Born in Cornwall in 1977, I grew up in a creative environment and painted from a very young age. I moved to London at 18 to study art at university where I studied a mixture of skills; painting, life drawing, ceramics, and print, geared towards commissions for contemporary spaces.
Since graduating I have focused on painting. The coastline of Cornwall is usually my starting point as it seems to be etched into my memory. The amazing light, the huge and ever changing skies and beautiful dramatic coastlines, I have always greatly admired the Cornish abstract impressionists, Peter Lanyon, Patrick Heron and Ben Nicholson, whose work draws directly from experiences of a dramatic or calmness in nature and landscape. More recently I have found myself looking at the work of Turner with his amazing sense of light. I’m inspired by the patterns nature creates - the force of the elements against the landscape, and the art it creates by itself with erosion and decomposition against rock, sands, and man made objects.
My work is rarely an actual place, instead I hope to build an atmosphere in a painting which draws you in and allows you to imagine yourself there, stood on a cliff, a beach or behind the dunes, exposed to the elements and the unpredictability of nature. I strive to capture a feel and recollection of somewhere the viewer knows or remembers wherever in the world this may be. My paintings are more about the light and the feelings a place can evoke in the viewer, the emotions that a memory of a place and time can stir within. A memory of thoughts and feelings within a landscape, often a special and private moment, where the vastness and beauty of the landscape around you brings a sense of perspective, clarity and calm .
'Reinvention' 120cm x 100cm oil on canvas
'Motion' 120cm x 100cm oil on canvas SOLD
'Floating' 120cm x 100cm oil on canvas SOLD
'Flurry' 120cm x 100cm oil on canvas
'Trance' 150cm x 120cm oil on canvas SOLD
'Source' 150cm x 120cm oil on canvas SOLD
'The gloaming' 150cm x 120cm oil on canvas SOLD
'Breathless' 150cm x 120cm oil on canvas SOLD
'Muse' 150cm x 120cm oil on canvas SOLD
'Barrage' 120cm x 100cm oil on canvas
Pete lives and works in Cornwall from a secluded studio outside a small Cornish village. He primarily draws and paints using pen ink and pencil, and usually depicts the human form. His subjects are often dancers which becomes apparent with his fluid use of line, often giving a suggestion of the body rather than minute detail. He requests they move throughout the drawing sessions in order to get a sense of movement, sometimes using more than one model to really capture the beauty of the human form and the way it moves, and the way we interact with others, they are soft homages to the elegant and graceful movement of our bodies.
Lee Acaster is an internationally renowned photographer with a love of nature and the landscape. He derives much of his inspiration from the understated low lying beauty of the East Anglian landscape. Its not just the famed expansive skies of Norfolk and Suffolk that feature in his work however, with his intimate studies of overlooked areas of scrub and woodland possessing a quiet beauty of their own. His photographs take on an almost magical quality as if from a fairytale. They are still, motionless, a moment captured, as if allowing the viewer a rare glimpse into a forgotten or hidden world.
He is widely published and has won numerous International awards, including British Wildlife Photographer of the Year, International Garden Photographer of the Year, Amateur Photographer of the Year and Wex Photographer of the Year, as well as commendations in Landscape Photographer of the Year and Year and Outdoor Photographer of the Year.
‘Dust’ limited edition photograph 100cm x 80cm
‘Hanging’ limited edition photograph 70cm x 90cm
‘Kingdoms’ limited edition photograph 100cm x 80cm
‘Ophelia’ limited edition photograph 100cm x 80cm
‘Launch’ limited edition photograph 80cm x 100cm
Sam studied at the Slade School of Fine art and is currently on her 2nd year of an MA programme at the Princes Drawing School.ÊWorking Êboth as painter and printmaker Sam has shown her work frequently during the past few years. She says about her work, “the starting point for my work is always observational drawing. Often working directly from the landscapes of Norfolk and Lincolnshire, I then return to the studio where in a more reflective environment I can allow the work to take a different direction. I am a great hoarder and gatherer of images and using this archive alongside the original work I then redraw- combining and editing until I have a new world full of loose narratives”
For updated availability of Sam’s etchings and woodcuts please contact the gallery firstname.lastname@example.org
My work stems from observations made in my surrounding landscape; observations of shapes, spaces, textures and colours.
