Original acrylic painting titled Discovery of Seattle by John David Lingenfelter, created in 1999. This artwork vividly captures the arrival of Seattle's first settlers at Alki Point on November 13, 1851. The scene features the schooner Exact as it approaches the shore, greeted by Indigenous people in a traditional canoe. This momentous event, detailed in historical records, marked the foundation of what would become the city of Seattle. Lingenfelter's dynamic brushwork and attention to historical accuracy bring this pivotal moment to life. Signed by the artist, the painting is elegantly framed in an ornate decorative frame. The reverse includes historical documentation outlining the significance of the ship Exact and the settlers' arrival. A remarkable acquisition for collectors of maritime and Pacific Northwest history. Artist: John David Lingenfelter (American 1934-2023)Issued: 1999Dimensions: 29.75"L x 23.75"HCountry of Origin: United StatesCondition: Age related wear.
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A captivating acrylic on canvas painting by Jonas Gerard (1941–2020), an American abstract and expressionist artist known for his emotionally evocative and dynamic works. Titled Waiting, this piece, completed in January 1980, showcases Gerard’s signature fluid brushwork and ethereal color blending. Signed both on the front and the verso, the artwork measures 28.5"L x 48.75"H, housed in a sleek metal frame. Jonas Gerard’s works are celebrated for their energy, movement, and introspective depth, making this a remarkable acquisition for collectors of contemporary American art.Artist: Jonas Gerard (AMERICAN / NORTH CAROLINA / FLORIDA, Born 1941)Dimensions: See DescriptionCondition: Age related wear.
gouache on paper, signed mounted, framed and under glass image size 29cm x 20cm, overall size 53cm x 42cm Note: Lisa Graa Jensen was born in Copenhagen. She attended the Sir John Cass School of Art in Whitechapel (London) and then trained at Camberwell School of Art from 1975-78 gaining a BA (Hons) in Graphic Design. After art college Lisa spent time as an Illustrator with B.L. Kearley Limited working for Hamlyn, MacMillan, Marshall Cavendish and the BBC as well as Puffin Books and Camden Graphics. She then took up a roll as an Art Therapist before becoming a freelance Painter and Illustrator of books and cards in 1983. In 1997 Lisa Graa Jensen was the winner of The RI Kingsmead Award. She also received the Royal Academy of Art, Christmas Design Award (1984, 1985, and 1986) and was runner up Artist of the Year Award 2008. In 1996 she was elected a Member of the Royal Institute of Painters in Watercolours. She is also a member of ASGFA (The Society of Graphic Fine Art). Talking about her art work Lisa says: 'I am a painter and illustrator of vibrant colourful figurative landscapes. i.e.: undulating countryside, markets, pubs, cafes, French farming scenes and coastal/beach scenes usually featuring dogs and cats and often farm animals such as sheep, donkeys, cows, hens etc..'. Her work is typically colourful and lively and demonstrates a strong sense of observation. Method of Working- Lisa uses light, fast watercolour and acrylic inks which have good reproduction qualities and designer gouache. She paints on very heavy watercolour paper that doesn’t need stretching. She uses brushes, a sharpened end of paintbrush to scratch out detail, fingers, splatter bristle brush, and salt for colour dispersal. Working on one piece at a time, Lisa works from memory, sketches and photos. The initial idea is very loosely mapped out so that the painting can feel spontaneous, and not like painting by numbers. Lisa's work is exhibited widely including at many annual major public exhibitions and at private galleries around the UK.
Fred Boutet (French, born 1963) 'Evasion Abstraite 514', 2022. An abstract painting featuring an explosive burst of vibrant colours, contrasted with cool blues, greens, and whites, bold brushstrokes radiate outward from the centre, creating a dynamic sense of movement, acrylic on canvas, 100 x 100 cm.
Yang Yang (Chinese, b. 1953). Acrylic on canvas painting depicting a nude figure astride a horse with a crowd. Signed along the lower right.Unframed; height: 30 in x width: 30 in. Unframed; height: 32 3/4 in x width: 32 3/4 in x depth: 1 in.Condition: The colors are bold and bright and the surface is stable. There are no major losses or apparent restorations to the recto of the work. There is a patch to the verso in the lower left quadrant which appears to be original to the artistic process. The canvas is not attached to the frame. Light wear to the frame.
Alex Grey (American, b. 1953). Acrylic on wood painting titled "The Soul Finds It's Way" depicting a cross-section of a human head below a vibrant and surreal landscape of waving lines and flaming eyes all leading towards the same cosmic vanishing point, 2001. Signed and dated along the lower right. The work is from the "Progress of the Soul" series.Lot Essay:Alex Grey is an American artist known for his spiritual and psychedelic artwork, particularly his Sacred Mirrors series, which includes 21 life-sized paintings exploring human anatomy and consciousness. Grey's work integrates the physical, metaphysical, and spiritual realms, often featuring detailed representations of the body’s systems alongside religious symbols like auras and chakras. His art has been widely exhibited and is recognized for its visionary style, blending sacred, scientific, and psychedelic elements. Grey has been influential in the art world and in psychedelic culture, with his artwork appearing on album covers for bands such as Tool, Nirvana, and the Beastie Boys. He is also a key figure in the Visionary Art movement and has authored several books on art, consciousness, and spirituality.Grey has described Visionary Art as a movement whose mission is to "make the soul perceptible...Visionary art encourages the development of our inner sight. To find the visionary realm, we use the intuitive inner eye: the eye of contemplation; the eye of the soul. All inspiring ideas we have as artists originate here."In 2004, he and his wife, Allyson Grey, founded the Chapel of Sacred Mirrors (CoSM), a sanctuary dedicated to visionary art located in Wappingers Falls, New York. The CoSM aims to inspire a global community through sacred and visionary art, offering a space for both reflection and worship. He has appeared in various documentaries, such as "ARTmind" and "CoSM The Movie," and has spoken at conferences worldwide. Alongside his artistic work, he and Allyson Grey have created a podcast discussing topics ranging from art to philosophy and spirituality.Unframed; height: 14 in x width: 11 in. Framed; height: 18 1/2 in x width: 15 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no losses or restorations. Light wear to the frame. There appears to be some moisture exposure to the paper backing of the frame; however, this does not affect the recto or verso of the artwork.
