Hidden Talents International Arts Magazine Summer 2021

Hidden Talents

SUMMER 2021 £3.50

International Arts Magazine

Jacob Chandler

Taking success to the limit From hidden talentS Exhibition to full time artist making waves in the world of public art Featuring an exclusive peek at Jacob’s new artwork Frank Edmunds

A Life immersed in the arts

Magdalena Morey

Infused with a sense of freedom and love of texture and colour

Peter Morgan

On finding that hidden gem in the landscape

PLUs: Letizia Lanzarotti sending a message of sustainabilty through her art

Welcome to our latest issue of Hidden Talents quarterly

E-Magazine. We are overjoyed to be welcoming back our extremely talented new and experienced artists, as well as art lovers across the globe after such a tough year of complete uncertainty. The purpose of this magazine is to motivate, inform and inspire whilst giving artists the platform to showcase their work, which will go on to reach gallery owners, art buyers, collectors, the general public and companies looking to offer small yet talented artists big opportunities.

COVID-19 impacted the arts in a way that has never been experienced before. With galleries and exhibitions closing their doors all over the world, creatives could no longer rely on these social spaces to communicate and share their art with the world. The impact of COVID-19 has shown how important online exposure is for new and experienced artists and with online presence continuing to grow, now more than ever, an online magazine is the perfect way to reach the relevant people whilst safety restrictions on social spaces are still heavily in place.

We are simply overjoyed that many artists featured in previous issues and those who have exhibited in our space, have gone on to successfully land some of the most amazing paid opportunities in the industry. We like to think of The Arches Project as one big family and it is important to us that we continue building a strong rapport not only with our clients but also our featured artists too. We are so proud of the many talented individuals who have gone on to flourish in the art industry as we believe if they are winning, so are we! Therefore, we do encourage artists to keep us updated with the latest goings-on in their professional careers as we will always provide a platform for their successes. The art industry is a tough one to break through like many of you have experienced, so we are also extremely grateful to those who acknowledge our role in the process of their careers. As Fannie Lou Hamer once said; “Never to forget where we came from and always praise the bridges that carried us over.”

Enjoy, Evette Edmeade

Contents

Page

Jacob Chandler David Irish Stefanie Allen Magdalena Morey Ella Nash Peter Morgan Maureen Gillespie Vincenzo Curcio & Trizian Rasile Letizia Lanzarotti Les Heywood Frank Edmunds Shereena Habib DOYEN Abigail Neblett Tim Gustard Frank Van Der Eijk Susan Fownes Harry Bell

4-7 8 & 25 9 10-12 13 14-16 18-19 20-24 26-27 28-29 30-32 33 34-35 36-37 38-39 40-41 42-43 44-45

The Arches Project Ltd, Adderley Street, Digbeth, Birmingham B9 4EE.

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DISCLAIMER Every care has been taken during the production of this magazine in compiling editorial and advertorial. 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.

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Jacob Chandler

having the courage to brutally dismember

Over the past seven years I’ve learnt that I can’t grow too attached to the sculptures I’m creating. I have to be prepared to decapitate and dismember them. Throwing body parts into a pile, I now call my boneyard. This ruthlessness is part of my process, of striving for excellence. My problem is knowing when to stop!

I can find myself chasing around a form, constantly making adjustments and refinements, which sit well when viewed from one aspect but require further work when considered from another. I recognise in myself the same dilemma that so many artists, such as Giacometti and Van Gogh have documented this constant battle to get a piece to conclude. For me it’s knowing when to let it be. Sometimes a piece just naturally settles but other times I have to agree with 4

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myself to let it be.

My modelling work space is half a garage, there’s no natural light as the area is sectioned off and a ceiling has been added, to keep the heat in and prevent the dust escaping. I’m locked in this cell, dressed in an old all in one ski style suite, a respirator and I wear headphones which double as ear defenders.

Despite the extraction I get covered in fine powder and end up looking like a miller! Another essential part of my kit are my finger and wrist braces. These are essential because I have a genetic condition called Ehlers Danlos which causes my joints to be hypermobile without them I would struggle to hold the pieces in order to work on them.

I so enjoy the time spent in my little studio, The solitude and the intense focus on the tiniest details is almost trance inducing and I have to set alarms on my phone to rouse me otherwise I literally lose hours.

It’s particularly important for me to take brakes, but these are the last things on my mind

when I’m in the zone.

I feel incredibly fortunate to be able to make a living doing what I love. Large sculptures such as “The Dancer.” Which was commissioned by The Telford Centre are an important part of my portfolio as they show piece my style, which focuses on forms captured at the most precarious part of an action.

These public pieces and having my work on constant exhibition at The Soden collection, alongside the greats in modern art such as Picasso, Bacon, Dali and Lichtenstein has propelled my career and I have now exhibited in London, New York, Philadelphia, Moscow, and Athens Despite Covid,I have work upon several further commissions, two corporate and one private, and has continued working full time.

These are all significant

The Dancer

‘‘I recognise in myself the constant battle to get a piece to conclude’’ bronze pieces. Telford and Wrekin council commissioned a sculpture for their Maxell gardens, to commemorate the 75th anniversary of the end of the war. This piece was unveiled at a private ceremony in November. It is called The Cold Embrace and depicts a person, in the classic air hug pose, that has become so familiar due to our need to self isolate one from another. The absence of the loved one is magnified by the empty boot prints sunk deep into the bronze. These boot prints we’re taken from a

local veterans boots which adds poignancy. “Clash” is now at the new Moto services in Rugby.

It depicts two rugby tackling figures. Northampton Saints gave me access to their photo archive, which was invaluable due to the absence of live sport at the time. This location delights me as it makes art accessible, this is a real personal mission.

I’m delighted with this location as it makes art accessible to all and unavoidable. This is a real personal mission, I get so much enjoyment from the arts and I hope that by positioning my

pieces in very utilitarian places they will be seen and enjoyed by a wider audience. My largest lock down piece is a three meter tall horse and Jockey. This is a private commission for a collector in Cheltenham which is due to be installed near future. I also have several small pieces Hidden Talents

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about to leave the foundry so please keep an eye on my website as I will feature them when they become available.

Throughout the lockdown many people turned to the arts for solace, be they the visual arts, TV, Gaming, Music or Film.