These are initially recorded as photographs, small sketches or collages and undergo a series of fine-tuning once back in the studio before being translated into prints. The finished prints are a result of paring down through a process of subtracting elements and cropping, or the opposite; re-building and inventing new compositions from found elements. The emphasis of the work becomes wholly about shape, colour, proportion, scale and balance.
The process of screen printing and the time it takes to build up a final image is what holds the beauty of a piece; it’s a fundamental part of its soul. My prints may look ‘designed’, but are often rather intuitively and organically made. They frequently change along the way, colours are tweaked and compositions altered.
Drawing goes hand in hand with the screen printing process. Combining the two enables me to produce smooth, crisp images in which I can explore shape and form through the layering of colours, textures, stripes and painterly marks.
I strive to create something beautiful and understated in my work, and I have always been drawn to work that feels calm.
My work has evolved over the past few years, as I have become more and more drawn to the textures of the rural landscape which is part of my everyday life. I am very much inspired by surface; its patterns, textures, layers and colours. Recent works are weighted mainly towards a hand drawn element; scraping, scratching and combining different textural surfaces within each print.
For up to date stock availability please contact the gallery on email@example.com
‘Study in ten II’ 47cm x 35cm
‘Big fields II’ 85cm x 48cm
‘Big fields’ 85cm x 48cm
‘Dry stone’ 65cm x 45cm
‘Gate’ 47cm x 35cm
‘Green stone’ 57cm x 44cm
‘March square II’ 50cm x 50cm
‘March square’ 50cm x 50cm
‘orange moon’ 57cm x 44cm
Jemima Carter Lewis
Jemima studied painting and print making at Glasgow School of art from 2002-2006 including a years placement in Paris. She was since worked as an illustrator and theatre designer, she has undertaken private commissions and exhibited throughout the UK.
Jemima says of her work
“Each artwork has been built up in layers, often with several washes of oil or India ink, which is then drawn over, copied, mono-printed and re-worked. This process of attentive layering is a way to capture transient glimpses and fix them into lasting images of the buildings, spaces and moments that are fast disappearing from this city—a love letter to the city I live in.
London is undergoing constant change. The majority of artworks in the show are of buildings and places I am drawn to. These places are the faces being lost to change—an old cinema, a strip club, a small Soho shop window, and in the latest series, lido’s, are fast becoming replaced or neatened beyond recognition. Wandering through the city today, the old and the new still sit on top of each other, layering the streets with its community history the way my prints and drawings are worked and reworked, holding on to their sketchy underpinnings.
The latest series is of some of London’s most iconic lido’s. Many dating back to the 1930’s they hark to a simpler time, before foreign holidays became popular, they are nosey happy places, a place to unwind, where reality can be suspended for a moment or two.
The pieces are my remembrances. They are a celebration of London from my perspective, capturing its transience in every image.
Jemima is currently studying for a post graduate at the Royal drawing school. All work below is sold but new work will be coming soon.
Hannah Ludnow - Abstracts
‘My approach to abstract art can often be a simple relationship between mark making, line and colour. They don’t have to have a deep poignant meaning, they are about reaching a conclusion in the satisfaction we feel in the collaboration of forms. I need something to be pleasing to the eye rather than a question, it needs to feel complete deliberate and for there to almost be a mystery as to why we like it, we don't have to explain it, it’s enough to feel joy in observing’
More pieces to follow..
‘Collection’ oil on canvas 100cm x 70cm
‘Collection II’ oil on paper 70cm x 50cm (framed)
‘Resonate’ oil on paper 75cm x 100cm
Rowena’s inspiration comes from the aftermath of environmental and manmade disruption, and also from weather-worn and derelict structures and the sense of abandonment these structures tell.
Her handmade ceramic buildings are all handmade and all different from one another. They are mostly raku fired and have individual marks and textures. They can be seen as isolated forms, or as part of a group.
