First prizewinner Sarah Pickstone

First prizewinner

Sarah Pickstone

part tree, part self, part story, part rebirth.

In this painting the different colours represent various systems or entities, each at a to pass through London’s regent’s Park. The park has long been a source for my work, painting, my artistic practice becomes a mediation between tradition and innovation, imagination and technology, abstraction and representation, as well as a way of reasserting my human presence with its limitations in the face of overwhelming technology and standardisation.


Born in Manchester in 1965, sarah

Pickstone attended the University of newcastle upon Tyne 1983-7, royal

Academy schools London 1988-91.

Awarded rome scholarship 1991-2.

Group shows include Morpho

Eugenia Galleria d’Arte Moderna e

Contemporanea republicca di san

Marino Italy 2005,

Gibbous Moon

Cubitt studios London 2007,

Irony and Gesture Kukje Gallery seoul Korea

2008, Double Interview I-MYU

Projects/seoul Art space Korea 2010,

Layers: John Moores Contemporary

Painting Prize show seongnam Arts

Centre south Korea 2010. Was a prizewinner in John Moores 23 2004.

Based at Cubitt London, her current work includes an Artist Book project with writer Ali smith.

20 sarah Pickstone


Biggs & Collings

Ian Law

Stephen Nicholas

Narbi Price

Biggs & Collings

The Greater Light

2012 oil on canvas

203.5 x 203 cm

Biggs conceives the colour, Collings applies it. our form is a series of triangles in a grid.

We use it not as an idea in itself, or as a quote from life (wallpaper or golfing sweaters, for example), but as an inert container for colour. Meaning is everywhere, it looms up in spite of ourselves, but we aim to examine what the world looks like if you remove familiar forms with their confusing narrative resonances, and substitute a neutral structure. one that supports a complex, changeable colour harmony - a landscape painting without the landscape.

Painting is in crisis – what is the point of an antiquated form in a world where representation is ubiquitous? our answer comes from looking at its origin, both in the history of art and as the by-product of art’s original intentions: beauty. As with all our recent work, the title comes from Genesis, whose origin myths are integral to Christian,

Jewish and Islamic history. (In this case,

Genesis 1:16: ‘God made two great lights

– the greater light to govern the day, and the lesser light to govern the night...’) These tales inform early Western depiction, which is the starting-point for our visual enquiry.


Emma Biggs, born 1956, attended Leeds

University (Fine Art) 1976-80 and is a professional mosaic artist. Matthew

Collings, born 1955, attended Byam shaw school of Art 1974-8 and

Goldsmiths London 1990-2. he has written and presented Tv programmes about art and was a juror for John

Moores 22 2002. since 1998 Biggs &

Collings have worked collaboratively.


Exhibitions (London unless stated) include round Table MoT International 2005, hA hA WhAT DoEs ThIs rEPrEsEnT?

standpoint Gallery 2012. ‘solos’ include

Clickclack 2006 and English Primitive

2008 FAs Contemporary Art, Five sisters

York st Mary’s York 2009, Mudlark

Charlie Dutton Gallery 2010, The Whole

Earth vigo 2012.

Biggs & Collings

Ian Law

M is many

2011 oil on linen

232.7 x 276.2 cm

M is many operates as a structure. It retains the dimensions of a wall previously installed within the gallery it was removed from. The M serves to delineate the proportions of the canvas, stating itself as a singular character whilst standing amongst the plurality of multiple readings.

The focus here does not fall upon gesture or authorship, but sets to move the work outside of its surface, implicating the viewer, artist and structure within its present context. how might we view a monument without a plaque?


Born in 1984, Ian Law lives and works in

London, where he studied at the royal

College of Art 2007-9. Group exhibitions include session_3_Image Am nuden Da

London 2009,

Furnished space London

2009, A very, very long cat Wallspace new York 2010, history of Art, the The

David roberts Art Foundation London


Programme Three: The studio as non-Place Perth Institute of

Contemporary Art Australia 2011,

Young London v22 Workspace London

2011. solo exhibitions include

Add a description Galeria Plan B Berlin 2011,

Is many supplement London 2011,

Co- Laura Bartlett Gallery London 2011 and make sure roDEo Istanbul 2012.

30 Ian Law

Stephen Nicholas


2011 oil on canvas

152 x 183 cm

This painting is one of a series which explores the theme of viewing/observation spaces.

others in the series include parachutists falling and floating inside a room, and monkeys jumping, as if being disturbed.

The painting explores a number of dualities: gallery and institution, abstraction

(as quotation) and figuration, perception and a viewing purpose/function.

The image was based initially on a shooting range and evokes a gallery space and modernist viewing room akin to a laboratory.

The targets (figures) are ghosted out through light over-painting, rendering them fugitive.

The black discs (holes, penetrations) are a quotation from op Art and disrupt the picture surface - they throw off an optical image of white discs if viewed in specific light.

The physical surface of the paint and the handling is just as important to me as the image; for me they are inseparable.

Biography stephen nicholas was born in 1958 in shoreham by sea, hove, and studied at st Albans 1979-81 then Falmouth school of Art 1981-4. Group exhibitions include

The happy squirrel Club

(curated/produced by BAnK) De Fabriek

Eindhoven 1996, Instantaneous

Beaconsfield London 1996, Mommy

Dearest Gimpel Fils London 2000,

The (Ideal) home show Gimpel Fils


London 2001 and A Thing About Painting

Platform London 2002. his solo shows include Flicker narcissus Beaconsfield

London 1994,

It’s my party and I’ll die if

I want to De verschijning Tilburg 1996 and Lapse Platform London 2000. stephen nicholas

Narbi Price

Untitled Kerbstone Painting (MJK)


Acrylic on canvas

91.5 x 122 cm

My socks were wet in my shoes when I saw narbi’s new paintings last Wednesday, and my black woolly hat was soggy. I’d just come in from outside. From the window of the room he works in, it was somehow soothing to see the scruffy backsides of the buildings you normally only see from the street, particularly the rear of the now-closed odeon cinema. rain was still falling on that arrangement of brick, ceramic tiles and weeds.

I love stuff like that, and know narbi does too.

I had some thoughts about his paintings, and then we talked, and then I had some other thoughts. Previously, I’d celebrated his choice of the neutral object, the one that neither attracts nor repels; and the act of rendering its mundane image with such precision and tenderness. This time, his choice of object had been driven by something else.

I’m still thinking about narbi’s pictures. And, I suppose, about that huge cinema screen hanging in the derelict dark, and all the films that were projected onto it – romantic films, comedies, kids’ films, horror films – none of which have left the slightest trace.

Text by nev Clay, April 22, 2012.


Born 1979 in hartlepool, narbi Price attended northumbria University 1999-

2002, newcastle University 2008-10

(MFA). Group exhibitions include


Mushroom Works newcastle upon Tyne

2009, 9 ACADovetail newcastle 2011, nothing, Like something, happens

Anywhere - new Work by narbi Price and neil Cammock Moving Gallery newcastle 2011, hole Editions - Ink on Paper Durham Art Gallery and DLI

Museum 2011, 2-person show with Marc

Bijl GalleriasIx at

Arte Fiera Bologna

2012 and omnia Mea Mecum Porto -

Works on Paper Kotti-shop Berlin 2012.

his site-specific solo show narbi Price was at GalleriasIx Milan 2011. Exhibited in

John Moores Painting Prize 2010.

38 narbi Price


Eve Ackroyd

Henny Acloque

Kelly Best

Katrina Blannin

James Bloomfield

Hannah Brown

Jane Bustin

Graham Chorlton

Wayne Clough

Julie Cockburn

Paul Collinson

Andrew Cranston

Theo Cuff

Cullinan Richards

Bernat Daviu

David Dipré

Nathan Eastwood

Liz Elton

Oscar Godfrey

Vincent Hawkins

Bé van der Heide

Rae Hicks

John Holland

Kevin Hutcheson

Jarik Jongman

Laura Keeble

Robin Kirsten

Brendan Lancaster

Laura Lancaster

Dominic Lewis

Peter Liversidge

Angela Lizon


Elizabeth Magill

Danny Markey

Enzo Marra

Rui Matsunaga

Onya McCausland

Dougal McKenzie

Damien Meade

Sonia Morange

Pat O’Connor

Jay Oliver

Dan Perfect

Oliver Perkins

Virginia Phongsathorn

Tom Pitt

Kevin J Pocock

Sarah Poots

James Ryan

Andrew Seto

André Stitt

Trevor Sutton

Emma Talbot

Amikam Toren

Matt Welch

Ian Whittlesea

Thomas M Wright

Eve Ackroyd

Dead Man

2011 oil on canvas

46 x 60 cm often drawing on historical events, my paintings use news and found photographs as their source imagery. A document of a moment of human horror, such as an earthquake or the aftermath of a bombing, is reinterpreted in my paintings into a non-specific scene of human emotion.

Apart from the figures in my paintings, the surroundings are often bare. By displacing these images from their context, their narratives become isolated. notions of pain and pleasure, resistance or discomfort are reduced to gestures, while desire is explored in the bodies' relationship to space.

Through painting I am able to articulate my thoughts about social systems, in which daily events and history are presented through the prism of mass news media. My paintings strip away the political context, and what appear instead are patterns of instinctive human behaviour.


Born in Guildford in 1984, Eve Ackroyd studied painting at Chelsea College of

Art 2002-6, undertaking a socrates

Erasmus scholarship exchange at

Weißensee Academy of Arts Berlin in

2005. Group exhibitions include (strich auf!) Galerie Pankow Berlin 2005, space

AsC studios London 2007, Between shadows Concrete & Glass London


Par-A-Dise (2 person show) Dazed

Gallery London 2008, Underfoot 97-99

Clerkenwell road London 2010,

Werkhaus The rag Factory London 2011,

Told Cole London 2011 and recently

The Yellow Wallpaper The Cob Gallery

London 2012. A solo show with Cole

Gallery was at Art hK11 Art Futures hong Kong 2011.

44 Eve Ackroyd

Henny Acloque



Mixed media on canvas

30.6 x 40.5 cm

Appropriating the work of deceased artists, I forensically unpick and reassemble the layers of each image I work from. I view my paintings as being evidence of evidence. I bind the paintings (mostly oval) with a glossy resin. This gives a sense of infinity, inferring that both the landscapes and our ideologies expand and contract outside the image.

The recent paintings are images taken from a collection of catalogues and postcards from my family. Dwellings or ruins feature repeatedly, representing lost ideologies. I have eliminated all the figurative elements from the originals and enforced my own codes to re-introduce characters to the frozen worlds. I have utilised the colour of cloth from the figures in the reproduction image and injected swoops and strokes that wittily and darkly undermine and disrupt the fantastical visions. This notion of ‘owning’ the painting is literally played out, with colours becoming fatter and more garish, suffocating and squeezing the image underneath.

In this series of works I hope subtly to prise open collections (and collectors) to reflect on how our changing world finds new meaning in their legacy, and how changes to society, culture and the economy have radically reshaped the meaning of objects and our relationships with them.


Born in London in 1979, henny Acloque studied at UWE Bristol 1999-2002.