Even creatively decorating our houses took precedence. We realised what made us feel better and what we missed. For many, that was a real moment of reckoning, an epiphany when the creative industries were seen for what they truly are.

They are the things that give meaning and reason to our lives.

The things that make us feel enriched and edified. They are our life line in times of trouble and Covid has helped us to see their value. Maybe there will be a new Renaissance, a new enlightenment? Let’s look now for a positive legacy from this appalling shared experience.

Contact: 07958233534

Clash

The Cold Embrace

SNEAK PEEK AT JACOB’S NEW ARTWORK Hidden Talents

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Stefanie Allen

Title: Unknown material: imagery on Card Size: 594mm x 420mm POA

To advertise in this magazine, please email: advertising@thearchesproject.org for further details...

David Irish Early Evening Size : 10 x 13 acrylic on paper POA Hidden Talents

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Magdalena Morey Freedom, Texture & Colour From as young as I can remember I was infused with a sense of freedom and love of texture and colour.

I grew up in the beautiful rolling countryside around Lublin, in the east of Poland and at the age of fifteen, I enrolled at art college where I fell in love with textile art.

Five years later university beckoned, but to get there meant studying at weekends by special arrangement and having to pay for my dream, I worked during the week at a local art studio and continued working for another five years after receiving my Masters in Painting.

It was during university that I began to express myself using figurative painting. I love women; not sexually, but I love our moods, our sensuality and inner strength and I am still just as passionate now as I was then about exploring the representation of female sensation and emotion using form, texture and colour.

In 2005 I followed my heart and moved to Cambridge, England, to live with the man who is now my husband. It was a difficult time; I barely spoke any English, missed my home dearly and during the following year, I discovered the inconsolable loneliness of being pregnant without having my family nearby.

But I began to learn English and took various courses, eventually leading to a professional qualification in digital art, allowing me to express myself 10

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Woven Into The Satin Sands 2. Acrylics, pastels and gold leaf on canvas.

100x 100cm. €2500. Portugal (Tavira d’Artes gallery).

Spring Equinox 2. Acrylics & pastels on canvas. 65 x 100cm. €2000. Spain.

artistically without the need for a studio. As soon as my daughter discovered my paintbrushes I realised it was time for me to get back to my paints and soon after I received my first offer of gallery

representation.

Following my husband’s job, by Christmas 2009 we were freshly installed in a flat in a small town north of Zurich, Switzerland and began

Woven Into The Satin Sands 1. Acrylics, pastels and gold leaf on canvas.

100x 100cm. €2500. Portugal (Tavira d’Artes gallery).

to explore the beautiful Alps and the neighbouring areas. I painted rarely during those days, occupied more by the demands of my expanding family but as time went by I once again began to feel the need to put colour to canvas, culminating in a solo exhibition of my figurative work in 2014.

Emboldened by dreams of self-sufficiency, we undertook yet another foreign move in 2015, this time to central Spain where we joined my sister and her Spanish husband in the palace town of Aranjuez, near Madrid. With both children now at school, I began to paint full time and a year later, my husband stepped away from his career and began supporting my artistic path using his IT skills.

Hungry for new ways of expressing myself artistically, I began developing new mixed media techniques, including gold leaf as a response to the intense luminosity of the Spanish sun and I discovered a delight in painting abstracted and often dreamt of landscapes inspired by our various travels.

This luminosity soon also made an appearance in my figurative work, representing consciousness and understanding.

We moved to the beautiful Spanish region of Asturias in 2018 and continue to pursue the long term dream of selfsufficiency and now have the pleasure of painting daily in my studio overlooking our vegetable-patch covered garden in the lush green hills rolling down to the ocean. info@magdalenamorey.com

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Ella Nash

Title THE CRYPTIC I’ Material: Acrylic, oil on canvas Size: 120 x 120 cm Price £375.00

Dualities 3. Acrylics & pastels on canvas.

65 x 100cm. €2000. Spain.

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Peter Morgan

Abereiddy at Midnight - 600mm x 600mm - acrylic on canvas - £1350

‘‘The search for inspiration and finding that hidden gem helps develop a sense of awareness of the landscape’’ Lockdown began in March 2020 and has, for everyone, been a very extraordinary experience. For some artists, working on your own for long periods throughout the day can feel similar, but having the added restriction to stay local and find inspiration can limit the mind and pallet.

Luckily for me, I live in a landscape full of character, surrounded by a coastline protected by the National Parks 14

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and villages and farmhouses hidden on the back roads. Living so close to the coastline here in Pembrokeshire also brings the ever changing weather patterns making sketching and painting outdoors a challenging experience. I’m sure there are more wet days than sunny ones. My latest body of work addresses the experience of being confined to my travels whilst out cycling the back roads and lanes where I probably

wouldn’t have gone if I was in the car. It does give you the added advantage of stopping anywhere but I am limited to what I can carry. I often walk the area and look in both directions, I usually find the image on my return, sketch the surroundings as a small image and take a selection of photographs for reference.

Not every sketch is developed into a painting and put onto canvas but the image is

recorded in my sketchbook and used for reference on another occasion. My sketchbooks have been a great help this year as I quite often went back looking for an image to paint.

I am most well-known for painting dramatic whitewashed cottages hidden behind stone walls on the rugged weatherworn hills, paints using thick layers of paint pushed around the canvas with a pallet knife to create a texture that gives the movement of the constantly changing weather patterns and light cast on the green fields on the landscape.

The search for inspiration and finding that hidden gem helps develop a sense of awareness of the landscape and environment and this is evident in my most recent paintings.

My daily walk inspiration has helped me to look deeper at what is around me. To look at the light on the hedgerows and the cloud formation. Sometimes the sun made an appearance through the winter clouds as there is a special quality to the cloud formation in the sky that is surrounded by the sea. The hidden farmhouse, cliffs and beaches are a constant source of inspiration, as are the small ports and harbours that dot the coast.

Hopefully, we will get back to some normality soon and we can all travel be it local, but I am craving to see the North Wales landscape with the grey slated villages and the crisp lines of the Snowdonia Mountains, and further afield, Devon & Cornwall Fishing Harbours full of beautiful fishing boats and thatched houses set on the cliff’s edge.

