of ideas. Contemporary artists like Peter Doig, Daniel Richter, and Billy Childish also occupy space in my mind, alongside historical figures such as Manet and Munch. That said, I can just as easily appreciate a Cy Twombly, Sean Scully, Bridget Riley, or Callum Innes.
My practice often begins with the appropriation of an image—something visually arresting or thematically relevant to my current interests. I then weave it into a narrative or emotional context, reshaping its meaning. As a result, my paintings are often ambiguous, inviting the viewer to interpret and engage with the imagery on their own terms.
My goal in painting is to create drama—whether through composition or the methods employed. I embrace the possibilities of paint, texture, and surface. Frequently, time spent contemplating what the paint has already formed guides my next steps. At times, being bold and decisive becomes crucial— and you can sense it in the work.
I would describe my application of paint as energetic yet controlled. My work is typically figurative with a sense of fluidity but often plays with the picture plane and abstraction. The paintings are emotionally charged, containing elements of starkness and isolation. Shape and form frequently dominate, offering the viewer an invitation to explore the space within.
I am drawn more to the past than the present. Viewers may find themselves uncertain about the era my figures inhabit—do they exist in historical time, or a personal, mystical, and lyrical dimension of my own creation?
One particular inspiration came from a stark 1960s photograph of figures in the snow. The dynamic, flattened shapes against the white landscape were visually striking. I wanted to enrich that scene with a new narrative—something more gothic and intense. At the time, I was deeply moved by the power of nature and wanted to explore that theme in a less literal way. The resulting painting seeks to convey an individual’s internal experience in the midst of a storm.
Some figures may appear frightened in that captured moment; others might seem to embrace their freedom and nature's raw power to feel alive.
Ultimately, painting remains an ongoing and deeply engaging exploration for me. Jackson’s Art Prize
“ Mike Morris’s painting was honoured as one of the final 100 selected for the prestigious Jackson’s Art Prize”
PAINTING THE PAST AND PRESENT:
Carole Pugh’s Art Celebrates Northern Heritage and Encroaching Wildlife”
Iwas inspired to paint these beautiful Canada geese while walking with the Accrington Ramblers. Like most northern towns, Accrington still has remnants of the industrial mills, which I think adds to its character.
I grew up in the days of cotton mills and chimneys in the fifties, and this is reflected in my northern scenes. Cobbled streets and back-to-back houses also feature prominently in my paintings.
Looking back to my childhood, I was always drawing. Painting came later, when I trained as a textile artist after leaving school.
Now that I am retired, I fill my days painting local scenes and memories from the past. When I travel abroad, my favourite place is Venice. I am building a collection of Venetian scenes and hope to exhibit in Italy in the future.
“Red Alert” captures the urban landscape and how our beautiful wildlife is encroaching into our towns and cities as the countryside shrinks. This is one of my favourite paintings, as I love our wildlife and the character of the old buildings.
NATURE CONSERVATION
An Artistic Wake-Up Call
By Beate Förster and Katja Lührs
Nature, in all its diversity and beauty, lies at the heart of artistic engagement, inspiring us to act responsibly. Art can be a powerful medium for conveying ecological responsibility and sparking reflection on the future
of our planet. Artistic works highlight the urgency of protecting nature and invite us to consider the consequences of our actions. Through art projects, awareness of environmental issues is heightened, and dialogue around sustainability is encouraged.
I see art as a bridge between humans and nature, opening new perspectives and nurturing both a love of the natural world and constructive dialogue. My artwork seeks to connect art with nature conservation, aiming to raise awareness and prompt reflection on the future of our planet. My goal is to use my creations to inspire a fresh perception of nature and promote new ways of thinking aligned with environmental protection: safeguarding the natural foundations of life and taking responsibility for future generations. I hope my images motivate people to question their own actions and make more sustainable choices.
Another important aspect of nature conservation is adopting a vegan diet. Choosing to eat vegan can be a significant personal contribution to protecting the environment. Animal agriculture plays a major role in deforestation and the depletion of natural resources. Here too, art can help deepen awareness of the impacts of our dietary habits and offer alternative perspectives.