Rowena has a BA in Fashion Design from St. Martins School of Art in London, an MA in Fine Art from the University of Leeds and has exhibited work in California, Yorkshire and London.
In the gallery I also stock a range of the smaller houses sold individually which range from £30-£45
For up to date availability of sets of 4 houses please email the gallery firstname.lastname@example.org
My prints draw on influences from popular art and children’s illustration. I try to illustrate human dreams, fears and frailties, often through the representation of animals but also through machines, cars and ships. I find that making pictures is rarely straightforward. It is a process of reaching for thoughts and feelings that sit at the back of the mind.
Most of my pictures are created as screen prints. Like other non-digital print techniques, the process encourages images that are graphic and quite simple in form. In screen printing each picture is created in layers as a series of separate drawings onto film. The layers are then transferred onto the screen using a chemical process, which is then hand printed as a stencil one colour at a time.
For up to date availability please get in touch on email@example.com
I make drawings and prints usually from personal and found photographs. I draw new versions of the original images by selecting, editing, simplifying, inventing imagery and mixing up visual languages. My edited drawn versions of these images are as much an exploration of the qualities of drawing and printmaking as they are construction of an experience of time and place.I have been etching traditionally with acid over the last ten years for the variety of unique marks and qualities that it has to offer. Photo etching is a process with which I can easily integrate the digital and hand-made mark, in response to the digitally captured photo of outdoor life.Im interested in the visual remembering of experiences that on reflection appear to have been very beautiful, sensational and poetic and how with each reconstruction these moments become more invented and embellished.
For up to date availability please get in touch on firstname.lastname@example.org
The horizon is an infinite space, most perfectly described by the apparent meeting of sea and sky. It is the point at which our eye can rest, away from the more immediate conflict between the ordered land and chaotic sea. Often though, the horizon is indistinct or entirely lost. As our logical mind attempts to find it, our eye is drawn into and through the scene. The light which radiates from even the darkest skies, acts as an uplifting counterpoint for heavy, turbulent seas; while feelings of insignificance and isolation are instilled by the vast depth and scale of these elements.
The compositional components of light, water, land and sky lend themselves naturally to abstraction, which spontaneous and rapid marks help to capture; deciding which of these should remain is an integral and constant part of the process. Seascapes usually change quickly; shifting clouds cause differing reflections and refractions of light, immediately transforming the shades and colours of the sea. These changes induce a constantly evolving emotional response to the subject, allowing it to be explored again and again. The application and removal of many layers of paint aims to provide depth, until a balanced, coherent image emerges. Sketches and small colour studies made on location lead to larger studio based pieces, and working on board allows for an aggressive use of palette knife and oil paint.
‘Cold Shallows’, oil on board, framed, 52 x 40cm, £695
‘Obligation’, oil on board, framed, 40 x 30cm, £495
‘Release’, oil on board, framed, 60 x 21cm, £595
‘White Noise’, oil on board, framed, 40 x 30cm, £495
Anne was born in Lancashire in 1966 and grew up in the Derbyshire Peak District. On completion of a Fine Art Degree at Newcastle University she embarked upon several projects creating art work with adults and children with special needs. Since she moved to London in 1995 Anne has focused on making and exhibiting her own work.
Anne’s paintings seldom record a specific scene; she seeks to capture a memory and sense of place. Much of the work is inspired by coastal landscape particularly the Cornish coast. Inspiration is also drawn from the landscape of the North West of England and the car journeys through old mill towns and Lancashire villages that she took as a child. These places, with their mixture of architecture nestling in dramatic rural settings are often recalled in her landscape work as is the scenery of the Peak District where she was raised. In spite of the allusion to harbour and landscape scenes there is a strong abstract element to the work. They may begin as depictions of a place but during the painting process they take on a life of their own – houses and shapes are painted over but the imprint remains visible, creating an archaeology beneath the painted surface. Colour is an important element – fine layers of acrylic are built up and stripped away creating delicate colour passages and textures reminiscent of stone and ceramic.
We have a larger selection of Anne’s work in the gallery so please get in touch for up to date availability of work.