Group shows include Kings, Gods &

Mortals hamish Morrison Gallerie Berlin


Jerwood Drawing Prize 2009

Jerwood space London (touring), Exeter

Contemporary open 2010 (winner)

Phoenix Gallery, Black hole hums B Flat

Ceri hand Gallery Pop-Up space London


Fade Away Transition Gallery


London 2010, Polemically small

Garboushian Gallery Los Angeles 2012,

Memory of a hope Ceri hand Gallery

Liverpool 2012,

The Threadneedle Prize

Mall Galleries London 2012. solos include A Dressing 2009 and Lugar De

Culto 2012 Ceri hand Gallery Liverpool.

Included in John Moores 24 2006. henny Acloque

Kelly Best

That place between 11 and 12

2011 oil on canvas

120.5 x 160.5 cm

My recent paintings are of landscapes that ask for reflection, and challenge our concept of time and place, questioning what we know as real and exploring what we think is invented.

I work by extracting ideas from my own photographs and found images, and incorporate them into the paintings in a collaged approach until they respond with the painting, creating a new identity. These forms dominate the space that surrounds them, yet the space around them also defines them.

I am interested in creating tangible boundaries in the paintings as well as allowing them to appear naturally during the painting process. The tactile nature of the canvas surface and the texture of the paint are key to my paintings. Combining impasto and thinner layers produces clues to the history of the painting whilst adding ambiguity to the landscape. Playing with perspectives forces the viewer to question their own position in relation to the space.


Kelly Best was born in Kent in 1984. she studied at Kingston University 2004-7 and is currently based in Cardiff. her group shows include


Painters Bute space Gallery Cardiff

2009 and various open studios at studio B Cardiff 2010-11. In 2011 she was an Artist in residence at The stade hall, hastings, exhibiting in sALT at the

Coastal Currents Festival 2011. she was recently short-listed for

The Door

Prize for Painting 2012 Centrespace

Gallery Bristol.

48 Kelly Best

Katrina Blannin



Acrylic on linen

56 x 54 cm

Pink follows an evolving methodology. squared grids provide the starting point for a

‘diagram’ or ‘mosaic’ of tessellated triangular forms and hexads. It is a reflexive, systematic approach, which searches for a lucid, visual sense, something that artists such as Mary Martin would describe as ‘internal logic’. In making a diptych I have the idea of mirroring or ghost images in mind. The starting points are objective explorations of the simple mathematics of symmetry, sequence and the possible disruptions of asymmetry. But this is only part of the journey. The aim is to achieve, through a paring down of visual ideas, something which investigates perception, intelligibility or clarity.

During the process instinct and experience play a role in relation to weight of tone, colour nuance, consonance and dissonance. Painted panels are applied in glazes, either multi-layered or in thinner washes. In others, metallic or multi-coloured under-painting is revealed which, with the texture and weave of the linen, creates a kind of two-tone effect, becoming integral to the tonal composition. Whatever the intention, the finished work is never completely as envisaged. It is the power of surprise that is important, its Gestalt, or ability to be more than the sum of its parts.


Katrina Blannin was born in London in

1963, attending Portsmouth Polytechnic

1984-7 and the royal College of Art

1995-7 (Drawing Prize 1996). Group shows, all London, include

Celeste Art

Prize old Truman Brewery 2006, Painting show 1.1 Gallery 2006, Crash open salon 2010 and 2011 Charlie Dutton


Zig Zag Charlie Dutton Gallery

2011, Friendship of the Peoples simon oldfield 2011, hA hA WhAT DoEs ThIs rEPrEsEnT? standpoint Gallery 2012,

Double vision Lion and Lamb Gallery

London 2012. solo shows, all London, include new Paintings Beedell Coram

2005, Local Colour Eleven spitalfields

2009, hexad Price and Myers 2010/11.

50 Katrina Blannin

James Bloomfield

Collateral Damage – The Killing Jar – 14.1.2012

2012 household paint on reclaimed plasterboard

88.4 x 117.5 cm

Images from the conflict in Iraq and the war in Afghanistan have become part of our everyday lives. This painting is part of a series assessing how de-sensitised we are becoming to daily reports of death and murder. The painting represents a still from

Julian Assange’s WikiLeaks footage showing the shooting of 15 Iraqi people.


Born in rossendale in 1977, James

Bloomfield studied art at Manchester

Metropolitan University 1995-6, and has studied painting conservation, broadcast media and sound recording. Group shows include Artist run Cow Lane studios salford 2003, Music 5a The Gallery st helens 2004, salford 7 salford Museum and Art Gallery 2004. solos include salford 7 Farmilo Fiumano London 2005,

M12-11 stockport Art Gallery 2008,

It’s our salford salford royal hospital

2008 and The Killing Jar AWoL studios

Manchester 2010. he has worked on several public art projects, is Artist in residence at LIME Art Manchester

2011-13 and studio Manager at Pool

Arts Manchester.

52 James Bloomfield

Hannah Brown

Time hangs heavy 3

2011 oil on oak and plywood

23 x 26.8 cm

My work centres on the English landscape and the way it is represented and reproduced.

Working within and against the omnipresent legacy of the English landscape tradition,

I search for quiet, often overlooked places with a peculiar type of beauty.

I am interested in the paradoxical desire to seek the picturesque within the natural environment and then promptly alter it by creating one’s own version; to hold a lasting possession of a place by imposing one’s description, thoughts or ideals.

The images I make are carefully mediated versions of our landscape. They are emptied of people and obvious signs of life. The weather, time of day and sometimes even the content are altered at will. What starts as a kind of ode to our landscape results in work with a prevailing sense of menace due to the untruths in the execution and the muted palette I favour, reflecting the flat, grey, English light that is so familiar.

Biography hannah Brown was born in salisbury in 1977. she studied sculpture at

Central saint Martins 1996-9 and the royal College of Art 2004-6. Group exhibitions include

Day-to-Day Data

Angel row Gallery nottingham (touring)

2005/06, Downstairs review Gimpel Fils

London 2007, Creekside open 2009

(selector Mark Wallinger) APT Gallery


Modern British sculpture

Gimpel Fils 2011, Encounter Gallery

Primo Alonso London 2011, Creekside open 2011 (selector Phyllida Barlow)

APT Gallery,

The Threadneedle Prize

Mall Galleries London 2011 and The

Launch A-side/B-side London 2012. solo exhibitions are hannah Brown

Gimpel Fils 2006 and Time hangs heavy

The China shop Gallery oxford 2012.

54 hannah Brown

Jane Bustin

— to veil

— sacrificed

— sacrifiés

— pour voiler

2011 oil on muslin, oak and gesso on MDF

127 x 91.5 cm

My recent work explores the metaphysical potential for painting to ‘make visual’ philosophical concepts found primarily in literature as well as music, science and theology, and are presented within the formal constraints of abstraction. over several years, they have been an exploration into making visual the unsayable. The paintings and the space around them resemble the thoughts and pauses upon a blank page.

They are initiated following intense periods of research resulting from collaborative projects with writers including Andrew renton, sally o’reilly, hélène Cixous, Tracy

Chevalier and John hull. The collaborative projects have included Atemwende,

Darkness visible and Unseen.

The recent series of paintings has been made in response to stéphane Mallarmé’s unfinished poems ‘Pour un Tombeau d’Anatole’. These fragments of text were Mallarmé’s attempts to come to terms with the death of his eight-year-old son, Anatole. Each work consists of three or four painted objects arranged on the wall and floor.


Born in 1964 in hertfordshire, Jane Bustin studied at Portsmouth University 1983-6.

Group shows include

Face off Kettle’s

Yard Cambridge 2002, ID Ferens Art

Gallery hull 2005, Darkness visible southampton City Art Gallery 2007, summer Exhibition royal Academy of Arts

London 2011, 2012,

Back and Forth B55

Gallery Budapest 2012. solo shows include Atemwende Eagle Gallery London


Paintings Artprojx space London

2008, Unseen British Library London

2009 and Anatole notes Testbed 1

London 2012. her work is in several collections including the victoria &

Albert Museum London, Yale Center for

British Art new haven and Ferens Art

Gallery hull.

56 Jane Bustin

Graham Chorlton

Edge of Town


Acrylic and oil on canvas

51 x 61.2 cm

Edge of Town shows an in-between place, where the urban sprawl gives way to something else. We might be anywhere in Europe, where new apartment blocks were built in the ‘50s and ‘60s to extend growing cities. A narrative may be suggested, but this is held off in this moment of stillness, when you become aware of where you are.

The painting process teases imagery out of washes of paint. The paint itself is an image and forms a relationship with that which is represented. I am concerned with how and what we represent, and with embedded time, of the past within the present, and the capacity of place to embody experience and memory.


Graham Chorlton was born in Leicester in

1953. he studied at Leeds University

1972-6 and is senior Lecturer in Fine Art,

Coventry University. Group exhibitions include

East norwich Gallery 1993,

The obsessive Garden Ashford Gallery rhA Dublin 2006, Dialogue halle des Chartrons Bordeaux 2010, The

Witching hour Birmingham Museum and Art Gallery (touring) 2010/11,

58 some Domestic Incidents (curator Matt

Price) at Prague Biennale 2011 and There

Is A Place new Art Gallery Walsall 2012.

solo shows are hotel Minerva Master

Piper Gallery London 2009 and Parks, hotels and Palaces Cross Gallery Dublin

2012. Exhibited in John Moores 17 1991.

Graham Chorlton

Wayne Clough

Down the Acapulco


Tempera on paper, white wooden box frame

29.2 x 33 cm

Whilst adopting the position of painter/archivist, I aim to investigate the way in which personal and societal experience is represented through press photography. Images that focus on trauma and social upheaval appear to play a significant role in shaping collective memory along with galvanising perceptions of cultural identity.

Down the Acapulco is one of a series of transcriptions that depict traumatic events that have punctuated various moments within my lifetime. These events seem to serve as a kind of memory map of lived experience.

This painting was given a special commendation by the jury.


Born in Bradford in 1975, Wayne Clough attended Bradford College 1998-2001 and Wimbledon school of Art London

2004-5. Exhibitions include

Working for

Peanuts space 44 studios London 2005,

MA show Wimbledon school of Art

2005, Painting to Music The Music room

London 2005, The Triumph of Panting

The Music room 2006,

Whatever happened to the Leipzig Lads? (curator, with James McMeakin) Waterloo Gallery

London 2006, histories (curator, with

James McMeakin) Foss Fine Art London

2008, rhizomatic Departure Gallery southall 2010, royal Watercolour society open Bankside Gallery London 2011 and Creekside open (selectors Phyllida

Barlow, Dexter Dalwood) APT Gallery

London 2011.

60 Wayne Clough

Julie Cockburn

The Field


Glazed ceramic and oil on found painting, bespoke frame

38.8 x 49 cm

The Field is one in a series of works made using found paintings as my starting point. In each case I responded to the image/object with some act of defacement. This painting exists on three planes: first, a physical background of a found canvas; second, a layer of black oil paint, semi-obscuring the original image; and third, floating glazed ceramic shapes, their acerbic colours contrasting with the duller hues still visible in the original painting. These glossy sentinels contain the painting and insist upon a dynamic vacillation between object and surface.

The experience of looking at a painting is somewhat similar to engaging in a dialogue.