Artistic representations can showcase nature’s beauty and diversity while exploring ethical solutions for both environmental and animal protection. Linking art with the principle of “live and let live” can help cultivate a broader understanding of sustainability and conservation. Art also serves as a powerful tool for environmental education. Engaging with artistic works allows people to develop a deeper understanding of ecological connections. Art and sustainability go hand in hand.
Kiss-100x100
Peaceful - Friedvoll - 100x80 - 2023
Art projects focused on environmental themes can act as catalysts for societal change. They provoke thought and encourage people to reflect on their own actions and make more sustainable decisions. Engaging with art can open new perspectives on environmental challenges and inspire innovative solutions.
Overall, it is clear that art is a valuable medium for raising awareness of environmental issues and motivating sustainable action. Through creative expression, the bond between humans and nature is strengthened, fostering deeper understanding and commitment to conservation. Art projects can open new doors and present innovative approaches to tackling environmental problems, helping to pave the way towards a sustainable future.
All is well - Alles Gut - 100x100 - 2025
DAVID IRISH Discovers
THE QUIET MAGIC OF KETTLE’S YARD
“ Where Art Meets Life in Perfect Harmony”
Wherever you rest your eyes, another wonderful gem greets you. It feels as though you have quietly slipped into a parallel world of light and poetry. A calmly arranged Zen scene, populated with various beautiful creations — that is Kettle’s Yard.
The gallery was conceived by Jim and Helen Ede in 1956, who decided to adapt a row of cottages in Cambridge into both a gallery and a family home. Having assembled a large collection of early 20thcentury art, they sought a place to house it. Rather than converting a building into a traditional gallery, they chose to display it in a domestic setting — a place where they entertained, slept, and cooked. Here, works of art sit informally alongside rustic and modern furniture, while light-coloured wooden floors display decorative Persian carpets. This allows any visitor to feel part of a setting defined by beauty, peace, and tranquillity.
The house is set over three floors, which twist and turn through stairwells and slightly varying levels.
Each corner holds a new treasure, where even a discarded, worn-out yard brush is treated with as much importance as a large, colourful framed painting. It’s a question of aesthetics — a democracy of art — where there is no hierarchy. The principle is how you perceive the world around you. A few pebbles laid out in a spiral suggest that anything is possible if you only appreciate how objects can be transformed into meaning beyond their natural setting. It is a concept Picasso implemented half a century earlier, reinvented in middle England by two unassuming people. The message is clear and unambiguous: anyone can be an artist; everyone has the potential to be one. It’s not about being able to draw or paint — it’s about seeing possibilities, having a flexible mind that doesn’t discriminate between objects. Even plants become objets d’art, part of the overall composition.
This gallery-cum-home is a teaching aid on how to see. It educates by stripping away assumptions about what art can be. Indeed, even the term "art" becomes something of a misnomer here.
Kettle’s Yard became a benchmark for contemporary living — a simplicity of life drawn from diverse influences such as Cornish villages and Moroccan homes. An off-white, uncluttered world of simplicity, it was a forerunner of Habitat, IKEA, and the modern interiors seen in House & Garden.
As for the works on display, there are some exceptional pieces, such as a series of maritime paintings by Alfred Wallis, who began painting in his seventies after retiring from a lifetime of fishing. Although often classified as outsider art, his works were highly influential for their composition, minimalism, and honesty. Painted on scraps of card and wood, they draw the viewer into his world — of fishing boats heading out to sea past comforting lighthouses and stone harbour walls, with an aerial perspective. A world before technology.
Other memorable pieces include sculptures by Gaudier-Brzeska, whose delicacy and intimacy express the human spirit. Tragically, his life was cut short in World War I at the age of 23.
His works show a maturity and sensitivity far beyond his years. Also noteworthy are the paintings of Christopher Wood, whether the large, colourful self-portraits or his maritime scenes, each infused with a smouldering emotional undercurrent.
There is much more to see in this unique place. No short account can fully capture the experience or atmosphere. Instead, it leaves a lasting impression of a singular vision from Mr and Mrs Ede. They bequeathed the entire gallery to Cambridge University in 1966, with the express condition that none of the works on display should be changed, removed, or exhibited elsewhere. Cambridge University must be congratulated — they have faithfully honoured that promise.
Tradition has it that before entering this "chapel of humanity," a bell must be rung to summon the door to open. Please go and ring it — you will not be disappointed.