Hill top cottage - 400mm x 400mm - acrylic on canvas - £695

Sun brake over Dinas Head - 600mm x 600mm - acrylic on canvas - £1350

peter.morgan02@btinternet.com Hidden Talents

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The Boat House at Solva 600mm x 600mm Acrylic on canvas £1350

Hidden Talents will be launching our annual art and design exhibition in the Summer of 2022 Located on Adderley Street, Digbeth, Birmingham UK We will be bringing together some of the best artists, talented designers, makers, collectors, producers with quality and products who have been supporting artists and our community for many years giving our visitors the opportunity for art and products to be purchased.

For further details visit our website www.thearchesproject.org or follow us on instragram@thearchesproject

John Pipers Cottage on Garn Fawr 600mm x 600mm Acrylic on canvas £1350

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Maureen Gillespie Inspired By Nature I am passionate about my art; it is utterly consuming and enjoyable to have the ability to transfer images and thoughts on to the canvas and creating pieces of work that bring a sensory experience to the viewer. As a young child I was always drawing and entering local exhibitions, and I gained a place at Art College but family pressures meant that I had to forgo this and concentrate on a more suitable financially rewarding career. However I was able to return to art again some 13 years ago and never looked back.

I am inspired by nature, soaking up the atmosphere, in particular land and seascapes, capturing the mood, the light and movement on a wave or the glimmer of light through the trees.

My work is primarily figurative; however occasionally I will adapt a thought or image to create elements of abstract; as featured in Sunset Over Water, I wanted to merge the layers of the sun settling into the sea; this was done using a palette knife.

Another slight abstract painting, Soul Searching, a vision in my head of a new beginning.

A break in the clouds, captured in North Norfolk, the sky was so dark and all of a sudden the there was this glimmer of light as the sun escaped through the clouds, a magical view, sending shimming light across the water and 18

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Low Tide. 80cm x 70cm.

Oil on board, framed. North Norfolk, UK £550

Clouds. 89cm x 64cm.

Oil on canvas, framed. Bamborough Castle, Northumberland, UK. £700.00

pebbles.

Low Tide, again in Norfolk, one of these perfectly calm days with nothing but the sea stretching for miles, I remember having to walk at least half a mile across the sand to get into the water.

Clouds – this was a view across to Bam Borough Castle above a fantastic display of clouds, dancing and throwing the light across the bay, I used my fingers to create the cloud formation.

In addition to my artwork I have developed a small range of pure silk scarves, that I have had reproduced from my original artworks, these can be viewed on my website I live and work in Oxfordshire; I have recently finished a series of six paintings of my lockdown walk around Blenheim

Palace Estate. I have exhibited in Ireland, Jersey and the Cotswolds and my preferred medium is oil.. I am also a member of Oxfordshire Art weeks, Chipping Norton Arts and Visual Artists Association.

www.artbymaureengillespie.co.uk

A break in the clouds, Wells-next-the-sea. 68cm x 55cm.

Oil on canvas, framed. North Norfolk Coast, UK £550 Hidden Talents

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Vincenzo Cohen & Trizian Rasile

Surface Encounters The four elements are primordial physical principles. Originating from the primaeval chaos, the elements form the basis of the order of the universe. The elements are dependent on each other and their state may be subject to transmutation.

The elements of an aerial nature (fire and air) are classified as perfect, active and superior; they act on the second (earth and water) modifying them. Those of a static nature is classified as passive and inferior.

Archetypically they are understood as aggregating states of matter and represented as energetic principles in natural philosophy (the first to talk about it is Anassimene). Subsequently, Empedocles, Socrates, Aristotle, Pythagoras and Ptolemy enriched the study of the natural elements bringing significant cosmological and philosophical statements, further perfected by the exponents of the scientific revolution.

The following study opens a gap between two pictorial imaginaries born from different human and artistic paths meeting in the light of creative expression and elevation to the divine. Surface encounter talks about the journey in the artistic universe, mindful of joys and sufferings that affect the motions of the spirit giving rise to visions, expressive languages, divine epiphanies.

In this work, the elements are presented through chromatic combinations as activating principles of impulses that emerge from the depths. Fluid chromatism, impalpable vibrations, aerial fades of the Vibrations in light of the ethereal Tiziana Rasile production. Air and water, cold reflections crystallize in the backlight of the sidereal eurythmy. Earth and fire mingle in the epicentre of the pictorial imaginary of Vincenzo Curcio. Divine fires burn at the decline of civilization while terrigen forms materialize in imprints sealed in geological time and stratified in tectonic crusts.

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Vincenzo Cohen Fire on Carhage - Carthago Oil on canvas 70x50 cm. €1300

Tiziana Rasile Nell’incontaminato fluente - In the pristine fluent Oil on canvas 50x70cm. €1200

Fire Elements present in human life since the epoch of its discovery (happened in the lower Paleolithic) can rise to innumerable literary valences and philosophical meanings. In physics, fire consists of a thermoluminescence phenomenon that occurs as a result of combustion. The gases released after the ignition point is reached form flames (composed of carbon dioxide, nitrogen, oxygen and water vapour). The fire can also be born from combustions produced by organic matter, which in contact with the oxygen present in the air, generates flames which give rise to the magical concept of the will-ò-the-wisp. In geology, fire flows

in the form of magma running under the earth’s crust, feeds volcanoes and generates tectonic movements that give rise to different orographic systems. The fire, therefore as a versatile element, can pass from the fluid to the aerial state, but also crystallizes in plastic forms as in the process of cooling of igneous rocks.

In Greek mythology, Prometheus, chained to a cliff in Tartarus for delivering fire to men, embodies the myth of the philanthropist. He was the first to grant men the divine element.

Throughout history, fire is often used as a weapon to defend themselves; Greek fire or sea fire, for example, was an incendiary mixture used by the Byzantines to defeat enemies during battles on the seas. In the spiritual and religious world, fire is a sacred element and in pagan cults, it can be an expression of divine manifestations or become a symbol of passage, threshold to the chthonic world. In Christian iconography has assumed positive and nefarious values. Dante, exponent of medieval theocentrism, developed the three

senses of allegory; among these the anagogical meaning to represent union with God through divine lightning. The divine fire inflames the soul, leads to mystical ecstasy and is completed in the celestial vision of God. In the Divine Comedy a circle of fire encircles the Earth’s circumference while burning at the epicenter of the earth, according to the beliefs of Scholastic philosophy, it fans the flames of hell. Paradoxically in the dark Middle Ages, fire becomes a symbol of purification and eradication from evil, as in the case of the stakes that illuminate the nights of capital executions against witches.