A crucial factor in the process of making The Field is that it was never, as far as I was concerned, a blank canvas. rather, I entered into a pre-existing, albeit moribund, conversation, and experimented with a personal visual language. This hint at the nature of both intrapersonal and interpersonal communication engenders in me, and hopefully the viewer, an awareness of the human longing to be in empathic relationship.


Born 1966 in London, Julie Cockburn studied sculpture there at Central saint

Martins 1993-6. Exhibitions (London) include

Jerwood Drawing Prize 2007,

2010 Jerwood space (touring), Exam

Transition Gallery 2011, Photography as object sumarria Lunn 2011, The new

Alchemists: Contemporary Photographers

Transcending the Print Photo50 London

Art Fair 2012,

The World in London


(Photographers’ Gallery commission coinciding with 2012 olympics). solos include Filling The Cracks With Ceiling

Wax Flowers East 2010, The Foul rag and Bone shop of the heart Matt roberts

Arts 2011, Portraits and Landscapes

Flowers Cork street 2012. Work is in collections including Yale Center for

British Art new haven.

Julie Cockburn

Paul Collinson

Temple of Ancient virtue

2010 oil on canvas

120 x 180 cm

The inherent picturesqueness (roughness and irregularity) of the abandoned, derelict and the unplanned space is a virtuous subject matter for the artist, now politically as well as aesthetically. so rather than go hunting for these already ‘turned over’ sites I make my own: low-tech follies of my own imagination and experience, mixed with references to historic and contemporary English landscape ideologies. They are designed and constructed to achieve a certain verisimilitude when viewed through the camera lens.

The photographic print becomes the subject matter, not to ennoble or question the role of the photograph, but as a point of origin for the day-to-day exigencies and the tussle of painting the ‘point of view’.


Paul Collinson was born in hull in 1959 and studied Fine Art at humberside

Polytechnic 1989-91. Group shows include

The Way the Land Lies stamford

Arts Centre Lincolnshire 2004,


Miniature Worlds show Jerwood space

London 2006, The really rEAL Python

Gallery Middlesbrough 2009, situation

Critical Wirksworth Festival Derbyshire

2011 and recently,

A Modern romance


20-21 visual Arts Centre scunthorpe

2012. his solo exhibitions are sights

Unseen Christchurch Park Ipswich 2004, rEALLY... rED Gallery hull and 20-21 visual Arts Centre scunthorpe 2008, and England’s Favourite Landscape

Artlink Gallery hull and Myles Meehan

Gallery (Darlington Arts Centre) 2011.

Paul Collinson

Andrew Cranston

Thinking Inside the Box

2012 oil on canvas

137.2 x 212.5 cm

Painting is illusory, true lies, and my work affirms a belief in painting as a real kind of fiction. This premise offers the notion that a painter could be like a writer and adopt personas, explore feelings, thoughts, scenarios and characters rhetorically.

This painting is an elaboration on something seen and experienced.

Life drawing was thought to be an acceptable casualty in the ideological art wars following the Coldstream report. however, scottish art schools never really had a

1960s and went on pretty much as before, change happening more slowly.


Architectural space itself may be the main character here, and the canvas acts as an analogous spatial box, which has walls, floors, sides, etc. There is an absurd element in making art in a room somewhere, living in a box. The title refers to the freedom found in limitations. Walls are not all bad, some are good and necessary to keep stimuli out; to frame and make sense of something, even the corner of a room.


In the painting office at Gray’s school of Art, an old staff diary entry from May 23, 1968

(at the height of the Paris student riots) reads ‘still Life Composition'.


Andrew Cranston was born in hawick in the scottish Borders in 1969. he studied at Manchester Polytechnic 1989-90,

Gray’s school of Art Aberdeen 1990-3 and the royal College of Art London

1994-6. he lives and works in Glasgow and Aberdeen. Included in East

International norwich Gallery 2007,

2009. he has had solo shows Mappin

Art Gallery sheffield 2002, What a Man does in the privacy of his own attic is his affair International Project space

Birmingham 2009, hamish Morrison

Galerie Berlin 2010. In 2006 he received the rootstein hopkins sabbatical Award for lecturers and in 2008 the scottish

Arts Council Artists Award.

66 Andrew Cranston

Theo Cuff


2011 oil on canvas

47 x 37.5 cm

I paint from a cache of found and personal photographic material, from which a palette can be developed and applied in a process of reiteration or remedy. A ground serves as a constant where images are played out and often left in a state of uncertainty, complicated over time by marks and drips, and succeeding or failing according to cognition.

A precarious engagement between mimetic representation and abstraction then takes place - a need to extinguish or transform the initial image until equilibrium occurs.

This then suggests a deferred residual quality to me, which is detached, yet knowing of its original content, opening up new meanings but holding a skewed familiarity.


Theo Cuff was born in Frimley, surrey in

1984. he studied at the University of the

West of England Bristol 2003-9. Gained

MAstars award AxIs website 2009. his exhibitions include

Paint.Paint room

212 Bristol 2008, Et in Arcadia Ego

The Crypt st Paul’s Church Bristol 2009,

The show 2009: UWE Fine Art

Graduates Exhibition spike Island Bristol

2009, Fade Away Transition Gallery

London 2010, Gallery north newcastle

2011, Exeter Contemporary open

2011 Phoenix Gallery, six by Four

Motorcade/Flashparade Bristol 2012,

Last Day Cartel Gallery London 2012. he was included in John Moores Painting

Prize 2010.

68 Theo Cuff

Cullinan Richards

Collapse into Abstract (Black)


Gloss paint on plywood, plywood frame

162.5 x 136.5 cm

Charlotte Cullinan and Jeanine richards have worked together since 1997 as an artist duo, working primarily within the area of painting, painting’s relationship to the structure of the exhibition, and painting as performance.

We are interested in the use of the exhibition as material context within which discreet objects are choreographed and re-arranged to give a sense of instability or slippage of material and meaning. The diving horse pictured in Collapse into Abstract (Black) originates from a spectacle, performed in 1921 on the pier of Atlantic City, new Jersey,

UsA. The diving horse connects with our interest in the performance, the painting being both a depiction and a provisional ‘stand in’ for the performer. The title positions the painting as a collapse of the representational towards action and gesture, a downward motion into matter - a ‘plunging passage into blatant materiality and abstracted form.’ *



Tom Morton,

‘British Art show 7 - In the Days of the Comet’ 2010/11, catalogue entry p58.


Charlotte Cullinan studied at the royal

College of Art, Jeanine richards at

Chelsea College of Art. Cullinan richards’ group exhibitions include


Edge of the real 2004, East End

Academy 2009: The Painting Edition both

Whitechapel Gallery London, hey, We’re

Closed! hayward Gallery London 2010 and

British Art show 7 (touring UK)

2010/11. solos include

Pinxit After the

Butcher Berlin 2006, Girl rider Mead

Gallery Warwick 2008, strippers Charles h scott Gallery vancouver 2008,

Maradona two – for four The Lab Dublin

2010, First Unaffected Unaffected

Formal Effects Last Cooper Gallery

DJCAD Dundee 2010 and Collapse version v Dispari&Dispari Project reggio

Emilia Italy 2011.

70 Cullinan richards

Bernat Daviu

overall Paintings


Acrylic on canvas, wooden hangers

161 x 76 cm

In my paintings I reduce the image to a minimal expression of abstract forms. These become the motif of a system, generating imagery by means of alignments, distortions, displacements or superimpositions. some paintings are later transformed into garments.

These pieces resemble working smocks (modes of uniform) and they position paintings and the act of painting - as potent objects in real space.

In this particular work, monochrome paintings are presented in the form of boiler suits.

Both the Monochrome and the boiler suit are emblems of the Modernist utopian project in russia after the Bolshevik revolution (1917), in which art was to become a functional and practical tool for the construction of a new democratic society. The overall Paintings represent historical relics of a previous era, as well as pictorial symbols open to performative interpretations.


Bernat Daviu was born in Girona, spain in 1985. he lives and works in London, having studied there at Central saint

Martins 2004-8. Exhibitions include

Underground Temple For Paintings (with harry Blackett) next Art Fair Chicago

2009, Democratic Painting Iv Jafre

Biennial spain 2009, ‘The decade

2010-2020.’ The museum as hostage to fortune The Pigeon Wing London 2010,

(Drive-Thru) old Bridge (with harry

Blackett, sam Whittaker) Deptford x

London 2010, stuff on the wall, on the floor, floating in the air… Guest Projects

London 2011. solo show The real van Gogh Part 2 studio one Gallery

London 2010.

72 Bernat Daviu

David Dipré

self Portrait on White Ground

2011 oil and collaged canvas on board

61 x 47.8 cm

With each painting the aim is to remember and remake the experience of a subject.

It is an act of recalling, noting down and inevitably reworking, in order to escape the obvious, easy or derivative. The working process is a balance between defining the subject and stumbling upon unpredicted visual references.

I use portraiture as my main area of exploration, challenged by its rich history and the apparent impossibility of saying something new within this tradition. The aim is always to make visual statements that have the ability to last, and to add something new to the language of painting.


David Dipré was born in Bexley in 1974.

he studied at Camberwell College of Arts

London 1991-2 and the University of

Central Lancashire 1992-5. his exhibitions include open Again Gallery

Fresh London 1997, Christmas Group show Gallery Fresh 1997, BP Portrait

Award national Portrait Gallery London

(touring) 2001, 2002, 2010,

Au secours

Blackall studios London 2010,

Group show P.h. Gallery (temporary space) London 2010, season Ticket

The old shoreditch Underground station

London 2011, stroke.Edition Leipzig and

European tour 2011/12, Collectible

Zeitgeist Project space London 2012 and most recently Good Times roll high roller society London 2012.

74 David Dipré

Nathan Eastwood

A Man after Ilya repin’s own heart

2011 humbrol enamel on MDF

38.6 x 40 cm

A Man after Ilya repin’s own heart is part of a series of black and white paintings that focus on observations of my banal daily life in East London. Using my mobile phone I photograph these moments in order to make a painting. At certain moments - making my bed, taking and picking up my kids from school, making dinner and reading the news - I think, ‘yes, this is real life’. I paint or read in solitude, while my neighbours listen to music, quarrel, clean their porch and children play in the yard. I place an emphasis on making art within the domestic space, allowing the integration of real life into my painting.

I painted A Man after Ilya repin’s own heart after watching ‘The Art of russia,’ narrated by Andrew Graham-Dixon. he talked about the artist Ilya repin, explaining that repin did not believe in having servants but instead did all the manual work around his home himself. repin’s house embodied his intensely political purpose and values, and although rich enough to manage servants he prided himself on the fact that he had none. repin would proudly shovel snow away from his porch without any help.

Biography nathan Eastwood was born in Barrow-in-

Furness, Cumbria in 1972. he studied at

Kent Institute of Art and Design

Canterbury 2001-5 and Byam shaw school of Art London 2008-9. Group exhibitions include occupied realism

Portman Gallery London 2012, Platform

C’s Emergent Art show vyner street

Gallery London 2011, ArtWorks open

2010 ArtWorks Project space (Barbican

Arts Group Trust) London and Dazzleships red room London 2010. he was shortlisted for the Celeste Art Prize 2007

T2 old Truman Brewery London and Lyon

& Turnbull Galleries Edinburgh scotland.