Should you choose to visit the gallery and the architectural wonder that is Cambridge, I suggest using one of the many free Park and Ride facilities.
The bus from the Madingley Road Park and Ride (CB3 0EX) will take you directly to Kettle’s Yard, Castle Street, Cambridge (CB3 0AQ).
Story
My name is Asher Fai, and I am a UKbased multidisciplinary artist. I specialise in illustration, animation, and motion graphics, blending traditional techniques with digital tools to tell stories that are vibrant, emotive, and deeply personal. Art has always been my first love; it’s a way for me to understand and express how I see the world. Through crafting and perfecting my practice, it has become embedded within my identity.
I create digital paintings and animations with a painterly, expressive style using bold colours, fluid motion, contrast, and texture. I try to encapsulate movement and emotion, whether it reflects a playful tone or something darker and more sensual. I primarily work digitally using Adobe Creative Suite, After Effects, Photoshop, and Procreate, though I still hold a deep love for traditional mediums like oil paint and fineliners, which shaped my artistic foundation. I have always been obsessed with drawing and creating.
I used to make my own little books that I branded “Happy Books” before I moved on to Photoshop, working with a mouse and a halfcracked computer screen when I was eight. I’m inspired by Blackness in all its forms, heavily influenced by the beauty of Black women, the strength of Black men, and the richness of our stories. My own experiences as a Black woman and mother, along with the love I have for my son, family, and community, are constant sources of inspiration. Music is deeply embedded in me, too.
Growing up around my dad’s studio in the 2000s, surrounded by artists and creatives, sparked my love for storytelling through sound and image. This inspired one of my personal favourite pieces, “Music Sessions,” which captures the spirit of harmony when in “flow state.”
Deep End
I respond to the world around me, from joyful moments to urgent social issues. In 2020, I created “The Angels,” a short animated film in direct response to the callous murder of George Floyd. “Grey Sweater” explores the dangers of enabling rape culture, while “Black Love” is a celebration of sacred intimacy. “The Urban Flower” reflects my journey moving to London for work and experiencing the rat race of the cold, grey big city as I wrapped myself in my own colourful bubble to manifest my dreams and ideas. Art helps me process the world, giving me a voice to translate emotions into visuals when words fall short.
I’ve been fortunate to turn my passion into a career. I’ve led animation workshops for children with sickle cell and thalassemia through OSCAR Birmingham and exhibited my work in “For the Culture” at the RBSA, curated by Greenwood Presents. I’ve illustrated several best-selling children’s books for Marcia M Publishing, including “Sienna Starts School.”
My animation work includes “Ships A Coming,” a visual poem with Ebony Gilbert, and “Stages of Lost Freedom” with Kamran Rosen, both award-winning projects. “My Passion,” another animated short, won the judges' vote for the Artlist Creative Fest and was featured at Birmingham Festival 2023 alongside “Oath to Silence,” with both works screened at Overlap Social, a respected animation event in Birmingham. I also contributed background art to “The Fell We Climb” by Plus3k Studios and worked on Amazon’s +44 campaign, creating motion graphics to promote artists like Rema and Central Cee.
But above all, I just love to draw, and that love has opened so many doors. I’m grateful for every opportunity and recognition, including The Arches Project.
I have so many exciting projects on the way.. watch this space!
Grey Sweater
Mother Hood
A Spiritual Journey Through Malta
By Evette Edmeade
As the sun rose over the glimmering waters of St. Paul’s Bay, the breeze carried whispers of an ancient story. It was here, on this rugged shore, that the Apostle Paul was shipwrecked nearly 2,000 years ago—a moment that would transform both Malta’s history and its faith forever.
My journey began in Sliema, where bustling streets meet the serenity of the Mediterranean. Yet it was the call of history and faith that drew me deeper into the island.
Crossing into Valletta, the air seemed charged with centuries of devotion. I wandered through narrow streets lined with honey-coloured limestone buildings, marvelling at the grand St. John’s Cathedral, where artistry and spirituality meet in gilded splendour.