Patrick Bradley (American, 20th/21st c.) Abstract acrylic painting on paper, 1990. Signed and dated along the verso.Height: 36 in x width: 47 1/2 in.Condition: The colors are bold and bright. There are no major losses. There are some chips and small tears along the extreme upper and lower edges. Some soiling along the verso, consistent with being in a studio setting. Undulation consistent with rolling throughout. The work is not framed.
George Morrison (Grand Portage Anishinaabe, 1919-2000). Acrylic on canvas-laid board painting titled "On the Beach (Red Rock Variation: Lake Superior Landscape)," part of the horizon series, 1985. Signed, titled, and dated along the verso. Housed in an original frame custom built by Morrison.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 6 1/2 in x width: 16 in. Framed; height: 8 in x width: 18 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface appears stable. There are no major visible losses or signs of restoration. Housed within a wooden frame, not under glass or plexiglass. Light wear to the frame. Not inspected out of frame.
Barbara Frets (American, b. 1929). Acrylic on canvas painting from Frets' "Street Series," 1974, depicting a manhole cover. Signed, titled, dated, and inscribed "acrylic 48 x 48" along the verso.Height: 48 in x width: 48 in x depth: 1 1/4 in.Condition: The colors are bold and bright. There are no major tears, losses, or signs of restoration. There are a few small scuffs and minute chips throughout. Wear along the extreme edges of the canvas. The work is not framed.
Patrick Bradley (American, 20th/21st c.). Geometric acrylic painting titled "Dejeuner sur l'herbe", 1984. Signed and dated along the lower right; further signed, titled, and dated along the verso.Height: 35 in x width: 48 in.Condition: The colors are bold and bright. There are no major losses. There are some chips and small tears along the extreme upper and lower edges. Some soiling along the verso, consistent with being in a studio setting. Undulation consistent with rolling throughout. There are pinholes along the upper edge, possibly original to the artistic process. The work is not framed.
Elisheva Nesis (Russian/Israeli, b.1962), "Life Train", acrylic on canvas, signed lower right "Eliz", painted in 2018, framed, 49.5 x 69.8cm. An open edition print of this painting is available through Saatchi Art, London. The artist said about this painting "If you think that the train goes from right to left, you are an optimist, if you see that it goes from left to right, you are a pessimist". She also said that the painting is from the series "Thin Connections" which is "dedicated to unusual interactions between different objects, even if they exist only in my and your mind. The sides are panted so you don't need to frame it, but can if you like".
John Hoyland RA, British 1934-2011 - Star 18.8.07, 2007; acrylic on canvas, signed, titled and dated on the reverse 'John Hoyland STAR 18-8-07', 50 x 50 cm (unframed) (ARR)Note: the work will be included in the upcoming Catalogue Raisonne of the artist's paintings on canvas. John Hoyland was one of Britain's leading abstract artists, who pursued non-figurative painting for its potential to convey an advanced depth of emotion and feeling. The 1960s were a crucial decade for Hoyland, during which he found his voice as an artist. In 1964 he travelled to America, where he befriended Robert Motherwell, and visited the studios of Mark Rothco and Barnett Newman. In this same year he featured in Bryan Robertson’s ‘New Generation’ showcase, alongside the likes of David Hockney, Paul Caulfield and Briget Riley. Retrospectives of his work have been hosted at Serpentine Gallery (1979), Royal Academy (1999) and Tate St Ives (2006). He appears in public and private collections, including the Tate and Damien Hirst’s Muderme Collection.
Fabian Perez (b.1967) - Vanessa on the blue chair II, watercolour on paper laid on board, signed in acrylic lower right, 29 x 39.5cmUndulation to the paper.Colours good and strong.Small blemish above signature, most likely from time of painting.No tears, holes or creases.A few knocks to the frame.Presents well overall.
Damien Hirst (British 1965-), 'Spin Painting', unique acrylic on formed paper, signed and titled 'For Feed The King', sheet: 51cm diameter / 65.5 x 65.5cm inc frameARR In very good/artists condition No visible knocks, tears or creases to the sheet Some minor 'pin' holes to the sheet, as a result of the production process and not later damage This work has been framed in a white frame with a white mount This work has not been examined outside of the frame.
Graham Kingsley Brown (British 1932-2011): ‘City by the Sea 21’, acrylic on board, signed titled and dated ‘05 verso, 22.5cm x 27.5cm (unframed) Notes: one of the artist's painterly, textured, and expressive 'City by the Sea' series painted between 1998 and 2007. This is number 21 of 31 and is distinctive in featuring larger buildings as well as a figure in the foreground. Some of the work was created using finger painting, as well as palette knife and brushes.