76 nathan Eastwood

Liz Elton



Acrylic on plastic

Dimensions variable

Twisted is made from the remains of a performance. The painting was prised off the wall, pushed out of the studio, forced to experience the outside world, used to examine the space between itself and its environment. Beaten up, the remains were collected, taken back inside the studio, twisted around a support and hung back on the wall. referencing gestures and colour in two paintings by Willem de Kooning ( Two Figures in a Landscape, 1967 and Untitled, 1970), Twisted documents its experience of being pushed outside its comfort zone, re-imagining, exploring, trying things out. Altered by its adventure it becomes something new.


Born in Bristol, Liz Elton studied in London at Wimbledon College of Art (WCA)

2006-9 and Chelsea College of Art and

Design (CC) 2011-12. Exhibitions, all London, include

Deutsche Postbank

Exhibition Deutsche Postbank 2007,

Trace (2 person) WCA 2008, Liz Elton,

‘Inside’ (solo) CC 2010, Guinea Pig

Triangle space 2010, show La ruche

2010, open studios La ruche 2010,

78 recent Work hackney WickED Mother studios 2011, Manifesto Triangle space

2011, Foul Perfection The Castle 2012, salon The round Chapel 2012, Words to be looked at old Library Pimlico 2012, out of Place CC 2012 and Group show

The Bussey Building 2012.

Liz Elton

Oscar Godfrey

Mineral 9

2011 oil on board

24 x 19.6 cm

My paintings are not exactly figurative but there is an aim to convey the substance/sensation/density of real things or to prompt some sort of sensual recognition.

Mineral 9 is from a series of paintings that were fully composed in preliminary sketches. The colours were premixed and the paintings were executed relatively quickly.

I was interested in developing a process that would avoid tentativeness.

Biography oscar Godfrey was born in Chester in

1984 and lives and works in Manchester.

he studied at Mid Cheshire College

2003-4, followed by Glasgow school of

Art 2004-8. his exhibitions include

Macho Minge (performance) stour space

London 2010, rhizomatic Departure

Gallery London 2010, Crash open salon

2011 Charlie Dutton Gallery London,

Pop Up Povera (performance) MoCA

London 2011, and most recently a solo show Fat Exotic CCA Glasgow 2012. he was awarded a Departure Foundation studio in 2012.

80 oscar Godfrey

Vincent Hawkins

The house


Acrylic on canvas

49.7 x 39.5 cm

Things I pick up along the way and put aside will sometimes, when I am working, appear or come back to me in a painting. I will recognise some reference to them in a work.

It may seemingly be the most inconsequential incident, accident, object or event. In a painting from about 2007 are our orange and white plastic salad servers...I know it’s them. I didn’t plan it, they just appeared. It happens like that. Don’t fight it, just let it.


Born in hertfordshire in 1959, vincent hawkins attended Maidstone College of Art 1984-7. Group shows include

Jerwood Drawing Prize (shortlisted)

Jerwood space London (touring) 2006, summer Exhibition royal Academy of Arts

London 2007, 2008, Layer Cake Fabio

Tiboni Bologna Italy 2007, Invisible Cities

Jerwood space London 2009,

A sort of night To The Mind herbert reed Gallery

UCA Canterbury 2009 and Artary

Gallerie stuttgart Germany 2011, and in 2012, The Perfect nude The Phoenix

Centre Exeter and Wimbledon space

Wimbledon College of Art London, Five

Gallerie1/52 La seyne sur Mer Toulon,

Moveable Feast hôtel sauroy Paris. Was a prizewinner in John Moores 24 2006.

82 vincent hawkins

Bé van der Heide

In the Desert

2011 oil and acrylic on canvas

205 x 165 cm

Bé van der heide works most of the time in series. she travels, observes, photographs, sketches, then uses the images in her studio to transform them. When the theme exhausts itself, she travels again, sometimes just to the park, to get the inspiration for a new series.

While looking through junk at a local flea market last year she came upon a brown, very faded postcard, depicting images of fighting in the African desert during World War I.

This find initiated her

War series. The painting In the Desert is the first one in this series.


Born in the netherlands in 1938, Bé van der heide attended the Academy for Fine

Arts Enschede 1956-60. Past projects include: mural within netherlands Pavilion

ExPo 67 World Fair Montreal, guest artist outer Mongolia Artists’ Union

Ulaan Bataar 1992. Group shows include huit Montrealaises soho Gallery new

York 1980,

East norwich Gallery 1993,

12th Cleveland International Drawing

Biennale Middlesbrough 1996, 400

Women shoreditch Town hall Basement

London 2010. solo exhibitions include

Meditation on Knitting Centennial Gallery oakville ontario 1984, new Work

Galerie Biervliet Amsterdam 1989,

Insects Morley Gallery London 1998,

My real Family? south Tipperary Arts

Centre Clonmel 2006.

84 Bé van der heide

Rae Hicks

Late summer Mirage

2011 oil on board

79.5 x 121.5 cm

In Late summer Mirage, a black rectangular form obstructs an orbital road situated on the verge of a forest, bathed in a warm evening light. Inspired by a product photograph in a hobby modellers’ catalogue, I have tried to paint it as an almost convincing setting

- one that the viewer could imagine themselves into - but that is governed instead by a subconscious half-logic.

In my paintings I aim to give the impression of a fringe-world of displaced forms, which blow through each others’ territories and form semi-believable unions, like spare parts drifting in storage. The elements in my pictures are designed not only to recall various forms from life, but also their counterparts as miniatures, relics or sculptures, next to which they exist with equal inconsequence.

They are informed by landscaped environments, typified by themed leisure areas, sports grounds, airports, advertising displays, motorway services and retail parks. Like adverts, these are full of suggestions and hints that in reality I feel are absurd and impossible.

The results are locations whose identity as pastoral playgrounds feels at odds with the human habitation they elicit.


Born in London in 1988, rae hicks grew up in Bath, attending City of Bath

College 2006-7 and Goldsmiths London

2008-12, including a year at hFBK hamburg 2010-11. shows include

Firing the Canon (self-organised) The Gallery

Goldsmiths London 2009, For Your Eyes only Mayfair London 2009, Komm, Gib

Mir Deine hand hFBK hamburg 2010,

Golden shower The Golden Pudel

86 hamburg 2010, Goldsmiths hFBK

Amersham Arms London 2010, Allwork no.6 Belmont Avenue London 2010,

Gestalten statt nur verwalten Art school Alliance studios hamburg 2011, new Classics Elektrohaus hamburg

2011, hFBK Jahresausstellung hFBK hamburg 2011, Painthings Goldsmiths

London 2012.

rae hicks

John Holland

home vII


Acrylic paint, bitumen, glitter, photograph, household gloss and pen on paper

26 x 31.2 cm

The picture is, of course, guided by forces beyond my control or understanding. higher beings (or my unconscious, or dumb chance) have better ideas than I do, and there is no point in painting something I already know.

It’s my job to drag this ridiculous abstract freedom down towards the sadness of things, to try to taint it with the somatic, the still life, towards things with sides, weight, illumination and a space to live in. These facts of being in the world are alluded to, but they’re compromised because the paintings remain arrangements of colours and shapes, images, and neither representations of the world or reifications of my thoughts.

The process involves hundreds of almost-rational decisions, but no reasons.

The picture must have the illusion of internal necessity, a sense of self-fulfilment, neither over-determined nor merely subjective. roughly halfway, in fact, between me and the world, with an independent presence, a ‘rightness’. or maybe the right kind of ‘wrongness’.


John holland attended Braintree College of FE 1987-8, Kent Institute of Art and

Design 1988-91. Exhibitions include hybrid Phoenix Arts Brighton 2003,

Drawn An Lanntair stornaway 2006,

Dirty nature standpoint Gallery London

2007, 00nature Contemporary Project space London 2008, The Damned and the saved studio 1.1 London 2008,

Doris stedefreund Berlin 2010, supernormal Braziers Park oxfordshire

2012. solos include I’m Trying My Best

1998 and still Trying My Best 2000

Phoenix Arts Brighton, What Do You

Want? LAPs Lille 2001, Ten Things That help Phoenix 2002, Maybe nature

Gets Bored, Too LAPs 2003, Food hastings school of Art Kent 2007.

88 John holland

Kevin Hutcheson



Acrylic and magazine cuttings on paper

25 x 17.5 cm

This piece is a study entitled study, a playful attempt to explore the formal language of painting.

The fragment of collaged imagery in the work offers a glimpse of someone carrying a folder of notes, perhaps going about their studies (the physical scale of the piece reflects an intimacy contained in the act of study).

I sometimes like to work in the library, which can feel similar to going to the studio (or going to see an exhibition). It’s a space for contemplation. This piece is a study of such a place.

I find the idea of research as an authentic mode of thought interesting, not only in preparation for a forthcoming event but as an important experience of continued learning in itself. In contrast, the method of painterly mark-making in this work expresses a desire for spontaneity or improvisation - to ‘live in the moment’, as when creating a study.


Kevin hutcheson was born in Glasgow in 1971. he studied at Duncan of

Jordanstone College of Art and Design

Dundee 1993-7 and Chelsea College of Art and Design London 2001-2. he lives and works in Glasgow. his group exhibitions include Presence The

Fruitmarket Gallery Edinburgh 2002,

Country Grammar Gallery of Modern Art

Glasgow 2004, East International norwich Gallery 2006, Learn to read

Tate Modern London 2007 and The

Associates Dundee Contemporary Arts

2009. solo shows include those at

Alexandre Pollazzon London 2007,

Jacky strenz Gallery Frankfurt 2008 and Glasgow Project room 2010.

90 Kevin hutcheson

Jarik Jongman

Waiting room (1)

2011 oil on canvas

120 x 180 cm

I use both my own photographs and anonymous pictures found in flea markets, books, magazines and on the internet as a starting point for my work, which often deals with archetypical imagery.

My latest series of works depicts waiting rooms.

Waiting is something we all do. Almost inevitably, we wait with a purpose. It is a promise that lies in waiting: a reward at the end. Your turn has come, the end of the line, the

Kingdom of heaven perhaps; redemption and eternal life.

Life is uncertain, unpredictable. For this reason, the act of waiting can be quite pleasant.

A waiting room is a room where time or life seems suspended. We are temporarily in a situation where we cannot act. And we do not have to. It offers a moment for contemplation, with responsibility temporarily lifted.

We like to think that we make choices in life, decisions made by our free will. But perhaps our sense of control is an illusion. Ultimately there is the fear, the realisation even, that everything is pointless, that all is in vain.

What if waiting is in fact all we are capable of?

Perhaps, then, we should find the reward in the anticipation.


Born in Amsterdam in 1962, Jarik

Jongman attended Arnhem Fine Art

Academy 1990-2. he was an assistant to Anselm Kiefer. Exhibitions include

Travelling Light WW Gallery venice

Biennale 2009, national open Art

Competition 2010 (joint First Prize)

Minerva Theatre Chichester, Art star superstore WW Gallery London Art Fair


Afternoon Tea WW Gallery venice


Biennale 2011, Pow! @ Crunch WW

Gallery hay-on-Wye 2011, A Wake

Momentum Berlin 2011, The open West

Gloucester Cathedral 2012 and

All will be explained Isi Arti Associate naples

2012. solos include Phenomena Kap Pur

Gallery Tilburg nL 2010 and hello,

Goodbye WW Gallery London 2010.