But the true heart of my journey was following the path of Paul. The biblical narrative from Acts 27-28 came vividly alive as I stood where tradition says his ship ran aground. Imagine the chaos of wind and waves, and Paul standing calmly among terrified sailors and prisoners, proclaiming that no lives would be lost. Against all odds, every soul aboard survived, washing ashore on what was then called Melite— modern-day Malta.
In Rabat, I visited St. Paul’s Grotto, a cool, hushed space beneath the surface where the apostle is said to have lived and preached during his three-month stay. The glow of candles flickered over the statue of Paul, evoking the resilience and hope he must have inspired in those early days.
Malta’s people still reflect the kindness described in Acts—“The islanders showed us unusual kindness.” Everywhere I went, locals were eager to share stories, smiles, and warm hospitality.
Beyond the sacred sites, Malta dazzled with natural beauty. A sail on a catamaran took me to Comino Island, where the vivid blues of the Blue Lagoon and the mysterious shadows of the Crystal Lagoon left
found shelter after the shipwreck.
me speechless. The sea caves carved by centuries of waves felt almost like secret chapels of nature, echoing with whispers of history and salt air.
Wandering through Malta’s art galleries, I found works celebrating the island’s soul—the interplay of light and stone, faith and history. The craftsmanship on ancient churches and buildings spoke volumes of generations of artisans who poured faith into every carved column and painted ceiling.
In Malta, the past is not just remembered—it is alive. From the echoes in St. Paul’s Grotto to the glistening waves off Comino, I felt connected to something timeless. This was more than a trip; it was a pilgrimage, a journey of spirit and discovery.
I left Malta with my heart full and my soul stirred, grateful for the island that sheltered a shipwrecked apostle—and still welcomes every traveller who comes seeking inspiration.
Inside St. Paul’s Grotto in Rabat, where tradition holds that Paul
The Blue Lagoon on Comino Island—a place of dazzling natural beauty.
Brissy Brou Evariste
BRISSY BROU EVARISTE
Le Peintre du Son et de l’Âme
Brissy Brou Evariste est né le 26 décembre 1991 à Abidjan, en Côte d’Ivoire. Très tôt, il découvre sa vocation artistique, ce qui le conduit à intégrer en 2008 le Lycée d’Enseignement Artistique. Après l’obtention de son baccalauréat artistique en 2010, il est admis à l’École Nationale des Beaux-Arts d’Abidjan. Major de sa promotion, il y obtient en 2016 un Master en Arts Plastiques avec mention.
Par la suite, il se tourne vers l’enseignement, qu’il concilie avec sa pratique artistique. Enseignant la peinture aux Beaux-Arts d’Abidjan, Brissy Brou Evariste consacre son travail aux scènes de la vie quotidienne africaine et à l’univers musical. À travers des collages et des gestes picturaux spontanés, il superpose formes et contours pour donner une dimension expressive à des compositions rigoureusement structurées.
Il se définit comme un interprète d’émotions singulières, celles que provoquent les ambiances sonores, les rythmes et les brassages culturels. Pour lui, la peinture est un langage qui traduit la musique de la vie : ses rythmes, ses cadences, ses vibrations, ses mouvements, ses sons, ses couleurs et même ses silences. Chaque toile vierge devient alors un terrain de jeu sensible qu’il scrute, façonne, palpe et gratte, pour exprimer sentiments et émotions.
Artiste peintre semi-figuratif, Brissy Brou Evariste a réalisé de nombreuses œuvres dans lesquelles il interroge des thèmes comme le jazz et l’identité culturelle. Sa peinture, riche en formes et en couleurs, se distingue surtout par son intensité expressive. Il utilise une technique mixte – collages, peinture à l’eau et à l’huile –pour animer fonds et personnages, jouant habilement sur les contrastes d’ombre et de lumière afin de capter l’essence des êtres et des formes.
Sa passion pour la musique, née dès l’enfance, s’est d’abord exprimée par une admiration silencieuse avant de devenir une source d’inspiration profonde. Le son, ses vibrations, et la chaleur des musiques ancestrales nourrissent son imaginaire artistique.
DÉMARCHE
ARTISTIQUE
En arts plastiques – et en peinture en particulier – il existe une véritable difficulté à représenter ce qui n’est ni tangible ni visible à l’œil nu. Pourtant, c’est ce défi que Brissy Brou Evariste choisit de relever : rendre visible ce qui est informel, abstrait, métaphysique. Depuis ses débuts, il prend plaisir à peindre ce qui échappe à l’objectif, à la caméra, à la perception directe.