Fire of Carthage refers to the fire that blazed in the ancient city of Carthago (Punic foundation of 814 BC) destroyed by the flames of the Romans in 146 BC (end of the Punic wars). It represents an event that opposed East and West bringing the Roman hegemony over the Mediterranean.

But what does fire represent in the pictorial imagination? The fire attracts, emanates, ignites, blazes, evokes, overheats, expands, burns, inflames, destroys, purifies. Fire is the element that symbolizes with its flames the elevation, the call to the otherworld, the fire of passions, the spell of transmutation of matter.

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Earth The earth element is central to the cosmological vision of aborigine. It encompasses the mineral, animal and vegetal kingdoms. For this reason, it is considered a vital fulcrum, an expression of matter, a universal earth-mother. Archetypically associated with the feminine principle since the upper Paleolithic through the cult of the primordial Goddess-Mother, to which rituals of propitiation and protection were officiated. The cults of the terrigen mothers are attested throughout the Mediterranean area and in the Oriental cults until the affirmation of the Christian era. The earth understood as the mother’s womb and primal nucleus welcomes in its symbology the image of nature, dispenser of resources but also of destructive and implacable forces.

Tectonic crusts represent the plastics of the form, through the processes of formation, slippage and stratification of the geological plates. The dimorphism of the earth is expressed by its capacity for expansion/retraction. Telluric forms originated through plurimillenary phenomena in

Vincenzo Cohen Tectonic Crusts - croste tettoniche Oil colour on plaster, glue, sand mixture. 60x80cm. €1380 22

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continuous dynamism express the sense of natural evolution that does never stop but is constantly changing. Rifts open up within the crusts of earth, allowing its intrinsic link with fire to emerge, which from the centre of the earth rises and flows in the form of magma to create new geological formations on the seafloor. The submerged plates that are created form new surfaces and rocky ravines.

The earth’s crust becomes a symbol of the involucre, inside which contrasting forces and clods in collision shake that by pressing on the surface cause elevations and sinking. The vigour of the earth is expressed in clashes, implosions and explosions due to seismic pressures that become the image of human impetus, of the enclosure in which the vital passions shake and the senses calm down returning to the stasis of matter. The earth welcomes in its womb, generates, nourishes, fertilizes, transforms into vital energy, restores vital principles to the biological cycle, eternizes the flow of time.

Written By Vincenzo Cohen

Airy Waters In the work of Tiziana Rasile air and water merge to form an amalgam of forces in synergy.

They can be fleeting changing forces that flow expanding and dilating the vision, invisible walls, transparent embankments that in their impalpable inconsistency generate boundaries to be reached and goals to cross. Disembodied from matter, the air spreads the energy and vitality that moves the world with its turn. Ductile and changeable element reveals the truthfulness of living in continuous movement and change.

Ambivalent element, it can be including and excluding. Assume the forms of the wind that can uproot and sweep away beings and things with its random motion, or as a breeze, incorporate and assimilate, bringing creation closer to the union.

Vibrating motion or inconsistent wall, light and powerful at the same time, directs and holds back the variety of forms of existence. Air movements, multiple extensions, branches in ethereal places that have more directions and propagation. Difficult to unify the vision! In the ethereal whisper, the air is everywhere! Inside and outside of us.

It crumbles into multiple versions, wanders around worlds where the highest thought is an abstraction. Hyperuranic world of ideas or emotional rarefaction in continuous connection with the fluid tides of sensations travelling towards the spirit. Wish of Ascension to Heaven!

Multidirectional flight in the universe! A suspended passage towards subtle worlds, it expands the being towards what surrounds it. It nourishes the soul in one breath. lt circulates life inside the body and then expands it outside of it in union with the cosmos. In the two elements (air, water) you can perceive man is longing for the unspeakable and inexpressible profound sense of living that can only be grasped in its true expression through the spirit. There is a sense of loss for something that the five senses cannot define.

In touch, the water slips, wriggles between the fingers.. It takes on an autonomous shape, it cannot be held or imprisoned. You can’t hold back its feeling! Everything flows in circular refluxes...

In an eternal “round trip” trend that mimics the dance of life in its cyclical nature. Its flow is the instant .. The immense that cannot be grasped in the entirety of the vision, the time that cannot be enclosed because in its passage the eternal is in force. Primordial essence.. Emblem of the flexible and receptive feminine.. Humus humid

of the senses cannot define, perceptive that is absorbed in us. The state of animality where the pre-rational reigns... All where everything appears! It pours out without the typically Western logical consecutio. In the pristine fluent liquid vision that captures energies from other worlds by caressing the forms with its permeability.

Encountering matter, assuming the forms of its multiplicity, it encloses them, envelops them with maternal dedication and at the same time passes through them, absorbs their essence to reach beyond. The water that nourishes the world to reach its borders ! Pòntos ! Bridge between two worlds... Through and vehicle together to reach the divine. In the ancient Cosmogonies, its purification function is always present: liberation from original sin through baptism in the Christian religion, but more generally liberation with a ritual of people, things and places from all impurities.

Freeing... Returning being and things to their original form .. Returning them to the state of pure being free from contamination... The beauty of life in its truthfulness. The simplicity of being!

Primordial yearning far life with the symbolic act of immersion. Immerse yourself in the flow, in the amniotic fluid where the osmotic experience of man between things and of man who lives in things is manifested. The whole is one! When man abandons himself to the waves the way opens! The air that enters the water moves it, unravels the blanket, makes the turbid magneticity of the vortexes, eddies... Ponds crystalline. By illuminating the brackish magmas, it returns the water to its flow, stretching the horizon. Opening to moving water... Pure! In the places where they meet, the two elements open the vision... They relax in harmony, manifesting in their transparency the light that man does not grasp in oblivion.

Written By Tiziana Rasile

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You can hear the rattle of its motion, The panting shouting of our soul, The peace of landing, In the ethereal foamy shore, Light of existence... fluid and vital.