Jarik Jongman

Laura Keeble

“I’d like to teach the world to sing!”

2011 humbrol enamel paint on found soft drink can

10.1 x 13.5 cm

In 1971 a congregation of multicultural teenagers sang from a hilltop. Their song: a unified call for perfect harmony, equality, housing and Coca-Cola.

In August 2011, on the back of uprisings in the Middle East (Arab spring), a call to arms was made by a mass congregation of culturally diverse teenagers in the UK.

Using social media, rioting spread across London and other cities, including Birmingham and Manchester.

The can was a discovery, a treasure I found on visiting Greenwich the day after the first night of rioting. Laying in the road it was perhaps a relic of the evening’s events. I was interested in its memory, the energy it captured. how many people had walked on it?

rioters or the riot police? The symbolic values of equality, harmony and cultural diversity crushed underfoot. It left me questioning if these values are protected or suppressed?

In my practice I try to create a dialectic between the work and the viewer. I am interested in creating a pause, a brief moment in time when a double-take allows for an internal question, a need to assess or understand. I use symbolism and familiarities of the everyday to question what is dictated to us.


Laura Keeble was born in London in 1977 and attended Essex University southendon-sea 2006-9. Group exhibitions include Lazarides Gallery newcastle


Trespass Alliance Andipa Gallery

London 2009, Dirty Little secret Indica

Gallery new York 2010, skull Cult: history of man Gottorf Palace schloss

Gottorf state Museum schleswig-holstein


Material matters: The Power of the

Medium East Wing x Courtauld Institute

London 2012. Uncommissioned public art installations include Forgotten something!? White Cube Gallery

Mason’s Yard London 2007, Christmas shopping new Bond street London 2007 and Confessional royal Exchange

Buildings London 2012.

94 Laura Keeble

Robin Kirsten

Path of Whistlers


Gouache and pencil on cardboard with stickers and tape

45.5 x 38.2 cm something around logic to expand transformation possibilities, and philosophical philosophy to measure a maximal; then data of realities given, to excavate in the general. Cosmological seeing at the altering ends of universal form, begins from intuition to procedure with calibrations linked between.

And I, I, I expanding focus to concepts from phenomena - to operate and alter not language, and elucidate on an external - through overlaying perception, then reading all attention new.

These collective contributions, and a reduced and coupled initial something, also understand - but only.

Biography robin Kirsten attended Goldsmiths

College London 2002-7. Group shows

(London unless stated) include (2006) shaking smooth spaces Le Générale

Paris, rag and Bone Three Colts Gallery;

(2007) republic L’Est Truck Art @

ArT:ConCEPT Paris; (2008) Fire red

Gas Blue Ghost Green sassoon Gallery,

About AutoItalia, 3 Painters Gallery Klerkx

Milan 2009; (2010) The Milkplus Bar

(curator) Josh Lilley, il alla a’ lai de l’ail

(curator) Crimes Town, Tag: From 3 to 45.

new London Painting Brown Gallery.

solos are on Fear and reason haptic @

La Maison rouge Paris 2006, Big rock

Candy Mountain FormContent 2007, The

Prada Cycle Gallery Klerkx Milan 2009.

96 robin Kirsten

Brendan Lancaster

Wet Casements

2011 oil on canvas

50 x 70 cm

I’m interested in painting energy that flows, the expansion and compression of form, the diversion of a line, the spatial impressions of colour. recently there have been many painters exploring the back and forth transition between abstraction and representation, and I see my own work in this context. I like the work to suggest places or situations, but at a remove, not settled, and still using paint in a very physical way that we can respond to physically – the material, texture and scale of the painting.

I let the final state of the painting grow from many detours, dead ends and changes of direction. From all this I'm looking to uncover an image that seems like it’s arrived from nowhere, something strange I wasn’t expecting.


Brendan Lancaster was born in hartlepool in 1968. he studied at oriel

College oxford (Maths) 1987-90, then at the University of north London

(Modernity) 1999-2001. Group exhibitions include Bristol Art show

(winner sponsor’s prize) Centrespace

Bristol 2008, Motorcade/Flashparade open Painting (First prize)

Motorcade/Flashparade Bristol 2011,


Motorcade/Flashparade national open 2012, other Worlds oxford story Museum 2012, six by Four

Motorcade/Flashparade 2012 and

As little as it needs, as much as it can take

Motorcade/Flashparade (self-curated)

2012. his self-curated solo show new

Work was at Centrespace Bristol 2006.

Brendan Lancaster

Laura Lancaster


2012 oil on linen

24 x 30 cm

For me, painting is a transformational process, allowing me to navigate the space between the potency and potential of the subject matter and the stuff of paint itself as a tangible substance. More specifically I am interested in manipulating the meaning of found, anonymous snapshots of strangers, using painting as a method for the unravelling and exploration of the latent humour, pathos and psychological complexity of these objects.


Born in 1979 in hartlepool, Laura

Lancaster attended northumbria

University 1998-2001 and is based in newcastle. Group exhibitions include

Micro-narratives, Tentation des petites réalités Musée d'Art Moderne de saint-Étienne Métropole 2008, Ego

Documents (with residency) Kunstmuseum

Bern 2008,

Dawning of an Aspect Green on red Gallery Dublin 2009 and

Paintings from England and America Crisp

London 2010. solo exhibitions include

You are a Movement Workplace Gallery

Gateshead 2010,

Laura Lancaster, new Work Laing Art Gallery newcastle

2010, and at The Armory show new York

2012. represented in The Government

Art Collection and collection of Tyne &

Wear Museums.

100 Laura Lancaster

Dominic Lewis

The Auction

2011 oil glaze on canvas

154 x 114.3 cm

The subject of the auction is Claude Monet’s The Blue house at Zaandam, completed in 1871. The painting is being sold as part of the Weinberg collection of French painting at sotheby’s on July 11 1957.

My painting attempts to evoke a sense of nostalgia about an historical event, acknowledging the tradition of both history painting and the group portrait. The setting of the auction house, with its drapery and period furniture, housing a painting by one of the most romantic artists in history, raises questions about the contemporary art market and the changing values of art.

The cameras and microphones touch on painting’s relationship to the media, whilst the furniture and fashion help to place us in a specific time.

The characters interrelate on different levels, from auctioneer to warehouse attendant to the buying public, from the journalists to the cameramen. All are involved in the shared activity of looking and listening.

original photographer: hulton Archive/Collection: hulton Archive/Getty Images


Dominic Lewis was born in Brighton in

1975. he studied in London at Chelsea

College of Art and Design 1995-8 and

The slade school of Fine Art 1999-2001.

he has shown in group exhibitions including Atelier something springfield house London 2001, The second

Builders Arms summer Biennial The

International 3 Manchester 2001,

Gatsby The new Lansdowne Club

London 2002, 14x14 Century Gallery

London 2002, record Collection vTo

London (and at The International 3

Manchester and Forde Gallery Geneva)

2001, Barden Boudoirs (site specific)

London 2004, on Waking The octopus

Athens 2007, Polar Union Denman Arts

London 2010.

102 Dominic Lewis

Peter Liversidge

Proposal for the Jury of the John Moores Painting

Prize 2012


Frame, carbon, paper, canvas and acrylic

32.6 x 60 x 3 cm

ProPosAL For ThE JUrY oF ThE John MoorEs PAInTInG PrIZE 2012,


LIvErPooL, L3 8EL.

6th February 2012.

I propose to commission a painter to paint a copy of this typed proposal. The painter would be given instruction to complete the painting on stretched canvas. The second instruction to the painter would be to paint every last typed letter, starting at the top left and finnishing at the bottom right, so that the painted copy is as good a likeness of what you are now reading.

The finished painting would be installed to the right of this prop

-osal, exactly 137cm from the floor with 15cm between this, the typed proposal, and it’s painted copy.

Peter Liversidge.


Born in Lincoln in 1973, Peter Liversidge lives and works in London. his group exhibitions include Multiplication (British

Council exhibition) Museo de Arte

Contemporáneo Universidad de Chile santiago Chile (touring) 2007, The Fifth

Floor Tate Liverpool 2008, room

Collaborators 2 room London 2010. his solo exhibitions include

Fair Proposals: Art statements Art Basel 38 switzerland


2007, Proposals for Brussels Europalia

Arts Festival Brussels (with the British

Council) 2007, CoMMA 07 Bloomberg space London 2009,


ALL Ingleby Gallery Edinburgh 2009,

Proposals for Cardiff Chapter Cardiff

2010, Proposals for sean Kelly Gallery sean Kelly Gallery new York 2011.

Peter Liversidge

Angela Lizon ´

Made in Taiwan

2011 oil on canvas

8.1 x 6.1 cm

I seek out items resonant of my working-class background, never paying more than a couple of pounds for each, and re-invent them within the context of ‘Fine Art’ painting.

I search for the pathos within an ornament, finding intrinsic value and worth within discarded and unvalued objects, plus something a little off-key, trying to bring this out with careful lighting and adjustment of the image on a computer. The resulting photograph then becomes the source image for the painting.

This particular ornament has its own mystery and narrative, from the ‘Made in Taiwan’ sticker on its head, and its purchase for 29 pence in a charity shop. Who made it and for whom? Did they believe in its artistic value? Who originally bought it? Who threw it out to be finally valued for so little? Is the man holding a rifle, an oar or a fishing rod?

Biography she studied at Bristol Polytechnic 1983-6 then Krakow Academy of Fine Art Poland

1986-7 (scholarship, funders: Polish government, the British Council).

Group exhibitions include The open

West Gloucester Cathedral 2009, Exeter

Contemporary open 2009 Phoenix

Gallery (Exhibition Award, Audience

Choice Award), summer Exhibition

106 royal Academy of Arts London 2010,

The Threadneedle Prize Mall Galleries

London 2010, never Judge…? stolen space Gallery London 2010,


Fabulists view Gallery Bristol 2011,

Motorcade/Flashparade open Painting and national open Bristol 2011. solo show Colossal Cats was at howard

Gardens Gallery CsAD Cardiff 2010 and Prema Uley 2011.

Elizabeth Magill


2012 oil on canvas

168 x 198.1 cm

In this painting a duality emerged between something kind of dark and submerged against something light and ephemeral.

I depicted a perched bird to counteract and balance the weight of the darkness and perhaps allowing the eye to travel up the branches and catch sight of this rare creature. In fact it’s beyond rare, as it doesn’t exist at all.

originally I read about this creature in Joyce’s

Ulysses in a sentence that ran

‘…a waste land, home of screechowls and the sandblind upupa.’ I was drawn to the comic strangeness of the name ‘upupa’.

In reality it’s a colourful tangerine bird but during the painting it became white as the work developed so it can be read now as a ghost of a bird…a ghost from a text in a book.

Landscape painting gives me this kind of room to place ideas from many sources in a wider space.