Graham Kingsley Brown (British 1932-2011): ‘Riverside House’, acrylic on board c.1991, signed and titled verso, 29.5cm x 22cm Notes: A larger example of the artist's 'decorative landscape' style of painting from the early 1990s, and the one remaining piece of this kind still available. This piece was a gift from Graham to his wife Elizabeth Brown, which is now offered for auction.
Svetlana Kornilova The Look, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Svetlana Kornilova, a professional artist, explores themes of childhood, the complexities of modern life, and the fleeting nature of existence, creating works that resonate on a profound emotional level. As the winner of the Art Competition commemorating the 70th anniversary of the Friends of Dulwich Picture Gallery in 2024, her painting, 'Make Your Choice,' is on display at the Dulwich Picture Gallery until January 2025. An internationally recognized artist, Svetlana has exhibited in prominent galleries worldwide, including Gagliardi Gallery (UK), Metropolitan Pavilion (USA), and Mall Galleries (UK). A member of the Society of Women Artists, she is also a prize-winner in prestigious competitions such as the London Art Biennale and Society of Women Artists. Her works are held in private collections across Europe, the Americas, and beyond. Education 2015 Professional Development Course, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, St. Petersburg, Russia 2014 Moscow State University of Art and Industry. Stroganov (Department of Monumental and Decorative Painting), Moscow, Russia 2013 Summer School Program for Drawing and Painting, St. Petersburg State Academic Institute of Painting, Sculpture and Architecture, Moscow, Russia 1992-1996 Art School, Dmitrov, Moscow Region, Russia Solo Exhibitions 2024 Never-ending Fairy Tale, Dulwich Social Hall, London, UK 2022 The Secret Garden, Curator Elina Gritchina, House-Museum of Marina Tsvetaeva, Moscow, Russia 2019 The Tale of the Main Thing, Community and Sports Center at Rosinka Residences, Moscow Region, Russia 2016 The Wide-Open Window, Memorial Estate "Dmitrovsky Kremlin," Moscow Region, Dmitov, Russia Cities by the Sea, Cultural Center of Liudviko Rezos, Juodkrante, Lithuania Group Exhibitions 2024 Dulwich Picture Gallery, permanent exposition as a winner of the Friends of Dulwich Picture Gallery competition, London, UK Visual Arts Scotland 'Now and Then,' Dalkeith Palace, Edinburgh, UK SWA Annual Exhibition, Mall Galleries, London, UK 2023 English Riviera Winter Open, Artizan Gallery, Torquay, UK Royal Institute of Oil Painters Annual Exhibition, Mall Galleries, London, UK SWA Annual Exhibition, Mall Galleries, London, UK 2022 London Biennale: Masterpiece, Gagliardi Gallery, London, UK Royal Society of Women Artists Annual Exhibition, Mall Galleries, London, UK 2021 London Art Biennale, 5th Edition, Chelsea Old Town Hall, London, UK 2019 Affordable Art Fair NYC, Metropolitan Pavilion, NYC, USA Awards 2024 Winner, 70th anniversary of the Friends of Dulwich Picture Gallery Winners Artists of the Season, 3rd Place, Art from Heart UK, Spring 2024 2023 Selected by Arts to Hearts project for the book "100 Emerging Artworks: Women's Edition 2023" 2021 London Art Biennale 2021, 2 notifications in "Others Award" category Gallery Representation Lysenko Gallery, London, UK Art Gallery "U Jaksy," Miechow, Poland Statement about AOAP Submitted Artwork The postcards submitted for the project are a part of my Fairy-tale series. It invites viewers into an enchanting imaginary world-a blend of whimsical narratives for children and thought-provoking stories for grown-ups. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Mandy Racine Plumage 2, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painting takes me to another place, my own special world inspired by the old masters and Baroque & Rococo imagery. I'm inspired by the composition, colour & flow of the works and love to put my own contemporary twist on it, painting in a very gestural, energetic way, which I would best describe as abstract figurative. I work mainly with acrylic, partly because of the speed & energy with which I paint and particularly enjoy trying to incorporate a real sense of movement - the figures, fabrics, landscape & gestures. Education 1985-1988 BA (Hons) Degree Fine Art, West Surrey College of Art & Design, Farnham, Surrey 1984-1985 Foundation Course in Art & Design, East Surrey College of Art, Reigate, Surrey. Passed with Merit Group Exhibitions 2024 25th Anniversary Exhibition, Laura Rathe Fine Art Gallery, Houston, Texas USA Two Person Show, Laura Rathe Fine Art Gallery, Houston, Texas USA 'Papertrails', Laura Rathe Fine Art Gallery, Houston, Texas USA 2023 'Grande Fete', Laura Rathe Fine Art Gallery, Houston, Texas USA 2022 Portraits installed in luxury suites at Fouquet's New York Hotel, USA Works shown at Little Art Boutique, Palma, Mallorca Gallery Representation Laura Rathe Fine Art, Houston, Texas, USA Joanne Artman Gallery, Laguna Beach, California, USA L&G Projects, La Jolla, near San Diego, California, USA Statement about AOAP Submitted Artwork I've painted some works in acrylic inspired by the Baroque/Rococo era. I hope to convey a sense of movement & a bit of frivolity. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Bianca Maria Raffaella Courcheval it Night, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bianca Raffaella (b 1992, London) Working from memory and sensory cues rather than direct observation, Bianca Raffaella is a British artist and activist currently based in Margate. As a partially sighted artist, her ephemeral floral and figurative paintings draw viewers into her world by capturing fleeting moments suspended in persistent vision, where her sight is in constant motion, and images appear only briefly as faint shadows or flickers of light. Raffaella's ongoing series of textural flower paintings evoke the artist's experience of beauty in braille, which was how she first learned to read and write. Raffaella relies on touch in her painting process. Never losing contact with the canvas, she blends delicate hues of blue, beige, and dusty pink until they become an ethereal impression, cloudy details made with fingertips, brushstrokes or scrapes of a palette knife. Graduating with a First-Class Honours degree in 2016, Bianca Raffaella was the first registered blind student to graduate from Kingston University with a degree in the Visual Arts. Since completing her 2023/4 residency at the Tracey Emin Artist Residency (TEAR), Raffaella now works from TKE Studios, where she uses gestural fragments and impasto techniques to capture motion and visual shifts on the canvas. In 2021, Raffaella's work was selected for the Royal Academy of Arts' Summer Exhibition, coordinated by Yinka Shonibare, followed by her solo exhibition, Hushed Impressions, at Orleans House Gallery in 2023. She was also awarded the NatWest Entrepreneurship Funding Prize in 2019 for her bespoke sensory fashion label. An advocate for accessibility in the arts, Raffaella has shared her insights as a speaker at the Goethe Institut's Beyond Seeing project and as a panellist at Tate Modern's Please Touch the Art talk. Most recently, she was selected by Dame Tracey Emin for Flowers Gallery's 2024 Artist of the Day series, presenting a one-day solo exhibition as part of the programme's 25th edition. Education 2013-16 BA, Kingston University London [The first registered blind student to graduate from Kingston University with a First-class degree in the visual arts.] Solo Exhibitions 2025 Faint Memories, Flowers Gallery, Cork Street, London, UK 2024 Artist of the Day, Flowers Gallery, Cork Street, London, UK 2023 Hushed Impressions, Orleans House Gallery, London, UK Group Exhibitions 2024 TEARS: The Final Show, TKE Studios, Margate, UK Small is Beautiful: 42nd Edition, Flowers Gallery, Cork Street, London, UK Artist of the Day: Group Show, Flowers Gallery, Cork Street, London, UK 2023 TEARS, TKE Studios, Margate, UK 2022 Layers of Vision, Bush House, London, UK 2021 Summer Exhibition, Royal Academy of Arts, London, UK Breaking Ground, Orleans House Gallery, London, UK Awards 2024 Artist of the Day, Flowers Gallery, Cork Street, London, UK Three To Watch, Hotly tipped female talent of the British art scene, Harper's Bazaar Magazine UK 2023 Tracey Emin Artist Residency (TEAR) 2023-24, TKE Studios, Margate, UK 2022 Artist-in-residence 2022-23, Orleans House Gallery, London, UK Commissioned by King's College London in collaboration with Shape Arts and AccessArt Gallery Representation Flowers Gallery (London New York Hong Kong) Public Collections Tracey Emin Foundation (Margate, UK) Statement about AOAP Submitted Artwork Four impressions from recent memories of Courchevel, in the Tarentaise Valley, France. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Noemi Conan Hello-Goodbye Acrylic medium, pigment, and oil marker on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor. Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Faye Eleanor Woods Lady II, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Faye Eleanor Woods' sensual paintings act as a love letter to her own experience, full of life's joy, absurdity, humour, loss, and fear. Using raw pigments and acrylic ink, she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds, creating an ethereal presence. As Woods says, "I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability, I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I'm sick and everything I spew out ends up in my work." Inherently influenced by British folklore and folk horror, Woods' paintings tell their own tales rooted in corporeal experience which then becomes heightened or exaggerated, resulting in a form of magical realism. A spirit of excess runs throughout the scenes that she depicts. Empowered yet vulnerable, the behaviour of paint sensualises her ruby red mouths, flushed cheeks, pert nipples, and knees rubbed raw. Dancing, leaping, cavorting figures in various states of consciousness or undress partake in a bacchanale that defies the hypocrisy of supposed propriety and convention, challenging the stiff upper lip. Eyes shine with ecstatic bewitchment as her animalistic protagonists dance and leap in a debaucherous state which teeters on the fine line edge between calamity and joy. What is conveyed is the relatable oddness that exists between the magical and the mundane. Education 2017 - 2021 Painting and Drawing BA Hons Solo Exhibitions 2023 The Grass Are Green, The Flowers Is Brown and Crimson, Anima Mundi, Cornwall, UK Group Exhibitions 2024 My Soul Hurts and I Think I Have Tinnitus, Calcio Gallery, London, UK 198th RSA Annual Exhibition, Edinburgh, UK VESSELS, OHSH, London, UK 2023 Ostara, Anima Mundi, Cornwall, UK New Contemporaries, Royal Scottish Academy, Edinburgh, UK Blue Shop Cottage WOP 5, London, UK Intersections, Black White Gallery, London, UK Bodies, Gluttony and Me, Pictorum Gallery, London, UK Neo Gothic, OHSH, London, UK Awards 2021 New Contemporaries RSA Gray's School of Art Purchase Prize 2024 RSA Latimer Award Statement about AOAP Submitted Artwork All four of these works are monoprints made with acrylic. I have been exploring accidental mark-making with my smaller works, and I feel like this experiment captured them perfectly! You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Elizabeth Power Blue Study 1 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Mandy Racine Equestrian, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painting takes me to another