Tiziana Rasile Nell’etereo sospiro - In The Ethereal Whisper Oil on canvas 60x80cm. €1400

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David Irish

Title: The Opening Material: Oil on Canvas Size: 6ft x 5ft POA. E.mail: irishirish2512@outlook.com Hidden Talents

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Letizia Lanzarotti

One of the first memories I have is of a day at the nursery. While I was drawing, my young friend came to me and said: “The flower you are drawing is too big”. At that moment, I remember thinking: “Why is she saying that? I am good at drawing, I know what I am doing”.

After finishing primary school, I attended an art school and then a fine art academy. What I like of my profession is that I always knew that I wanted to pursue it. I studied to become an artist and, since I was born, I never thought of becoming anything else but an artist.I feel that I was born with a paintbrush in my hand. Yes, because I used to say that my art, what I call “Lady Be Art”, for me is like painting.

I have studied and I know how to create good

Gesu Christo 130x150cm

“I want to send a message in support of recycling and sustainability” figurative paintings, but for years now I have been replacing paints with plastic trinkets. With them, I can obtain shadows, lights, perspective, depth, distinct expressions and all the nuances and chiaroscuro I could create using a brush, because the materials I use cover a whole range of colours.

Of course, this process requires a long and hard work of research and preparation. I collect the objects from different sources (flea markets, e-bay, friends, schools, or even finding them myself on the seashore) and then I split them by colour.

Finally, I cut and model them, and split each colour into different shades. The result are as many bins full of objects separated by colour, and for each colour a full palette of shades ready to be used when the time comes to glue the pieces on the

Van Gogh 80x80cm 26

Marilyn Monroe 50x50cm

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preparatory drawing on the table.

What I would like to underline is that my material is never coloured after I compose the art piece. Each object is kept in its original colour, because I want people to recognize it as it is and therefore it must not be altered in any way. Rightly enough, many art critics and art experts define my art as “contemporary mosaic”; mosaic is an art with an ancient origin, that is originally interpreted by me with objects typical of this time and that will remain as witnesses of this era. So, gender-wise, my art is closer to mosaic than to painting and sculpture, although when I am creating it I feel like I am painting.

Italy has a very important art history, but nowadays our country does not foster art, and being an artist in Italy today is really difficult. We have to pay sky-high taxes and there is a lot of competition: if we include both those who do it as a hobby and as a profession, it is estimated that there are about a million artists in Italy, so approximately 1 in every 60 people. In our daily practice, it is obvious that one must have connections in order to move forward and that we have no meritocracy. Our institutions are in a critical state and are not able to help, so we all have to fund our work with our own money.

I live in the south of Italy, on the sea, in a small town. Because of its small size, everyone knows everyone there and many family friends and even some schools help me to collect the recycled materials, objects and small toys that I need for my work. In addition to this, we often organize

with some groups the collection of plastic on the beaches; people are even more incentivized knowing that the collected waste will become works of art. What I hope to do with my art starting from the local level, even in the years to come, is to continue to raise awareness, so that they can understand the message that it is important to make a correct use and disposal of plastic and other waste.

I always keep every little thing, also because I am very attached to memories, but more importantly, because I have always been taught that things should not be thrown away, as long as they work. The first artwork I have completed when I was 19 was the portrait of Marilyn Monroe.

It was made with all those items that, although they had lost their original function, I did not want to throw away. I wanted to give them a second life, a second chance. The recycled material, that has lost its original function, in my works acquires the function of “colour” and this way it earns a higher status as part of an art object. These are things that people throw away, one could say that they are rubbish, but at the same time they could be defined as Pop, since they are objects that we all know and recognize as part of our everyday life.

Through my art, I want to send a message in support of recycling and sustainability, making people aware of the fact that everything can have a second life and can be recycled in many ways, and that even garbage, the most humble matter, can become the thing that more than anything else elevates us spiritually: Art.

Salvador Dali 80x80cm Hidden Talents

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Les Heywood Establishing your own style For most people, a rainy shopping precinct wouldn’t necessarily be the first thing that comes to mind when considering a subject to paint however it became the inspiration for many of my paintings. Born in Manchester and after leaving school at 15 I began work in the advertising Profession assigned to the post room and later progressing as a visualiser and still active today in the industry as a freelance illustrator.

Having trawled around countless high street galleries with my work and suffering the inevitable knock backs’ lovely work but we’re not looking for any more artist at the moment It can be quite easy to become demoralised and to be fair there was a time I couldn’t give a painting away and resorted to both sides of the board to save on materials. Using a sketchbook and camera my style of painting is created using pastels or oil which allows me to create a blurry impressionistic style. Over time I have explored most mediums but now the majority of my pictures are produced in either pastel or oil.

My subject matter can vary from rolling landscape to city life and I also enjoy trying to Capture the mood of a dramatic sky before and after a storm.

Over the years I have exhibited at galleries throughout the North West and have enjoyed many solo exhibitions most recently being a oneman show at Stockport War Memorial and Art Gallery and been pre-selected on two occasions

Hague Bar New Mills in the Peak District Oil paint. 28ins x 23ins. £525 28

Hidden Talents

View to the pump rooms, Buxton.

Oil paint. 28ins x 23ins. £525

Prestbury Village Pastel. 28ins x 24ins. £500

Cottages at Iron Bridge, Shropshire.

Pastel. 20ins x 15ins. £425

for the Pastel Society at the prestigious mall Galleries in London.

Also, a finalist in the BBC small painting challenge which led to one of my pictures being exhibited at the Whitworth Art Gallery in Manchester.

In recent years my paintings have found their way to some unexpected parts of the world and one of my paintings was included in a wellknown Building Society Limited Edition calendar.

The calendar which surprisingly sold well in the United States which brought work from a new and unexpected audience from ex-pat families looking for a reminder of what they left Behind.

On occasion, I have been told that my work often reminds people of established painters who Have gone before me such names as Valette and Monet have been mentioned and what lovely company to be associated with however I like to think I have established me with my own style which has been developed over time.

During lockdown like so many other artists, I’ve had the opportunity to paint a lot more pictures And nowadays it’s interesting to me that my style is becoming recognisable as my own.

There is always something new to paint and I’m looking forward to the changing seasons and different light and colours it will bring I will be Out and about looking for interesting and new challenges.