Il produit en moyenne une à deux collections par an. Chacune est le fruit d’une recherche personnelle, d’une exploration technique et d’un renouvellement artistique.
Son inspiration vient de la vie quotidienne, ancienne ou contemporaine, et s’enrichit de musiques, de lectures, de photographies ou encore de ses propres clichés.
Les lignes, les traits, les taches, les points et autres éléments graphiques sont devenus chez lui une signature. Ils apparaissent comme une réponse esthétique à un besoin de différenciation, mais aussi comme un mode de narration. Dans ses œuvres, il traduit les vibrations sonores ou l’identité musicale par des moyens graphiques. Ses toiles montrent une évolution constante : dans le traitement des visages, des volumes, de la lumière, du mouvement et des arrière-plans.
S’il respecte les règles classiques de l’art, il lui arrive de s’en affranchir volontairement, acceptant l’imperfection comme une forme d’authenticité. Il étudie les interactions entre les couleurs, joue sur les transparences, superpose teintures, peintures à l’huile et à l’eau. Il ne recherche pas le réalisme, mais l’émotion.
La musique demeure son moteur créatif. Son dernier tableau est toujours son préféré, car il y découvre quelque chose de nouveau. Il veille à ce que chaque œuvre soit unique, sans répétition ni recette. À ses yeux, la valeur d’une œuvre réside dans sa recherche, son originalité et son authenticité. Il peint avec le cœur – et sa peinture touche le cœur des autres
Comme il le dit lui-même :
“ Ma démarche de peintre répond à la logique de la vie, qui est musique : une vie faite de rythmes, de cadences, de vibrations, de mouvements, de sons, de couleurs, et même de silence. Face à la toile vierge, je scrute, je façonne, je palpe, je gratte, pour exprimer mes émotions. La musicalité de la vie est ce regard critique que je porte sur la société d’aujourd’hui.”
NATURSCHUTZ
Ein künstlerischer Weckruf
Von Beate Förster und Katja Lührs
Die Natur, in all ihrer Vielfalt und Schönheit, steht im Mittelpunkt künstlerischer Auseinandersetzungen und inspiriert zu verantwortungsvollem Handeln. Kunst kann ein kraftvolles Medium sein, um ökologische Verantwortung zu vermitteln und dazu anzuregen, über die Zukunft unseres Planeten nachzudenken. Künstlerische Werke machen die Dringlichkeit des Naturschutzes sichtbar und laden dazu ein, die Folgen unseres Handelns zu reflektieren. Durch Kunstprojekte wird das Bewusstsein für Umweltthemen geschärft und der Dialog über Nachhaltigkeit gefördert.
Ich verstehe Kunst als Brücke zwischen Mensch und Natur, die neue Perspektiven eröffnet und sowohl die Liebe zur Natur als auch einen konstruktiven Dialog stärkt. Meine Werke verbinden Kunst mit Naturschutz und möchten für ökologische Themen sensibilisieren sowie zum Nachdenken über die Zukunft unseres Planeten anregen. Mein Ziel ist es, mit meinen Bildern Impulse für eine neue Wahrnehmung der Natur zu geben und ein Umdenken im Einklang mit den Zielen des Umweltschutzes zu fördern: den Erhalt unserer natürlichen Lebensgrundlagen und die Übernahme von Verantwortung für kommende Generationen.
Geborgenheit-
Meine Kunst soll Menschen motivieren, ihr eigenes Handeln zu hinterfragen und nachhaltigere Entscheidungen zu treffen.
Ein weiterer wichtiger Aspekt des Naturschutzes ist eine vegane Ernährung. Wer sich für eine pflanzliche Lebensweise entscheidet, kann einen bedeutenden Beitrag zum Schutz der Umwelt leisten. Die Tierhaltung trägt wesentlich zur Abholzung der Wälder und zum Raubbau an natürlichen Ressourcen bei. Auch hier kann Kunst helfen, das Bewusstsein für die Auswirkungen unserer Ernährungsgewohnheiten zu schärfen und alternative Wege aufzuzeigen. Künstlerische Darstellungen können die Schönheit und Vielfalt der Natur hervorheben und zugleich ethische Lösungsansätze für Umwelt- und Tierschutz thematisieren. Die Verbindung von Kunst mit dem Motto „leben und leben lassen“ kann zu einem umfassenderen Verständnis von Nachhaltigkeit und Naturschutz beitragen.