Born 1959 in Canada, Elizabeth Magill attended Belfast College of Art 1979-82,

The slade London 1982-4. Group shows include

British Art show 3 (hayward touring) 1990-1,

0044 Ps1 new York

(touring) 1999, Premio Michetti

Fondazione Michetti Italy 2000, The

Glen Dimplex Awards Irish MoMA Dublin


Interlude Douglas hyde Gallery

Dublin 2011. solos include new Works southampton City Art Gallery 2000, recent Paintings The hugh Lane Dublin

2002, Elizabeth Magill Ikon Birmingham

(touring) 2004-5,

Chronicle of orange

Wilkinson Gallery London 2008,

Green Light Wanes Towner Eastbourne

(touring) 2011, Land-scape hITE

Collection seoul Korea 2012. Collections include Ulster Museum and the

Government Art Collection.

108 Elizabeth Magill

Danny Markey

Traffic Island in the snow

2011 oil on board

23.5 x 29.5 cm

This painting was made when it snowed heavily during the winter before last. Everything outside became very beautiful, especially as night fell and the street lights turned the snow orange and purple and the sky was a deep blue. Yet I was not moved to respond to this until I noticed these street signs at the roundabout lit against the grey-purple snow in the fading afternoon light. I felt an urgent need to put this down in paint.

At the time I did not question this impulse. now I think this nowhere place almost emptied of subject matter allowed me to make something I could feel was my own.

The painting was largely completed outdoors in one quick session. small alterations were later made in the studio until I thought the painting should be left alone.


Danny Markey was born in Falmouth in

1965. he studied at Falmouth school of

Art in 1983-4 and Camberwell school of

Art London 1984-7. has exhibited with redfern Gallery London since 1992. Was elected royal West of England

Academician 2001. Group shows include

The London Group Barbican London

1993 (prizewinner),

Autumn Exhibition

2001, night 2008, The Drawing room


2008 - all rWA Bristol, The Discerning

Eye Mall Galleries London 2001, 2002,

2007 (prize, Best Artist from Wales

2007). second prize, rWs sunday Times

Watercolour Competition 2009. Work held in collections of British Museum

London and Falmouth Art Gallery.

Danny Markey

Enzo Marra


2011 oil on canvas

50.2 x 50.5 cm

My painterly work is characterised by elements of history, mythology, surrealism and metamorphosis. I am an artist in my studio, painting artists at work in their studios, each depicted in a manner that conjures up our collective romantic vision of the artist toiling away in a bohemian garret. My subjects are distant, yet attainable, not enhanced, nor superhuman; they are simply artists, like me.

I relate to my subjects as equals, yet my monochrome palette and viscous brushwork somehow mythologises them to an even greater extent than the black and white photographs from which some of the paintings derive.

Each is handled in the same thick impasto and tonal palette, dense portraits of men and women at work, simple yet inspirational. Mythology plays an important part in my work.

The framing of artists in their studios is a potent mirror of the hopes and expectations of a million artists, following the exact same path.

This painting was inspired by a 1924-5 henri Manuel photograph of Claude Monet working in his studio in Giverny.


Enzo Marra was born in Bournemouth in

1975, studying there at shelley Park Art

College 1993-5, then at the universities of reading 1995-9 and Brighton 1999-

2001. Exhibitions include

Travelling Light

WW Gallery venice Biennale 2009, summer Exhibitionists and Is There

Anybody There? WW Gallery London


The Threadneedle Prize Mall

Galleries London 2010, GFEsT visual

Arts Exhibition Atrium at hampstead Town hall London 2010, London Art Fair (Art

Projects) WW Gallery 2011,


Tea WW Gallery venice Biennale 2011,

Anthology Charlie smith Gallery London

2011, The open West Gloucester

Cathedral 2012. his solo show Demigods was at WW Gallery 2011.

112 Enzo Marra

Rui Matsunaga


2011 oil on board

34.8 x 29.6 cm

In my work, the enigmatic is fused with a multitude of references from ancient magic to cybernetics in order to lead to a meditative sense of our universal human condition. From another perspective, my work is rooted in the Japanese background of a post nuclear bombed society and its cultural impact in relation to nature and fiction. Inspiration from contemporary Manga, films, mythology and religion reflect an increasingly technological world where a new spirit of mind raises a range of questions about our relationship with nature and the unseen world of the magical and the spiritual.


Born in Japan in 1968, rui Matsunaga attended the International Christian

University Tokyo 1987-90, London’s

Central saint Martins 1996-9 and the royal Academy schools 1999-2002.

Exhibitions include (2006) outdoors

Danielle Arnaud Gallery London, I’ll Be

Your Mirror, Liverpool Biennial; (2007)

Celeste Art Prize (finalist) T2 old Truman

Brewery London and rui Matsunaga -


Painting and Drawings (solo) Primo

Alonso London; (2008) I don’t speak very much I-MYU Projects London, new

London school Mark Moore Gallery

Los Angeles, The Future Can Wait T1 old Truman Brewery London; (2011)

Polemically small Torrance Art Museum

Los Angeles; (2012) Immortal nature

Edel Assanti London. rui Matsunaga

Onya McCausland

Iron hill


Earth pigment in acrylic medium on plywood panel and wall

119 x 164 cm

For me, there is something indescribable about finding a pigment in the landscape.

The sources of pigments in the earth are related to the long history of painting.

Iron hill refers to the material - iron oxide - to the site of the material’s origins - a hill

- and to the tradition of British landscape painting. old materials carry new meaning and this ochre is made from mine water, a polluting legacy of the redundant mining industry. The pigment is also the subject of the painting, and part of the story of the changing condition of the contemporary landscape.

The shape recalls distortions of perspective associated with medieval wall painting and suggests space beyond the physical surface of the wall. The meeting point between the two halves of the painting is reminiscent of a horizon line. This illusion is undermined by the relationship of object and shadow and by the surface of the wall asserting itself as present.


Born Zennor, Cornwall in 1971, onya

McCausland attended Falmouth school of Art 1991-4 and The slade London

1997-9, where she is currently research

Assistant. Exhibitions include


(with Tess Jaray, rana Begum, Martin

Creed) 79a Brick Lane London 2009,

Mark out II Meantime Project space

Cheltenham 2010,

London to Cairo (with

Khaled hafez) Delfina Foundation


London 2011. solos include English red

Earth Gloucester Cathedral 2008,

Transitions - salt Green newlyn Gallery

Cornwall 2008,

Alentejo red Earth

Drawing spaces Lisbon 2009, White

Earth st Peter’s Church Kettle’s Yard

Cambridge 2010, Carbon Iron Chalk slade London 2011 and sited Millennium

Galllery st Ives Cornwall 2012.

onya McCausland

Dougal McKenzie

otl’s Gift (The honeymoon of the Mechanical Bride)

2011 oil and graphite on linen, garment, graphite/watercolour/collage/digital print on paper

97 x 94 cm

My current work seeks possible meeting points between painting and design (from architecture, to fashion, to graphics). I am interested in surfaces and how they might connect to painting: the sleeve of a 1970s record album, that could be considered as representing the last significant period of the protest song and mass youth demonstration; a graphic designer’s layouts and the surrounding political events; a polyester garment that also becomes part of the fabric of the painting itself; each are utilised as source material for this work. I am also interested in painting’s dialogue with its own history and with history in its widest sense. The title of this work refers to otl

Aicher, whose designs for the Munich olympics of 1972 aimed at a highly functional yet friendly ‘rainbow Games’, an aspiration undermined by the Palestinian Black september attacks at the olympic village. Aicher had also been sympathetic with the White rose resistance movement against national socialism, and throughout his life remained committed to Modernism’s utopian vision. The garden was an important ‘thinking space’ for Aicher, particularly when cutting the grass. Late in life, he was tragically killed by a motorist as he crossed the road on his lawn mower.


Dougal McKenzie, born in Edinburgh in

1968, attended Gray’s school of Art

Aberdeen 1986-90 and University of

Ulster Belfast 1990-1, where he lectures in painting. recent group shows include

The Double Image (curator) Golden

Thread Gallery Belfast 2007 and

Layers: John Moores Contemporary

Painting Prize show seongnam Arts

Centre south Korea 2010. 3-person show

(with David Crone, Mark McGreevy)

FE McWilliam Gallery Banbridge n Ireland forthcoming 2013. recent solos include Dunkelbunt 2009 and hot and

Cool 2011 The Third space Gallery

Belfast. Prizewinner John Moores 23

2004 and recipient of a major Arts

Council of northern Ireland award 2005.

118 Dougal McKenzie

Damien Meade


2011 oil on linen on board

65.5 x 48.2 cm

As a painting of a sculpture, it is artifice within artifice, but its phenomenology moves beyond this: the inanimate appears reanimated, something uncanny. The actual real collapses into an illusion of the real, the other.

I like how the title Talcum traverses notions of the cosmetic and the scatological, how something abject and inert might display a trace of consciousness, vanity, or even perversion.


Damien Meade was born in 1969 in

Limerick, Ireland. Attended DIT Dublin

1987-91, Chelsea College of Art London

1992-3. Artist Fellowship Churchill

College Cambridge University (in association with Kettle’s Yard) 1994-5.

Group shows include (2010) sv10:

Members’ show studio voltaire London, super natural Charlie Dutton Gallery


Be-head Andipa Gallery

London; (2011) The Perfect Crime

120 no.4a Gallery Malvern, FroM

LonDon (curator) Galería Art nueve

Murcia spain; (2012) The Perfect nude

Wimbledon space WCA London

(touring), reason swings Its Bone

Pesthouse Editions Amsterdam, sv12:

Members’ show studio voltaire, The smallest Composite number standpoint

Gallery London. solo show


Meade Charlie Dutton Gallery 2012.

Damien Meade

Sonia Morange



Acrylic, ink and pigment on canvas, stitched with thread

244 x 141 cm

This piece is assembled from scraps of painted canvas - colour experiments that are cut and sewn together. As a flattened form demanding a painterly experience and a sewn object made to be worn over one’s head,

Poncho presents a dual purpose.

Akin to the ceremonial robes by which it was partly inspired, it is kept on display when not being worn, enabling two very different forms of exhibition. With neither claiming precedence over the other, its duality is inextricable.

While I am interested in the conversation of painting being both surface and object, these polarities need to be transgressed. The sliced surface and the sewn composition are not meant as iconoclastic gestures but rather to further investigate their aesthetic possibilities. Culminating in an exuberant covering, the work proposes an alternative ritual for painting, a surface to dance in.

Biography sonia Morange was born in Paris in

1977 and lives and works in London. she studied at Parsons The new school for Design new York 1996-2000 and

Goldsmiths College of Arts London

2005-7. she has participated in various group exhibitions in Los Angeles, new York and London.

122 sonia Morange

Pat O’Connor


2011 oil, gouache, acrylic, pencil, ink, exercise paper, watercolour paper, oil paper, card, carbon paper, magazine collage, gesso, canvas,

MDF and plywood

196.5 x 242 cm

I make wall-based assemblages and tableaux from paint, wood, collage and found images, sometimes epic, at other times placed in confined vestibular spaces. The images I appropriate are mainly photographic, often focused on personalised illustrations and printed material from popular culture’s history. Using sources from the internet and encyclopedias, to fashion and film, I produce aesthetic disjunctions to explore contemporary issues of politics, history, visual culture and mass media in a less standardised way.