Whaley Bridge Derbyshire Oil paint. 28ins x 23ins. £525

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Frank Edmunds A Creative Life

This article is a summary of Frank Edmunds life and work who is a polymath who lives and works in Birmingham, UK. Without question, Frank has fully immersed himself in the creative arts whatever sphere he chooses to enter, leaving a wealth of work and memories behind him. His art and life have been about doing and not thinking about doing. If there is one lesson to be learnt, he would say, ‘Just get on with it. What can be said, he has participated in this thing called art or life and included many on the way.

Having known Frank for many years, through exhibitions and performing with him, I have a unique insight into his life and work. He has spoken about his early life; one such event occurred while still attending primary school After passing his eleven plus, which was then compulsory, he was refused admission to the local Grammar School. His Mother suspected this was on the grounds of status and wealth, being from a working-class family. So rather than accept this set back she promptly marched down to the local Education Department in Derby with several other irate parents who were in a similar position, demanding the situation be addressed and reversed. The protest had the desired reaction.

Subsequently, Frank was offered a place at the Grammar School, which significantly affected his future career choices.

Although he his academic aptitude, leant towards the sciences, had shown an interest in 30

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art, having achieved strong results throughout his school career in this particular area. Eventually, he chose a degree course in Biology, having obtained many good A Levels. Events, however, would soon impact the direction his life would take.

Having fallen deeply, madly in love at the end of the first year, he decided not to return to university.

Love can conquer everything, and it can also be a disrupter and blind us to our own welfare, as before the year was out, they had unfortunately separated, leaving Frank floundering as to what to do next. Serendipity came to the rescue! While casually scanning a local newspaper, an advert for a Foundation Course caught his attention.

For those who are not familiar with Foundation courses. They allow the student to experience and taste a wide range of artistic specialisms, such as ceramics, photography, sculpture and many more creative realms, before applying to a specialist degree course. After completing his Foundation year, he decided to do a painting degree at Birmingham, a highly regarded traditional painting

Zebra Venus Unicorn

school located in a wonderful Victorian terracotta building.

During his first year, again, another twist of fate occurred. While making his way to the canteen, which resided in the college basement, he popped his head around the sculpture department for some unknown reason and nosey. Immediately it made an impression on him; however, it was not for the 3D work on display but the amount of space provided for each student, compared to the distinctly limited space available in the painting department. Before he had even finished lunch, a transfer had been made at no extra cost, waving a sad goodbye to painting, Frank became a fullyfledged, bonafide sculptor. A smooth transition without a join to be seen. During this period, he became interested in the large metal sculptures of Anthony Caro and the American sculptor, David Smith, who had a major influence on Caro. Both mid-20th century sculptors are worth investigating if you are not familiar with their work.

After achieving first-class honours, Frank went onto complete a teaching degree and subsequently became an art teacher. During this period, while in full-time education, he formed a post-punk band with several fellow art students under the auspicious name of Head bolt. The

group was in the tradition of the zany art school band, as much visual as audio. They were alternative, fun, thoughtful and tittering on crazy.

One review described the group as Hawaiian shirt-wearing refugees. The band very quickly established itself and gained a reputation for being lively and entertaining. Frank became one of the chief lyricists, providing a mixture of storytelling and poetry. Eventually, Head bolt disbanded only to be resurrected a few years later as Da Da Mouton Noir, which again was of a similar ethos of visuals, humour and an umbrella for other performers. Frank, fanzines were also cobbled together to accompany the evening’s entertainment, containing poetry, visual gags illustrations, and other humorous ditties.

In the meantime, if that was not enough, he joined Birmingham Art Group, aka BAG, which Dave Manley founded. Its main objective was to bring artists together to exchange ideas and display their work, exhibiting regularly throughout the West Midlands and further afield. Frank became one of the main coordinators, along with Alistair Scruton. Later, a spin-off group was formed, Birmingham Print Workshop, which is still operating to this day. Through grants, auctions and donations, they managed to raise enough

Bronze Warrior Hidden Talents

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Large Bronze Unicorn

finances, lease a studio and purchase several printing presses.

During this His personal work went through a metamorphosis, from producing heavy metal and concrete floor pieces to lighter plinth based work.

Naturally, he began to move in a more eclectic direction. Clay and eventually bronze became the main mediums which he employed to express his ideas. This naturally led him to get involved with a Birmingham foundry in central Birmingham, including the process of casting in bronze. New ideas began to emerge and enrich his work, such as Surrealism, Da Da and realism, opening up a broader vista of imagery, which suited his receptive thinking. While at the same time, he continued to exhibit, whether in mixed or two-person shows.

Some of Franks work displays a personal interest in ancient mythology and the richness of Greek storytelling. It is in the ambiguity of mythological creatures and their emotional, social mannerisms, which he finds fascinating. The opportunity to work in bronze has enriched these pieces as well, enabling him to explore a new process in terms of both its limitless possibilities and time-consuming constraints.

In 2007 he was commissioned to construct, 3 large mythological sculptures, cast in bronze and sited in a ‘Sculpture Park.’ in Surrey. The work represents the fulfilment of this project that was started in the mid-1990s. The notion of this enquiry is the essence of artistic expression, and bronze allowed him to articulate new avenues of research within his work.

Having attained a good reputation for freestanding sculptures on plinths, Frank’s creative output again moved in another direction, in the form of collaged relief work, combined with poetry.

This would not only include his own literary output but other poets as well, once again appearing 32

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regularly around Birmingham at various venues, including the main Library. Performance poetry in pubs and openings also became part of his repertoire, as an adjunct to the wall art poetry works.

Always looking for new means of production and outlets, while sharing a few drinks with a good friend from college days, which continued into the early hours, they had a revelatory experience a light-bulb moment. This would be a portfolio of artists/poets/illustrators work, with any given number of contributors. A name was decided for the collective ...Hive. To date, there has been ten publications over the last five years and over fifty contributors. They are presently in negotiations to develop it further.

There is so much more to be said about Frank and his creative output. It is always difficult to summarise someone’s life and work in a few sentences. As a postscript, the message which comes across, get on and do, rather than intellectualise about creativity, for the best is yet come.