Kunst kann zudem ein wirkungsvolles Instrument der Umweltbildung sein. Die Auseinandersetzung mit künstlerischen Werken ermöglicht es Menschen, ein tieferes Verständnis für ökologische Zusammenhänge zu entwickeln. Kunst und Nachhaltigkeit gehen Hand in Hand.
Kunstprojekte, die sich mit Umweltthemen befassen, können als Katalysatoren für gesellschaftlichen Wandel wirken. Sie regen zum Nachdenken an und motivieren dazu, das eigene Verhalten zu hinterfragen und nachhaltigere Entscheidungen zu treffen. Kiss-100x100
Peaceful - Friedvoll - 100x80 - 2023
Der Austausch über Kunst kann neue Perspektiven auf Umweltprobleme eröffnen und innovative Lösungsansätze inspirieren.
Insgesamt zeigt sich, dass Kunst ein wertvolles Medium ist, um Bewusstsein für Umweltthemen zu schaffen und zu nachhaltigem Handeln zu ermutigen.
Durch kreative Ausdrucksformen wird die Verbindung zwischen Mensch und Natur gestärkt, was zu einem tieferen Verständnis und Engagement für den Naturschutz führt. Kunstprojekte können neue Wege eröffnen und innovative Ansätze für die Lösung von Umweltproblemen aufzeigen – und so zu einer nachhaltigen Zukunft beitragen.
All is well - Alles Gut - 100x100 - 2025
HIDDEN Notes HIDDEN
Brighton shimmered under a sky so blue it felt endless. Sunlight spilt across the beach, catching on waves that curled and broke in delicate white lace. Gulls wheeled overhead, squawking and diving, while the scent of salt and sunscreen hung in the warm breeze.
In the middle of it all stood Ava, her violin cradled under her chin, bow dancing across the strings.
Part 1: The Summer Prelude
By Hudson
People paused as they strolled along the promenade— drawn in by the golden tone of her music. A runner slowed to listen, children stopped building sandcastles, and the sound of bouncing basketballs on the beach court faded into the background.
Today wasn’t just any day—it was Ava’s birthday. Yet instead of a big celebration, she’d chosen this: playing her violin under the sun, letting the music drift out over the waves.
Nearby, the creamy swirl of ice cream cones melted fast in the heat. Couples wandered hand in hand, laughter mingling with the hush of the sea. On the pier, neon lights blinked and spun, promising games and sweet sticky candy floss.
As Ava played, a mischievous gull swooped low, nearly knocking her music stand sideways. She laughed, steadying herself, bow never missed a beat. A small crowd gathered, tossing coins into her open violin case, eyes shining at the unexpected concert.
When the piece ended, Ava lowered her bow, and cheeks flushed. For a moment, she simply stood there, listening to the hush of the waves flowing in and out. The applause faded, but the thrill in her chest remained.
She felt alive. As though something was waiting just beyond the horizon.
She glanced down the beach—and froze.
A man stood a little distance away, cello case strapped to his back, dark eyes fixed on her. He gave her a cautious, crooked smile.
Ava’s heart skipped a beat. She didn’t know him… yet something about the way he looked at her made her feel as though the music had just begun.
“Sometimes the song you’re meant to play finds you when you least expect it.”
to
be continued............
The Art of Comfort
Britain’s Beloved Fish & Chips
There are few sights as soul stirring, few aromas as instantly comforting, as the golden glow of freshly fried fish resting atop a tumble of crisp, fluffy centered chips. LizzieJayne’s painting captures not just a meal, but a ritual woven deep into Britain’s culinary identity. This is food you don’t merely eat — it’s food you feel. The crunch that gives way to tender flakes of white fish, the salt that lingers on your lips, the steamy vinegar tang that rises up and makes your mouth water before the first bite. It is finger licking, paper wrapping, seaside savouring joy — the kind that belongs as much to memory as it does to the present moment. Fish & chips have always been more than sustenance; they are a celebration of simple pleasures, a great equaliser enjoyed by workers, wanderers, and dreamers alike. Whether eaten with wooden forks under a grey British sky, or devoured straight from the newspaper on the way home. It remains a timeless dish that refuses to be hurried, no matter how fast we live.