place, my own special world inspired by the old masters and Baroque & Rococo imagery. I'm inspired by the composition, colour & flow of the works and love to put my own contemporary twist on it, painting in a very gestural, energetic way, which I would best describe as abstract figurative. I work mainly with acrylic, partly because of the speed & energy with which I paint and particularly enjoy trying to incorporate a real sense of movement - the figures, fabrics, landscape & gestures. Education 1985-1988 BA (Hons) Degree Fine Art, West Surrey College of Art & Design, Farnham, Surrey 1984-1985 Foundation Course in Art & Design, East Surrey College of Art, Reigate, Surrey. Passed with Merit Group Exhibitions 2024 25th Anniversary Exhibition, Laura Rathe Fine Art Gallery, Houston, Texas USA Two Person Show, Laura Rathe Fine Art Gallery, Houston, Texas USA 'Papertrails', Laura Rathe Fine Art Gallery, Houston, Texas USA 2023 'Grande Fete', Laura Rathe Fine Art Gallery, Houston, Texas USA 2022 Portraits installed in luxury suites at Fouquet's New York Hotel, USA Works shown at Little Art Boutique, Palma, Mallorca Gallery Representation Laura Rathe Fine Art, Houston, Texas, USA Joanne Artman Gallery, Laguna Beach, California, USA L&G Projects, La Jolla, near San Diego, California, USA Statement about AOAP Submitted Artwork I've painted some works in acrylic inspired by the Baroque/Rococo era. I hope to convey a sense of movement & a bit of frivolity. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Catherine Chambers Class, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Elizabeth Power Blue Study 2, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bursting with colour and energy, Elizabeth Power's paintings exude a warmth and vibrancy. Based in St Leonards on Sea, UK, Power's work has a vivid colour palette with a unique style that incorporates themes such as memory, escapism and identity. Her work reflects on personal and collective experiences, inviting viewers to engage with the narratives embedded within her pieces and to escape to the calm and dynamic worlds she creates. Drawing inspiration from colourists such as Matisse, Hockney, Hilma af Klint, Milton Avery and Tal R, Power's loose and free abstraction takes this to the next level. Power has been featured by the likes of British Vogue, The Royal Academy of Arts, Soho House, House & Garden Magazine, RyeZine, Home House, Heals, The London Design Festival, Livingstone St Ives, John Lewis, Munthe, Artsy, Delphian Gallery, Art For Charity Collective, Art On A Postcard, The Auction Collective, A Space For Art, Offshoot Arts, Cura Art, Print Club London, Big Yin Gallery, 99 Projects London, The Old Bank Vault, Well Hung Gallery and Hancock gallery. In addition to her artistic endeavours, Power has been involved in teaching and mentoring emerging artists, furthering her impact on the art community. Her contributions extend to art education, where she encourages creativity and exploration in her students. She delivers workshops and lectures to a wide range of students at The De La Warr Pavilion, The University of Brighton, Hereford College Of Arts, Earlscliffe College and The Hastings Contemporary. In 2024, Power has exhibited with Soho House, They Made This Gallery, Arts For Charity Collective, Rogue Gallery, Delphian Gallery, Bus Stop Gallery and Offshoot Arts. In 2023, Power has a solo exhibition entitled 'Coastal Calm' at 99 Projects. She exhibited in 'Papier' by Delphian Gallery. Additionally, she is in the group exhibition 'It's My House!' in collaboration with Cura Art, Offshoot Arts, A Space For Art. She curated and performed live painting at a Babes In Arms exhibition at the Hastings Contemporary, and also was in group exhibition 'Woman of Mass Destruction' at Stella More Gallery. She also will be exhibiting with Art For Charity Collective in Thyme. In 2022 Power released her first art publication entitled 'lockdown' published by Unit33 Hastings. She had work selected to join the Soho House permanent collection. She collaborated with fashion brand Munthe on a collection featured by the likes of Vogue. She exhibited with Art on a Postcard, Art for Charity Collective, The Affordable Art Fair, Big Yin Gallery, 99 Projects and Well Hung Gallery. She also curated an exhibition with her collective Babes In Arms at the De La Warr in September, and ran workshops there during the summer. In 2021 she exhibited in a duo show with Cathy Tabbakh 'Fatal Shadow and Narcissus' at Delphian Gallery, 'Making a Splash' curated by Janet Rady, 'Domesticity and the Feminine' Open Call Winners Exhibition, was the winner of the Unit33 open call, along with exhibiting with the Art For Charity Collective, Heals, Print Club London, McCully & Crane and The Old Bank Vault. In 2020 she exhibited with Heals as part of the London Design Festival, was a winner of the Contemporary Art Collectors open call, and exhibited in a group exhibition at Hancock Gallery entitled 'Between Distance and Desire', among artists such as Billy Childish and Mark Demsteader. She also exhibited in the online exhibitions Curated for Covid and Anti-Freeze. Elizabeth exhibited in the Royal Academy of Arts Summer Exhibition 2018, with her work being selected by the RA for use on sell out posters and gift cards which were re printed by the RA shop in 2021. She exhibited at various London art fairs and group exhibitions throughout 2019 and was selected by Delphian Gallery to be featured in their highly acclaimed 2019 open call exhibition and was also the winner of the Flat Space Art Gallery open call 2019. Power has works currently available via They Made This, Art For Charity Collective, Delphian Gallery, Royal Academy of Arts, 99 Projects, A Space For Art/ Offshoot Arts, Print Club London, The Old Bank Vault, Hancock Gallery. Power co-founded the Babes In Arms Collective with fellow artist Annie Mackin, which champions artist mother's in the Hastings and St Leonard's area. Power co-hosted The Artfully Podcast (rated in GQ's top 50 podcasts for 2021), which covers news stories, gossip, and revisiting art history you thought you knew, or always wished you did. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Hetty Douglas Untitled, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Born 1992, Sheffield, England Currently based in London Hetty Douglas is a self-taught lesbian artist who focuses primarily on painting. Her complex childhood serves as a source of motivation, leading her to create works that explore the intricate and often dark facets of individual identity. Douglas fearlessly addresses these themes, combining introspective examinations with universal reflections on healing our inner worlds and wounds, often incorporating a sexual or deeply personal twist. Douglas has exhibited in numerous group and solo shows worldwide. Her first solo exhibition Flooded, was held at Gallery Steinsland Berliner in Stockholm in 2022, followed by Baby Names in Los Angeles in 2023, completed post-residency. Most recently, she concluded her third solo exhibition with Mott Projects in New York. Ahead, Douglas has several upcoming group shows and a solo exhibition scheduled for London, May 2025. Her first London based solo yet. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ashley January Backyard Respite (United States) Study, 2024 Oil, acrylic, and gesso on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ashley January creates contemporary paintings informed by her maternal experience. Exploring themes of preeclampsia, premature birth, and birth trauma, her newest body of work continues to address the Black maternal mortality and morbidity crisis in America. Ashley became the first recipient of the Women's Caucus for Art, 2022 Emerging Artist Award, and has recently debuted her newest series, Environments of a Heavy Joy, at EXPO Chicago 2024 and 1-54 Contemporary African Art Fair in London in October with Cynthia Corbett Gallery. She was selected as a finalist for the 2022 Artadia Chicago Award and in January 2023, Ashley had the second installment of her solo exhibition, Human | Mother | Black, at Western Illinois University. Most recently, her works were featured in the New York group show, Fruits of Labor: Reframing Motherhood and Artmaking at Apex Art. She was invited to participate in the Unit London (Voices) online group exhibition Naissance/Re-Naissance. Additionally, Tufts University School of Medicine's Center for Black Maternal Health and Reproductive Justice, acquired paintings from her series. Her works have been exhibited in numerous venues including, The Young Masters Autumn Exhibition in London, UK; the South Side Community Art Center, Chicago, IL; Mana Contemporary, Chicago, IL; SoLA Contemporary, Los Angeles, CA; the Museum of Science and Industry, Chicago, IL; Viridian Artists Inc, New York, NY; Laguna Art Museum, Laguna Beach, CA; Pacific Art Foundation, Newport Beach, CA; and the Irvine Fine Arts Center, Irvine, CA. Recently, she was featured in the January 2023 issue of Luxe Interiors + Design Chicago magazine. Her paintings have also been featured in the television series, Kings of Napa, on OWN. In 2018, she was selected as a first-place award winner at the Woman Made Gallery's Midwest Open in Chicago. In 2017, Ashley won the Beverly Bank Best of Show Award at the Beverly Arts Center's juried competition. Ashley earned her MFA in Painting from the Laguna College of Art and Design, Laguna Beach, CA in 2017 and her BS in Communication with an Advertising concentration and Minor in Studio Art from Bradley University, Peoria, IL in 2009. She lives in Chicago with her family while working from home and her studio at Mana Contemporary. Education 2015 - 2017 MFA, Laguna College of Art and Design, Laguna Beach, CA, USA 2005 - 2009 B.S. in Communication, Minor in Studio Art, Bradley University, Peoria, IL, USA 2013 - 2015 Vitruvian Fine Art Studio, Chicago, IL, USA 2008 Instituto Lorenzo de'Medici (LdM), Florence, Italy Solo Exhibitions 2023 Human | Mother | Black, Western Illinois University, Macomb, IL, USA 2022 Human | Mother | Black, The Beverly Arts Center, Chicago, IL, USA Group Exhibitions 2025 Sacred Motherhood, Woman Made Gallery, Chicago, IL, USA 2024 1-54 Contemporary African Art Fair, Cynthia Corbett Gallery, London, United Kingdom Heads Exhibition, Art Division Gallery, Los Angeles, CA, USA EXPO Chicago, Cynthia Corbett Gallery, Chicago, IL, USA Mama Needs a Raise!, Old Stone House, Brooklyn, NY, USA Neighbors, South Shore Arts, Munster, Indiana, USA 2023 Fruits of Labor: Reframing Motherhood and Artmaking, Apex Art, New York, NY, USA Voices - Naissance / Re-Naissance, Unit London, Online Platform, Cynthia Corbett Gallery, London Art Fair, London, United Kingdom The Young Masters Autumn Exhibition - Part 2, London, United Kingdom 2022 Embodied and Endangered, Alliance Contemporary, Chicago, IL, USA In Good Company, Mana Contemporary, Chicago, IL, USA 2021 The Balm: Art for Black Women's Wellness, South Side Community Arts Center, Chicago, IL, USA Pushing Through, Dominique Gallery, Artsy Beauty In the Mundane, Art Mums United, Online Awards 2022 Women's Caucus for Art, Emerging Artist Award 2022 Finalist, Artadia 2022 Chicago Award Gallery Representation Cynthia Corbett Gallery, London, United Kingdom Public Collections Tufts University School of Medicine's Center for Black Maternal Health and Reproductive Justice, Boston, MA, USA You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Paola Estrella Santa Barbara Cenote, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Paola