Shereena Habib

Written By David Irish

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Mixed Media Crouching Siren Hidden Talents

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DOYEN WHEN ART BECOMES LIFE, LIFE BECOMES ART

slide show, So, it was not only visual but aurally compelling. Synching mind, body, heart soul and emotion to the show. The hour-long composition was a series of varied minimal synths/ guitar and drum machine-based tracks. These were overlayed with time-stretched Samples of city sounds, enhancing a sometimes-atmospheric surreal aural landscape accompanying the visual experience in front of you. Creating the concept of Second City Symbiosis has become an underlying factor in much of the work I now do. The cosmopolitan diverse metropolis we call Birmingham, the people inhabiting it, the architecture and transport are a never-ending source of creative inspiration. This could apply to any city in the world, but BRUMMAGEM ‘’ the City of a thousand trades ‘’ is my home and as such, my inspiration.

DOYEN

Commute

BRUM IN MIND

A Digital Artist / Photographer / MultiInstrumentalist / Vocalist & Lyricist, Composer of music, and Cinematic Aural landscapes.

D O Y E N is Not a Person, D O Y E N is Not a thing, D O Y E N is a concept DOYEN D O Y E N is the name chosen to encompass all my multidisciplinary work, be that Photographic, Visual Art or Music. The pieces you see here are selected from an ongoing body of work called SECOND CITY SYMBIOSIS. In Second City Symbiosis, I try to show the people of the city, and buildings in the ever-present symbiotic relationship between them. Hopefully creating a unique perspective of them both, fused as one, in a singular moment in time...They are the Shadows of our past we walk in, our present, but 34

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also our future. For the viewer hopefully invoking an atmosphere, feeling, even direct memory they can relate to as one. The multi-layered images are usually Photographic in origin, then processed in Photoshop, to add colour texture impact and feel.

I have a lifelong love and passion for the ever ephemeral ‘’ City of A Thousand trades ‘’ and try to convey this in my work.

For example ‘’ BRUM IN MIND ‘’. Here we look into the mind of, and through the eyes of one of our cities three guardian angels. Watching over, and protecting both people and buildings in the city centre. Encompassing the iconic Bull of the Bullring, symbolic of Birmingham’s historic past, present, and future. The city 1000 trades. Seen here bedecked with a visor, made up of the new equally iconic Selfridges building. Second City Symbiosis became a 20-piece photographic exhibition, as well as an hour-long Multimedia

When Covid Dreams

Shadows

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Abigail Neblett Abigail’s Crafty Creations My name is Abigail and I am the creator of Abigail’s Crafty Creations. I live in Oxfordshire and base my business at home. I am a real lover of all things sewing and craft related. At 24, I am really proud of my achievements in setting up my business. I am really blessed and thankful that each day in some way I get to fulfil my passion and love of design, making handmade crafts pretty much most of the time. Ever since I studied Textiles GCSE back in school, I have had such a flair and high interest in sewing and ended up expanding my knowledge and skills when completing my Extended Diploma College Course in Fashion and Styling.

Even after all of my studying, I still had a keen interest in sewing and crafts which lead me to different job roles in the fashion retail industry.

I now currently work in a Home Furnishing Store as an assistant to fabrics, curtains, blinds, haberdashery, and also give advice to customers when ordering custom made products (Made to Measure). Even in my workplace, I have products/ fabrics/craft related things around which for me is just a dream!

When I am not working, I love to make all the

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Hidden Talents

variety of products that I offer. Even though it’s just me in my little craft room, that is my go-to relaxation space where I just feel like I’m in my element.

At Abigail’s Crafty Creations, I feel that my aim is to not only just make products that look pretty but to also offer a service for practical use as well as gift-giving purposes. Items can look pretty, but would definitely benefit a lot more on a practical level – That’s what I think anyway! I believe that my products are of good and substantial quality; designed using my very own hand made pattern pieces and produced with my own two hands.

With every product I produce, I put my heart and soul in and make sure that a lot of love, hard work and commitment goes into them. I feel that any customer who is ever looking for that niche unique touch to a gift to give to others should very much consider shopping with Abigail’s Crafty Creations. Every customer receives very highquality products, with realistic and reasonable delivery times. I really cherish the positive feedback I get from customers and love to see any pictures they’ve sent back to me to show what their products look like in their home or wherever they’ve used them. Every customer that has ordered from me has never been disappointed. I am incredibly thankful and blessed for this.

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Tim Gustard of the painting; titles, often humorous are mainly courtesy of Marion.

He paints the most beautiful and precious of items from life, carefully composing them in his studio which is a cornucopia of antique silver, porcelain and glass, some ancient artefacts are early Greek and Roman and all appear in his work sooner or later.

He has had many solo exhibitions all over the country with many selling out immediately and he regularly exhibits at the Royal Institute of painters in watercolour at the Mall Galleries.

He paints almost every day, Marion keeping him tied to the easel to keep her in the manner to which she has become accustomed, occasionally allowing him a few hours fishing when the weather is suitable.

Tim Gustard was born in 1954 in Lincolnshire, the son of a railwayman and amateur artist. He often went to work with his father who taught him to draw and paint in between trains. By the age of six he had conquered perspective and by seven he was painting in oils, not always completing the works mind. At fifteen he began selling his work and by the sixth form he was commanding up to a princely £50 a painting, not bad for 1972 and 17 years old.

He attended art school in Staffordshire and gained a BA (hons) in fine art. Here he met his wife Marion who had the most profound affect on the quality of his work, appearing in three paintings at his degree show. Fast forward to the late 1980s and Tim was exhibiting in many prestigious open exhibitions around the country notably the RA, RGI, ROI, RI and for eleven successive years the RSA. It was in 1990, after much persuasion, he painted his first still life as a present for Marion, he enjoyed painting it so much he just carried on with one still life after another. Soon he was spotted at the RSA by a succession of galleries and was able to become a full time professional in the early 90s.

Tim and Marion moved to the Lake District in 1997, Tim’s work was already in great demand and from the bespoke studio at the bottom of the garden he paints in acrylic in a somewhat traditional manner, but with a modern twist, never photorealistic but certainly realistic tempting the viewers to try and pick an object or piece of fruit from the surface 38

Hidden Talents

The paintings illustrated can be purchased from Beckstones gallery https://www. beckstonesartgallery.co.u

Recently Decanted.

Acrylic on paper. 30x20. £6900

The Restoration Man. Acrylic on paper. 23x27. £6900

The colour of onions.