Through her brushstrokes Lizzie Jayne reminds us that this humble pairing is nothing short of iconic – a love letter to British culture, served pipping hot and best enjoyed with greasy fingers and a happy heart.
Artist Lizzie Jayne
COMPETITION Season: A Summer Guide for Emerging
Artists
As summer exhibitions bloom across galleries and institutions, artists of all levels are preparing to showcase their work—and competitions are at the heart of the action.
Whether you’re an emerging creative or a seasoned maker seeking fresh recognition, entering art competitions can open doors. But while these opportunities are abundant, they also come with challenges. Submissions take time, money, emotional energy—and often come with no guarantees.
In this guide, we explore what to consider before entering, how to give yourself the best chance of success, and why perseverance pays off.
Understand the Brief
Before entering any competition, read the guidelines closely. Submitting a piece that doesn’t match the theme or format is one of the most common pitfalls—and one of the easiest to avoid.
If a competition asks for “watercolour marine paintings”, don’t send a charcoal drawing of your cat, no matter how skilled. Clear parameters mean jurors are looking for work that fits a very specific vision.
Explore Open Exhibitions
Across the UK, many galleries host open calls in the summer months. These open exhibitions tend to welcome a broad range of media: from ceramics and sculpture to conceptual and mixed-media works.
Some may be divided by age categories—such as under 16s or over 60s—with prizes awarded in each. Most also include an overall winner. These local and regional events can be ideal starting points and offer valuable exposure.
Prioritise Photography
Your photographs might be the only way your work is seen in the first round—so make them count. High-resolution, well-lit images taken from multiple angles (where applicable) will showcase your work effectively.
Many competitions use submission images in press materials, online catalogues, or printed brochures. A professional photograph could be your ticket to further opportunities, even beyond the competition.
Frame it Right
If the competition requires physical submission, presentation becomes critical. A beautifully framed or thoughtfully mounted artwork speaks volumes about your commitment and professionalism. Poor presentation can sabotage even the most compelling work. Think of framing and finish as an extension of your artistic voice.
Craft Your Artist’s Statement and CV
Often overlooked, your artist’s statement is a chance to connect with the jury. Keep it focused and authentic. Why did you create this piece? What are you exploring? Avoid vague descriptions—clarity adds strength.
Many competitions also request a CV. Keep it current and relevant. Highlight exhibitions, awards, residencies, or any creative experiences that strengthen your application. Don’t overload—edit with purpose.
Budget for Entry Fees
Most competitions require an entry fee, which can range from modest to substantial. Consider this when choosing which opportunities to pursue. It’s often worth investing in fewer, higher-quality calls that genuinely align with your practice.
Be Discerning
Not all open calls are created equal. While many are genuinely inclusive, others may lean towards local favourites or well-known names. Read between the lines, research the organisers, and trust your instincts. If it doesn’t feel quite right, it might not be.
Artist Spotlight: Michael Morris
Michael Morris is a case in point for the power of persistence. After several unsuccessful attempts in local competitions, he was recently shortlisted in the prestigious Jackson’s Open 2025 Art Exhibition.
This year’s competition received over 13,000 entries from 117 countries, celebrating a rich tapestry of global contemporary art. Michael’s selection among the final 120 is not only a personal milestone—it’s proof that resilience and consistent effort matter.
Subjectivity Is Part of the Game
Art is, by nature, subjective. Selection panels are influenced by trends, personal tastes, curatorial goals—and sometimes even mood. Rejection doesn’t mean your work isn’t good; it may simply not align with this year’s vision.
One of the most recognised (and debated) UK art competitions is the Turner Prize, which remains an annual highlight—albeit a mysterious one to many. Love it or not, it reflects just how varied and unpredictable the world of competition can be.
Final Thoughts for a Summer of Submissions
As the summer art season unfolds, competitions offer more than just the chance to win—they're an opportunity to learn, connect, and grow as an artist.