Pat o’Connor was born in Monaco in

1971. she graduated from the royal

College of Art London in 1996. Group exhibitions include salon nouveau

Engholm Engelhorn Galerie vienna 2007, rotate Contemporary Art society London

2009, PErM WorKs The Two Jonnys’

London 2011 and sv12: Members’show studio voltaire London 2012 (winner,

Aldeburgh Beach soUTh LooKoUT residency Prize). she collaborated with design company hit producing Fast

Women and slow horses launched at

Publish and be Damned London 2009.

solo shows include Caragh Thuring &

Pat o’Connor Ashwin street London

2006 and say sorry for not Making

Moot nottingham 2008.

124 Pat o’Connor

Jay Oliver

outside Toilet


Acrylic on canvas

25.4 x 35.4 cm outside Toilet was painted over several months and re-worked many times. It is from the series village that I have been working on since 2003. The paintings, drawings and photographs in this series are part documentary and part fiction. They are humorous, serious and occasionally nostalgic.


Jay oliver was born in Gillingham in

1970. he studied at Kent Institute of Art and Design Maidstone 1988-9 and

University of Wales College newport

1989-92. he is senior Lecturer in the

University of Lincoln’s school of Art and Design. his exhibitions include singer and Friedlander/sunday Times

Watercolour Competition Mall Galleries

London 1994 and 2001, Jerwood

Drawing Prize Jerwood space London

(touring) 2004, royal West of England

Academy Autumn Exhibition rWA Bristol

2006, Jerwood Drawing Prize Jerwood space (touring) 2008 and

Lynn Painter-stainers Prize Painters’ hall

London 2008 and 2010.

126 Jay oliver

Dan Perfect

Future sun

2011 oil and acrylic on linen

183 x 257.5 cm

My paintings are imagined interior or psychological landscapes. They are like stage sets or dramatic scenes from video games; their space doesn’t go on forever, and they have hidden rules and parameters. They arise from drawings which are manipulated and re-imagined digitally. I have to reinvest every paint mark with intensity and presence.

They aren’t direct responses to nature, but are fantasised experiences, a way of bringing the outside world into my studio. They seem quite urban and technological, and there’s a strong sense of science fiction in them; a decayed science fiction where tumultuous change and biological entropy intervene. My paintings are full of experimentation and alteration. Everything is partial: masks, costumes, body parts, animals that are human, humans that are animals, things that are taken apart and exploded. Cultural history is rooted in biology but futurologists predict that we may soon be able to transcend our biology - in 50 years you may be able to upload yourself.

In my paintings I’m thinking about the nature of what it is to be us in this world right now, and what we might become.


Dan Perfect was born in London in 1965 and studied there at Chelsea school of

Art 1981-3 and st Martin’s school of Art

1983-6. Group exhibitions include

Death to the Fascist Insect... Anthony d’offay

Gallery London 2001, Beck’s Futures

ICA London 2002 (touring), Exploring

Landscape: Eight views from Britain

Andrea rosen Gallery new York 2003, newspeak: British Art now saatchi


Gallery London 2010 (touring). solo exhibitions include Dan Perfect: Paintings

Chisenhale Gallery London 2008,

Paintings and Drawings road Agent

Dallas 2008 and Dæmonology

Karsten schubert Gallery London 2010.

Collections include the Government

Art Collection and southampton City

Art Gallery.

Dan Perfect

Oliver Perkins


2011 rabbit skin glue, oil primer and ink on canvas

175 x 123 cm

DEAD rUBBEr is a painting that repeats its own structure before being stretched, sized and primed more than it probably needs to be. My work often extends the arbitrary actions at play within a process. This slowing or repeating functions as a tool for abstraction and allows for a porosity to exist within a seemingly defined system. By removing the interface of illusionistic space and promoting the real, the works present themselves as immediate visual proposals. These are works with side doors to alternative avenues of contemplation where relational and formal criteria apply equally. The bold ink lines that happen over the white monochromatic surface fuse the performative gesture and conceptual into one elastic appraisal of space.

Biography oliver Perkins was born in Christchurch, new Zealand in 1979. he studied at

Canterbury University 1999, Christchurch school of Art and Design 2000-2 and

Chelsea school of Art and Design London

(with TAnZ scholarship 2005). Group shows include Cory Michael Project

(co-curator) Ada st London 2008,

Jerwood Contemporary Painters Jerwood space London 2009 (touring),

What If It’s All True, What Then?(part 2)

Mummery+schnelle London 2011,

You Play the Line, I Play the sand (with

David Brian smith) Galerie vidalCuglietta

Brussels 2011 and Big refrigerator hopkinson Cundy Auckland nZ 2012.

his recent solo show was Accordion

Cell Projects London 2011.

130 oliver Perkins

Virginia Phongsathorn

Comma (Test Piece for an Eye Break)

2011 oil on canvas

119 x 147 cm

When making this painting I was thinking about the comma as an indicator of pace and breath, and as a bizarre object - a shape or tool that is so commonly used it is seldom considered as a thing in its own right.

The work is one of a series. It was made with the idea that a picture such as this one, which is easily readable in a graphic sense, would dictate a sense of visual rhythm when punctuating the viewing of a group of paintings that are somewhat more abstracted.

It is the swing back and forth between depiction and abstraction, image and shape, that interests me the most in terms of my practice. I enjoy playing with a kind of ‘vibe’ when painting – giving each picture a particular mood, stance or voice – a voice which is complete with timbre, colloquiality, volume, and singularity.

What I love the most about painting is the scope that it gives me to meddle with the way in which real things are read or understood. on a canvas, a benign, commonplace object can become monumental and vice versa. The complexity of the language of painting is its intrigue.

Biography virginia Phongsathorn was born in London in 1984, studing there at Wimbledon school of Art 2003-6 and The royal

College of Art 2006-8. Group exhibitions include hans Brinker Painting Prize

(finalist) Amsterdam 2006, Pentimenti

Permanent Gallery Brighton 2008,

Between shadows Cordy house London


Contested Ground 176 Gallery

Zabludowicz Collection London 2008, saatchi 4 new sensations The old

Truman Brewery London 2008, This is the

Front room Madame Lilies London 2009,

Underfoot 97-99 Clerkenwell road

London 2010, Told Cole Contemporary

London 2011. A solo show is at Galerie de l’Angle Paris Autumn 2012.

132 virginia Phongsathorn

Tom Pitt

steps, Forest rec.

2011 oil on board

60.5 x 91 cm steps, Forest rec. is one of a series of paintings of places around the area where I live in nottingham. I have painted steps, paths, gates or, broadly, ‘ways’. I see each painting as both an obstacle and a way.

I paint on board as it allows me to scrape back and rework. For me the scraping is as much a creative process as a destructive one. The marks left can dictate how the painting progresses.


Born in Barry, Wales in 1980, Tom Pitt studied sculpture at the University of

Wales Institute Cardiff 2000-3. his recent exhibitions were

Tarpey Gallery open Tarpey Gallery Castle Donington and nottingham Castle open nottingham Castle Art Gallery and

Museum 2011.

134 Tom Pitt

Kevin J Pocock

Brutal Façade


Acrylic on canvas

76 x 76 cm

I am fascinated by the thoughts, memories and dreams we carry with us each day. The ones that make us tick. I like to incorporate the universal to represent the very personal.

Private thoughts made public. The internal made external.

My work consists of paintings, drawings, video and digital artworks. Most pieces start as a very small, rough, spontaneous sketch. I jot down ideas wherever I might be and later select from these to create a larger piece. This could be a painting on canvas but it could also be a film. The final work is very close in spirit to the original sketch. I enjoy playing with symmetry and asymmetry, and mixing different architectural representations of space - elevation, perspective and parallel projections such as axonometric.

I was brought up in Dorset on the south coast of England. My memories of that landscape and coastline, together with my studies as an architect at Cambridge

University, have helped form and direct my work. I love creating new spaces and mixing the artistic with the technical.

I try to achieve an effective simplicity. no more, no less. A quiet contemplation.

A private moment.


Kevin J Pocock was born in Burnham,

Buckinghamshire in 1960 and studied architecture at Cambridge University

1978-84. he works in painting, drawing, video and digital media. Exhibitions include Group show new Museum of

Contemporary Art norwich 2005, roll on stroud house Gallery stroud 2006,

FourDocs Channel 4 Tv London (online)

2007, visions in the nunnery nunnery


Gallery London 2008, Multichannel 2

Artsway sway hampshire 2008,

Abstracta The orangerie (Theatre of the

Accademia) rome 2008,

The open West summerfield Gallery Cheltenham 2011,

Group show Micaëla Gallery san

Francisco 2011, and most recently at the Los Angeles International Art show in 2012.

Kevin J Pocock

Sarah Poots


2011 oil on linen

81.5 x 91.5 cm

I am interested in the physical space which marks out our everyday existence. Focusing on that which remains unnoticed and overlooked in my surroundings, it is the elements which section up and divide space that become most important. These fragments provide thresholds or pauses before the infinite sights and spectacles of the city. The paintings are built from the momentary and are defined by the attempt to make still what is constantly changing.

An economy of description is important within the work, to create both a sense of what we know, and of doubt within this recognition. Tipping towards abstraction the work holds onto the recognisable. This highlights a relationship to the world which both interrogates its makeup and holds it at a distance.

Biography sarah Poots was born in Co. Down in

1982. she studied at Glasgow school of

Art 2002-5 and the royal Academy schools London 2007-10. Whilst at the rA she travelled on an exchange to the

Leipzig Academy of Art. she undertook a

British school at rome residency in 2010 and received the 2010/11 Chadwell

Award at Acme studios London, where she is based. shows include Arrivals ormeau Baths Gallery Belfast 2010,

Creekside open 2011 (selectors Phyllida

Barlow and Dexter Dalwood) APT London,

The Desirability of Things Bearspace

London 2011, and rose Davey and sarah

Poots Acme Project space London 2011.

138 sarah Poots

James Ryan



Acrylic on checked fabric

100 x 75.2 cm

I employ a process of working with geometric forms that speaks of both painting and the built environment, and of imagery that is found in the graphic arts and crafts, such as animation and textiles. My use of patterned fabrics as painting supports comes from a wish to extend the language and possibilities within the work. on a practical level, the fabric grounds offer a wonky ready-made grid of sorts upon which to work. however, the materiality of the fabric suggests a domestic everydayness that undermines the works’ fine art credentials. Another important aspect to my work is the readable layering of forms and intuitive approach to composition that I hope sets up an interesting to-and-fro between perceived rational order and playful spontaneity.


James ryan was born in Leeds in 1982.

he studied at northumbria University

2001-4 and the royal College of Art

London 2005-7. Group shows include

Bloomberg new Contemporaries

Cornerhouse Manchester (touring) 2007,

Planatacia x Abstractica (2-person) standpoint Gallery London 2009,

Auf der spitze des Eisbergs rod Barton

Gallery London 2009,


Contemporary Painters Jerwood space

London (touring) 2010, Galeria regresso

Memorial do rio Grande do sul Brazil

2011 and hA hA WhAT DoEs ThIs rEPrEsEnT? standpoint Gallery London

2012. solo shows are Parallax Corn

Exchange Gallery Edinburgh 2008,

Paintings studio 1.1 London 2009 and

Glitch rod Barton Gallery London 2010.

140 James ryan

Andrew Seto

Fruit Loop

2012 oil on canvas

30.1 x 40.4 cm

Fruit Loop is a painting for winter. A grey, low light pervades. The exposed, battered forms and vigorous brushstrokes seek shelter, yet also want to play. A cold moment, captured in a rectangular huddle. notionally, a landscape. Formally, a painted space with a restless picture plane. Intentionally, a step towards painting’s sublime, with a nod to some great paintings of the past.