Acrylic on paper. 32x52. £16500

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Frank Van Der Eijk The fugitive dreams of Frank I am an artist who was born in the Hague, a city on the North Sea coast of the western Netherlands in 1961, and later on in years I studied graphic design at KABK The Hague.

From my childhood, I always was inspired by art and music and aspired in becoming a drummer, and over the years as an entrepreneur, I have worked as a graphic designer, musician and visual artist.

Today my main focus is on painting, and you will find me working in my studio above my private house called

MYSTERIOUS TRAVELLERS Oil on canvas 120 × 100cm. 750 euro 40

Studio4thfloor in Amsterdam.

From my childhood, there are two artists I have always admired: Salvador Dali and Carel Willink and I think they are still hidden in my own paintings, my style is more Expressionism and Symbolism.

The late Dutch artist Armando taught me to look different and so I began to work more in an expressionistic manner.

Main influences: Dali, Willink, Constant, El Greco, Armando, Giorgio de Chirico, Kay Sage, Odilon Redon, Edvard Munch, Edgar Ende.

Over the years I have exhibited in The Netherlands, Amsterdam, The Hague, Eindhoven, Maastricht, San Remo, Antibes, Aachen and Düsseldorf.

Due to the pandemic, all my planned exhibitions, unfortunately, had to be cancelled, and as restrictions are being lifted now, plans are now in place to commence exhibiting after the summer in Emmen, The Netherlands and I am looking forward to that. If you are in the area, why not pop in and say Hello.

SOMEWHERE HERE ON EARTH Oil on linen 90 × 70cm. 450 euro

AFTER THE RAIN Oil on canvas 30 × 30cm. 400 euro

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Susan Fownes The Power Of Flowers

As the summer sun warms the Earth she blesses us with powerful flowers of Rose and Calendula amongst so many others translating the suns healing rays into micro nutrients there are two flowers that Pacha recipes embrace for our summer skin and natural hygiene ritual.

The Rose has been favoured Spiritually for its healing powers for aeons in so many cultures.

Science tells us that a perfumed rose petal contains a minimum of 400 recognised natural chemicals of benefit to our cells.

It’s no wonder the rose has long been prized for her beauty. Her perfume is divine and will lift the heart from sorrow. The calendula is another powerhouse of sunlight healing as indicated in her natural form. Like the dandelion which Mother Nature offers us as her natural remedy to lift the winter blues; the calendula offers similar curative benefits for the skin, infused into oils for balms and crèmes and infused into pure water for skin tonics and cleansing & balancing teas.

Full of beneficial micro nutrients she is a wonderful flower whose petals may bring benefit to the salad as well as a cheerful colour. The wild calendula is tiny in comparison to its more cultivated sister. She grows high in the Sierras during the colder months when light is bright but summer heat is not hardening the ground Andalusia is highly valued for her excellent effective but gentle antibacterial properties.

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Extra virgin cold-pressed olive oil from the Sierras of Andalusia is an ideal oil for extracting the fine and valuable phytonutrients and antibacterial properties from flowers and plants. It is a natural source of Vitamin E and its acidic nature provides an excellent natural substance for extraction and preservation.

A natural experiment to teach children is to place a purple viola flower in a small glass jar overnight. By morning the flower will usually be white and you may ask where the colour containing the phytonutrients has gone.

The colour has infused into the oil which you may then use in preparations for the skin or to combine with vinegar for gut cleansing salad recipes. You will need a dark but warm space, a glass container and a good quality virgin olive oil to cover the raw,semi-dried materials.

Agitate the jar every day and as often as one remembers for two weeks. The oil will then take on the colour of the flowers and their leaves.

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Harry Bell

move to a much smaller studio, he’s begun to investigate that idea by painting small still life paintings with an emphasis on design and pattern.

Feeding into that is an occasional series based on found still life subjects. He loves the careful, but usually loose grid arrangements of shoes, hats, bags and other holiday items set out in front of shops and stalls abroad, so they now figure in his paintings.

In a new departure for him, Harry has also turned to the fabric of the city and produced paintings dealing with the effects of time

and weather on surfaces. The textural and compositional possibilities of brick, wood, metal and rust are beautifully conveyed using found paper collage, acrylic gels and paint. These paintings were warmly welcomed at last year’s Discerning Eye Exhibition and undoubtedly point the way forward to an exciting strand of Harry’s work.

Prague Tram No. 3

Wok And Chair

Funchai

Red Locker Door

www.harrybellart.com

Fighting Cocks

Harry Bell was born in Gateshead, amongst the heavy industry of Tyneside, and grew up loving the buildings around him. He still lives there and the majority of his work is derived from the urban environment, but over the years his travels of Europe and the Mediterranean have filled his head with light and colour, boats and trams, beaches and buildings and crumbling walls.

After leaving school he was drawn into the world of Science Fiction Fandom, developing skill in cartooning for fanzines and even finding himself a fan Guest of Honour at a World SF Convention.

Although he still allows himself the pleasure of some cartoon illustration, his growing success in painting persuaded him to leave his Civil Service career and go to Newcastle University, graduating in 2001 with a BA (Hons) in Fine Art. Although Harry enjoys drawing from the subject, he does so as a way of maintaining hand to eye coordination and securing a continued connection with the world outside his studio. Primarily a studio-based artist, most of his work comes from his own photographs which he manipulates by 44

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cropping, photocopying, collage and computer program. Drawings are often made as an intermediate stage so that the final painting can be produced from aspects of several processes.

For the paintings themselves, Harry uses acrylic, collage and oil, in varying combinations and strives to create with strong shapes, colour and light, coupled with sensitivity. He constructs his work on a firmly composed abstract foundation but maintains a figurative approach. He is always keen to stress that a photographic likeness is never an aim, however!

When the Covid Lockdown began, Harry saw this as an opportunity to follow some new ideas with no thought of exhibiting or selling and began to investigate long-held but unexplored interests in subjects other than the townscapes that had fascinated him for so long. As a result, new themes emerged including a short series of imaginary portraits, some heavily textured paintings of weathered doors and walls and still life compositions.

Harry has always thought of still life as a townscape made small and following a necessary

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Don’t Look Back!

Sneek peek at Jacob’s new artwork