So take the plunge. Frame your work with pride, write with honesty, and don’t fear rejection. Whether you’re selected or not, every submission is a step forward.
After all, talent often reveals itself not just in a single artwork, but in the willingness to keep going.
Painting as Portal
In my practice, I explore painting as a medium that extends beyond the canvas. I’m interested in how an image can continue—unfolding into space, into the body, into ritual—becoming a field that absorbs the viewer.
My works act as portals of perception or state activators, where archetypes, mythologies, symbolic forms, material environments, and energetic states converge to interrupt the viewer’s habitual way of seeing reality.
Positioned at the intersection of painting, installation, and performance, my approach allows the painted image to serve as a nucleus—from which environments, costumes, videos, or objects emerge. I work with mixed media, combining acrylic with oil, pencil, pastel, and marker. I often embed or attach materials—gold leaf, mirrors, scraps of paper, chewing gum, found objects, fabric—or embroider directly onto the canvas.
Some works are accompanied by sound, moving image, or performance, in which I embody a figure from the painting, extending the work into lived space.
At times, I take this further—creating immersive environments where viewers step fully into the world of the image. In my ongoing project I can make your lounge like this, for instance, a painting becomes the generative core of an entire room: a private interior and atmospheric continuation of the visual language that invites the viewer into a specific state.
I often explore the otherworldly and the thresholds between realms. To access these spaces, I employ a vivid visual language influenced by camp aesthetics— translating the esoteric, archaic, and irrational into something contemporarily recognisable. As Warhol said, “Once you ‘got’ Pop, you could never see a sign the same way again.” To me, camp is the new pop: a visual magic woven into the everyday.
At the heart of my artistic method is channelling— receiving images, texts, and forms for future works through a perceptual channel. In this, I feel a deep affinity with Hilma af Klint, whose early 20th-century paintings emerged from spiritual communication. Like her, I don’t seek literal interpretation. I translate what I receive into form, preserving its layered complexity and energetic charge.
I currently live and work in Barcelona, where I am developing a series of installation-based projects that invite viewers into spaces that are not only visual but also bodily and energetic. These are portal-like environments, designed to shift perception and open the possibility of inner transformation through art.
My practice is a system of living images—moving from canvas to space, from gesture to form, from inner vision to material expression. I seek to restore painting’s initiatory power—not as a style, but as an event of perception.
Artist David Irish
THE MOST DELICATE Art by Zuzana Konigova
In Zuzana’s hand, a fragile world rests, a shell no thicker than a sigh, yet within its curve she carves eternity— a universe where silence learns to fly.
Her touch is steady, patient as dawn, her breath a rhythm softer than rain. She listens to the hush of the eggshell, and answers with beauty, not with pain.
What others see as breakable, fleeting, she transforms into something whole. A hymn to fragility, a prayer in detail, each line an echo, each cut a soul.
And so her art reminds us gently: life itself is tender, brief, and small— yet in the most delicate of surfaces she reveals the infinite.
She carves the silence gently, where breath and beauty meet a world held in an eggshell, so fragile, yet complete.
Designed and Published by The Arches Project Ltd
Advertising@thearchesproject.org
Editorial Info @thearchesproject.org
Web www.thearchesproject.org
Tel +44 121-772-0852
The Arches Project Ltd, Adderley Street, Digbeth, Birmingham B9 4EE. England UK
DISCLAIMER
Every Care has been taken during the production of this magazine by compiling editorials and advertorials. However, The Arches Project Ltd cannot accept responsibility for material supplied by third parties and excludes all liability relating to any products and services promoted within this publication or arising from any error, omission, or inaccuracy, nor is The Arches Project Ltd responsible for the content of external websites. Finally, the views expressed in this magazine are not necessarily the views of the publisher, no part of this magazine must be copied or reproduced without written permission from the publishers.
Copyright© The Arches Project Ltd. All rights reserved.
To all our supporters thank you
“Perfect
Timing”
And just when Doubt’s voice whispers, “Give up”, Hope appears and whispers, “Here I am! Keep going; you’re doing great.”
Words to live by.
Original Art & Quote (c) ~ Lizzie Jayne, 2025.
Perfect Timing - Lizzie Jayne