Born in Edinburgh, Andrew seto attended st Martin’s school of Art 1987-8, The slade 1988-92 (scholarship, new York studio school of Drawing, Painting and sculpture 1990-1), London College of

Communication (2005-7). Group exhibitions include Jerwood Drawing Prize

2010 Jerwood space London (touring),

Three Theodore:Art new York 2011, Crash open salon 2011 Charlie Dutton Gallery

London, sv12: Members’ show studio voltaire London 2012, There Are no

Giants Upstairs Theodore:Art 2012,

The Threadneedle Prize for Painting and sculpture Mall Galleries London 2012.

solos include new Paintings London

Metropolitan University 2010. he is a trustee of the artists’ residency programme, The Florence Trust.

142 Andrew seto

André Stitt

The Little summer of st. Michael

2011 oil on linen

120 x 120 cm

My recent work reflects a concern with the visual codification of post-colonial landscapes and inhabited futures. Paint is utilised as a synthetic transmitter of experience that reflects the historical uncertainty of place and proposes contemporary genre painting as a transformative medium with redemptive potential. These paintings aspire to a condition of association and evocation rather than representation. As such, they occupy a liminal space that might be defined as ambiguous abstraction. This often reveals itself as a searching out of small, elusive moments and unconscious dilemmas that may implicate us in a larger communal, collective or cosmological narrative.


Born Belfast in 1958, André stitt attended Belfast College of Art and

Design 1976-80. Currently Professor of

Fine Art, Cardiff school of Art and

Design. Group shows include


Ps1 new York 2000, reaction venice

Biennale 2005, navigate Baltic

Gateshead 2005, Acute Zonal Ultra

The Drawing Centre nY 2006,

Aftermath Artspace sydney 2007,


DeathandDaDa Galerie Lehtinen

Berlin 2011. solos include reclamation

Chapter Cardiff 2005, substance spacex Exeter 2008,

Everbody Knows

This Is nowhere MCAC Craigavon n Ireland 2009, substance ll Golden

Thread Belfast 2010, spectral Arc st Paul st. Gallery Auckland nZ 2011.

Creative Wales Award 2008 to develop his painting practice.

André stitt

Trevor Sutton

Irish Painting (for Jack)

2011 oil on paper and board

94.3 x 63.5 cm

My recent work has returned to the grid: collaged elements on partially painted board make implicit connections with architectural form and detail.

I make non-figurative images that echo the real world but never imitate it, like abstract rhythms making visual music. Paintings have a visible history of colour and gesture but their physicality and flaws become ordered, restrained by the hierarchy of the grid.

Colour is intuitive and reactive, encouraging shifting patterns and rhythms between open and divided space, between opaque and transparent sections.

The colours of Irish Painting (for Jack) stem from looking at the eccentric façades of local shops, visible from my studio window, whilst on a fellowship in County Mayo, Ireland.

After visiting the Giant’s Causeway I added a disruptive element into the painting, taking the form of linear asymmetrical diagonals that work in opposition to the grid. The stone formations there seem to defy natural evolution, standing out in a unique and disruptive way from the surrounding landscape. The painting is dedicated to a friend, the artist Jack smith, who died during its completion.


Trevor sutton, born romford 1948, attended hornsey College of Art 1967-71.

senior Lecturer, Chelsea College of

Art and Design 1973-2000. Artist-inresidence Kunstgarten Graz Austria

2012. Exhibitions include Constructed sainsbury Centre norwich 2008, Black

+ White Galleri Weinberger Copenhagen


Take Two noborimachi space of

Art hiroshima 2010,

Double vision ritter

Gallery Klagenfurt 2011, hA hA WhAT

DoEs ThIs rEPrEsEnT? standpoint

Gallery London 2012. solos include sutton / Penker stadtgalerie Wolfsberg

2007, Coloured Time Galerie sho Tokyo

2007, Chamber Music Galerie schütte

Essen 2009, Paradise Circus Flowers

Central London 2010, Paintings Another

Function Gallery Tokyo 2010. Prizewinner

John Moores 12 1980.

146 Trevor sutton

Emma Talbot

The Good Terrorists


Acrylic on canvas

165 x 115 cm

In my paintings, I use multiple images to show narrative scenes that are not confined to a linear sequence. In this way, events from different moments in time can coexist and separate ideas can be connected. one of the most interesting challenges in painting, for me, is to make direct descriptions about real life that are convincing, but completely reliant on my own invention without reference to any pre-existing imagery.

In The Good Terrorists a house is opened out so that the interior and exterior are visible, together with the activities of the occupants. The title refers to a 1985 novel by Doris

Lessing that addressed political agitations and loyalties in a squat.

Themes of political activism are increasingly relevant today, but are not new. My painting describes the use of contemporary technologies, such as the internet and mobile phones, to protest. I also depict rudimentary methods – painting banners, the manufacturing of small bombs from household materials – and symbolic acts, like burning books.

The house is an amalgam of spaces where acts of resistance are both political and personal.


Born Worcestershire 1969, Emma Talbot attended Birmingham Institute of Art and

Design 1988-91, royal College of Art

London 1993-5. Exhibitions include


Party! The new Art Gallery

Walsall; (2011) Told hales Gallery

London, outrageous Fortune: Artists remake the Tarot Focal Point Gallery southend (hayward Touring),

The Life of The Mind The new Art Gallery,


Me and My shadow Kate MacGarry

London. solos include (2010) Pictures

From My heart Transition Gallery London;


A sheffield song BLoC sheffield,

The solo Project Basel, You Would Cry

Too If It happened To You Kusseneers

Gallery Antwerp. In The saatchi

Collection and David roberts Collection.

Emma Talbot

Amikam Toren

Armchair Painting – Untitled (The Unthinkable)

2010 oil on canvas, gilt frame and perspex box

59.4 x 74.5 cm

Armchair Paintings is an ongoing series of paintings. The paintings are ready-made, purchased from cheap market stalls and junk shops. Words and/or phrases are cut out of the canvas and disrupt the continuous space as well as their smug posture. revived through controlled destruction, they also deal with appropriation and commercial as well as artistic value. The entered painting was purchased in its golden frame, which I chose to keep. The phrase ‘The Unthinkable’ was originally found as graffiti placed on a wall of a disused pub in the vicinity of my home in east London.


Born in 1945 in Israel, Amikam Toren’s group exhibitions since 1967 include

British Art show 5 Edinburgh (touring)


Live in Your head: Concept and Experiment in Britain, 1965-75

Whitechapel Gallery London (touring)

2000, British subjects 1948-2000 neuberger Museum of Art nY 2009, no new Thing Under the sun royal Academy

London 2010,

The London open

Whitechapel 2012, The 4th Guangzhou

Triennial China 2012. solos include

Amikam Toren, John Frankland Matt's

Gallery London 2005,

Amikam Toren -

Carrots & refreshments noga Gallery

Tel Aviv 2009, and several at Anthony reynolds Gallery London, most recently

Moving in the right Direction 2012.

150 Amikam Toren

Matt Welch

Painting of IKEA shelf brackets arranged in such a way as to signify towards IKEA founder Ingvar Kamprad’s involvement with nazism and swedish nationalism, distracted by varying levels of perspectival depth, variations in colour and visually dominated by some form of unknown dark oval in the background

2011 oil on linen stretched over board

34.5 x 24.5 cm

Painting is concerned with the order of images. It is trans-historical in that each painting made is simultaneously the first painting made and another painting made. When technology and communication have reached their pseudo-logical conclusions in the present, I find it playful and perhaps reckless, in parallel with my theoretical concerns, to ask myself,

‘What happens when I make a painting now?’

This painting in particular tries to understand how we unearth and align histories. A consensual arrangement is enacted between the painting and its title, questioning our use of language in relation to things both physically present and historical. The childish and conspiratorial nature of using a set of shelf brackets to make a swastika is a way of thinking about how we use and interpret cultural and political information from the past when it is uncovered and may affect us at a material level in the present. Making a painting about this act was a way for me to monumentalize it and enter it into a conversation with history.


Matt Welch was born in Liverpool in

1988. he studied painting at Wimbledon

College of Art London 2007-10 and is currently a Director of The royal standard in Liverpool. his group exhibitions and projects include The saatchi

Gallery/Channel 4 new sensations Prize

2010, Q-Art London Presents APT Gallery


London 2010, The Dharma Collective:

AnD, or, noT (residency, collaboration with Laurence Alan Price) Made in

Goldsmiths Gallery London 2011,

AGorA Tooting Market London

2012 and FAvELA! (curator, with

Elizabeth Murphy) The royal standard

Liverpool 2012.

Matt Welch

Ian Whittlesea

studio Painting - Agnes Martin


Acrylic on canvas

35.9 x 92 cm

The painting shows the address of the American artist and mystic Agnes Martin. It is one of an ongoing series begun in 1995 and collectively called studio Paintings. Using white paint on a dark ground, each canvas names the place where an artist or writer worked.

These paintings do not attempt to tune the rooms in which they hang to the pitch of the place whose address they depict. Instead, they simply use their presence to coerce from the experience of the space a subtle shift, so that that experience might transcend its own location.

Whittlesea’s paintings do not demand contemplation. At a certain stage they even become quite irrelevant as, having noted their intent, one ruminates on the spaces, charged with a magical possibility.

Juan Cruz, Art Monthly, Issue 195: April 1996.


Ian Whittlesea was born in Isleworth in

1967. he studied at Chelsea College of

Art 1987-90 and the royal College of Art

1990-2. Group shows include


Paris and Lisbon 1996 and

We are

Grammar Pratt Manhattan Gallery new

York 2011. his first solo show was at

Cairn Gallery nailsworth (now in

Pittenweem scotland); he continues to show there. other solos include

Cleveland London 1997, The Jerwood space London 2003 and Payneshurvell

London 2011. his books include a transimile of Yves Klein’s The Foundations of Judo 2009, with related events at Tate

Modern, and Mazdaznan health &

Breath Culture 2012.

154 Ian Whittlesea

Thomas M Wright

Inherent omniscience (second version)

2011 oil on board

24 x 20 cm

Inherent omniscience (second version) is a painting of an anthropomorphised letter ‘I’.

It is both the ‘I’ of the Institution and that of the Individual. The first work in this series, a drawing, has been placed within Foucault’s book,

Discipline and Punish: The Birth of the Prison in the study at nottingham Contemporary.


Thomas M Wright was born in nottingham in 1979. he studied at

Liverpool school of Art and Design,

Liverpool John Moores University 1998-

2001 and Goldsmiths College London

2003-4. In 2006 he curated seeking

Tacit Utopias at the surface Gallery nottingham and in 2010 was awarded the Grand Prize at the nottingham Castle open. his recent exhibitions include

Dark Matter The sunday Painter London

2010, two sideshows within the British

Art show in nottingham 2010 (reunion oldknows Factory and


The Art organisation), The Bookmark

Project nottingham Contemporary 2011, and Geoff Diego Litherland & Thomas

M Wright Tarpey Gallery Castle

Donington 2012.

156 Thomas M Wright

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