Estrella is a multimedia artist from Mexico based in London. Her work shifts across painting, video, installation, and performance, with speculative fiction serving as a core element of her practice. Through this lens, she conveys themes of intimacy, desire, and becoming. Estrella delves into the impact of new technologies on public and private spheres, examining how the imaginary shapes social conventions, identity, and our notion of reality. Her interest lies in the intricate tensions and complexities of belief systems and worldviews, as well as the intersection of imagination and perception in relation to transcendent experiences. Education 2018-2021 MA Contemporary Art, Royal College of Art, London 2007-2012 BA Graphic Design, IBERO University, Mexico Group Exhibitions 2025 London Art Fair, Metamorphica Gallery, London 2024 In Between, V&A Latinx Takeover, UCL East, Performing The Cenote Ring, London Fire, Display Fever and Metamorphika Studio, London Speculative Land(e)scapes, Silian Gallery, London 2023 Diasporas Now Performance Tour, Humber Street Gallery in Hull, NN Contemporary Art in Northampton, and ICA in London La Loca, South London Gallery, London 2022 Behavioural Garments, Goldsmiths Centre for Contemporary Art, London New Contemporaries, Humber Street Gallery, Ferens Art Gallery, and South London Gallery, UK Enigma of Arrival, Gallery V and Cambridge University, Cambridge 2021 Journeys: The Healing Arts, Commissioned by CW+ Charity, Saatchi Gallery, London Lumen Art Biennial, 4th Edition, The Museum of Mexico City, Mexico 2020 Tomorrow: London, White Cube Gallery, London Love Bug, Outsight Gallery, Seoul 2019 Aglomeraciones, Seminary of Culture, Mexico City How Are You Babe, Blank100, London Awards 2024 Arte Lagos Residency, Mexico City 2022 Shortlisted for Hari Art Prize Longlisted for LUMEN Prize New Contemporaries, London Award winner of the Travers Smith CSR Art Programme, London 2021 Arte Lumen Art Biennial, 4th edition, finalist, Mexico 2020 Contigo A Distancia, Art Bursary, FONCA, Mexico Statement about AOAP Submitted Artwork These series of postcards are inspired by the underground bodies of water forming the cenote ring in Yucatan, Mexico. These are part of a multimedia project that addresses the complexities and tensions of belief systems and worldviews by connecting the historical significance of this geological feature, created by an asteroid impact, with contemporary societal issues such as consumerism, expansion, speed, and resource accumulation amid an ecological crisis. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Amanda Horwood Real' Xmas 2024 Part 1, 2025 Gouache and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I work relationally, alongside the painting to reach the final conclusion. That can take a long time or can happen very quickly. It depends on the struggle that occurs, how quickly the work resonates and is possible to find balance. My use of colour, texture and mark-making helps me to build layers, and create areas that could be seen as 'zones'. I manipulate the paints to indicate something. An example being that a character belongs in another realm, or is both 'in and out' of the 'Real, and the Painting world'. 'There, and not there', is a continuing theme, along with loss and trauma. The painting process has developed into a visual language for my storytelling. Aesthetic decisions becoming metaphors. I use memories from my personal history and sometimes present experiences. The content merges with what I see and read, familiar faces often surprise me in the paintings. I have unexpected visits from film and TV characters, themes from music and literature, which I have absorbed will magically appear. Sometimes I lose characters, as their presence doesn't benefit the composition anymore. That can be hard - but the painting will stop moving on, until I can bring myself to do it. I'm not a spiritual person, but within my 'Painting world', there is an afterlife - a supernatural world beyond this one, parallel to the physical world. Spirits and angels interact with the living characters in my Painting world. Education 1997-2000 BA Hons - Fine Art, Leeds Metropolitan University 2006-2007 Postgraduate Cert in Post Compulsory Education - Art and Design 2007-2008 Foundation - Art Psychotherapy, Goldsmiths 2024-2025 Correspondence Course, Turps Banana Group Exhibitions 2024 God of Small Things, 54 The Gallery Interconnections, Elms Window Gallery Persephone Rising, 54 The Gallery Salt and Stars, JM Gallery London Murmuration, JM Gallery London BIG, Tower Gallery Chorus Arts Summer Show, Riverside Studios Seven for a Secret, JM Gallery London Schema, Elms Window Gallery Drama and Confusion, Elms Window Gallery 2023 Tart Factory (Open Call), Design District Into the Rose Garden, Elms Window Gallery Chorus Arts Launch, Riverside Studios 2021 Winter Exhibition, Three Colt Gallery Two Little Ducks, Elms Window Gallery Gallery Representation 2022-2023 The Hook Gallery, London 2023-2024 Tart Gallery, London Statement about AOAP Submitted Artwork These are a collection of small works painted in gouache and acrylic. The scenes depict a mixture of real and imaginary moments from Christmas 2024. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lily Kemp Blue Dream, 2025 Acrylic gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About With an underlying interest in exploring narratives touching on the fluidity of gender and identities; Lily Kemp's paintings explore escapism, storytelling, the act of dressing up and playing out imagined roles. Drawing from a range of visual references and written sources, through the process of collage she interweaves figures and images from popular culture alongside found images of landscapes and her own personal photographs. Looking in part at the relationships between popular culture, gender norms and our sense of self. More specifically at our relationship with fashion, how the way we choose to present ourselves can be considered an extension of ourselves and a way of exploring our identities outside of socially constructed binary categorisations. The sense of scale in Lily's paintings is often distorted and exaggerated with an interchangeable indistinct relationship between her figures and the space surrounding them, her landscapes seeming to breathe a life of their own. Scenes are often hyper idealised and fantastical; her figures living within these imagined worlds and dream like realities which are both familiar, yet also border on the performative and theatrical. Education 2016 - 2019 BA Fine Art Painting, University of the Arts London, London 2015 - 2016 Foundation Diploma in Art and Design, University of the Arts London, London Solo and Duo Exhibitions 2024 Inner Voyage Out (duo show with Minyoung Kim), Over the Influence, Hong Kong 2023 Taking flight, Taymour Grahne Projects, London 2022 Cry me a river, Galeria Duarte Sequeira, Seoul Selected Group Exhibitions and Art Fairs 2024 International Women's Day Auction, Art on a Postcard, London New Now, Guts Gallery, London 2023 Duo presentation with Over the Influence at Kiaf Seoul 2022 Group presentation with Galeria Duarte Sequeira at Art Busan Intimacy, Taymour Grahne Projects, London What Now?, PM/AM gallery, London Assemble, V.O Curations, London 2021 Confluence of Tongues, Grove Collective, London Solo presentation with Galeria Duarte Sequeira at ARCO Madrid Bloomberg New Contemporaries 2020, South London Gallery, London Get a load of this, Daniel Raphael Gallery, London 2020 Bloomberg New Contemporaries 2020 Digital Platform That's How The Light Gets In, AucArt Virtual Gallery The Recent Graduates Exhibition, The Battersea Spring Affordable Art Fair, London Herstory - Women in Art, Maddox Gallery, London The Signature Art Prize, Bankside Hotel, London 2019 The Clyde & Co Art Award, St Botolph Building, London The Woon Foundation Painting & Sculpture Prize, Gallery North, Newcastle upon Tyne BA Degree Show, Wimbledon College of Arts, London Everyday Forms, Four Corners Gallery, London For Love or Money, Copeland Gallery, London 2017 Spilt Milk, Pop up venue, London 2016 Foundation Show, Camberwell College of Arts, London 2015 Young Art, Royal College of Art, London You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Lisa Golightly Red Boat, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Lisa Golightly strives to capture the essence of fleeting moments and the emotional landscapes of everyday life. Her paintings are an exploration of the intersection between memory and perception. Using vibrant colors and expressive brushwork, she creates a dialogue between abstraction and representation, inviting viewers to engage with and relate to their own memories and experiences. Found photographs and more recently 8mm home movies work as a starting point to her paintings. She is fascinated by the intricacies of relationships, the interplay of light and shadow, and the beauty found in imperfection. Each painting serves as a practice in storytelling, where layers of paint mimic the layers of our experiences, capturing the complexity of our emotions. Embracing a process-oriented approach to painting, she allows intuition to guide her hand. This spontaneity not only infuses her work with energy but also mirrors the unpredictability of life itself. Ultimately, the goal of the work is to create a sense of connection-to evoke introspection, longing, and sometimes sadness that resonates with others. Education 1998 BFA in Studio Art, University of Arizona, Tucson, AZ Solo Exhibitions 2024 Chatwin Arts Gallery, Seattle, WA Billis Williams Gallery, Los Angeles, CA 2023 Linda Hodges Gallery, Seattle, WA Tayloe Piggott Gallery, Jackson, WY 2022 George Billis Gallery, Los Angeles, CA 2021 Linda Hodges Gallery, Seattle, WA 2020 George Billis Gallery, Los Angeles, CA Linda Hodges Gallery, Seattle, WA 2019 George Billis Gallery, Los Angeles, CA Group Exhibitions 2024 Annual Group Exhibition, Patricia Rovzar Gallery, Seattle Stocking Stuffer Holiday Show, George Billis Gallery, Fairfield, CT The Cityscape Show XIV, Billis Williams Gallery, Los Angeles Seattle Art Fair, Billis Williams Gallery 2023 The Cityscape Show XIII, Billis Williams Gallery, Los Angeles George Billis, New York George Billis, CT NYC Art on Paper Fair, George Billis Gallery, New York City Art Palm Springs, Billis Williams Gallery, Palm Springs, CA 2022 5, Linda Hodges Gallery, Seattle, WA Wilderness, Antler Gallery, Portland, OR The Cityscape Show, George Billis Gallery, Los Angeles, CA Gallery Representation Maya Frodeman Gallery, Jackson, WY, USA Billis Williams Gallery, Los Angeles, CA, USA George Willis Gallery, New York City, NY, USA Julie Nester Gallery, Park City, UT, USA Patricia Rovzar Gallery, Seattle, WA, USA You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Jayne-Anita Smith Sanctum, 2025 Acrylic and oil on gessoed paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jayne Anita Smith's contemporary art practice delves into the sacred feminine and the rediscovery of our connection to nature. Through paintings, drawings and prints in her latest series, she explores ways to reshape our understanding of identity and place, looking towards a more holistic approach to the environment amid the looming threat of climate change. Education 2005 - 2009 BA Hons Fine Art, University College Falmouth, Cornwall Solo Exhibitions 2022 A fragile state, BAGT, London 2017 Fool's Paradise. Coates and Scarry, Gallery 8, London 2016 Small works, Newlyn Picture Room, Newlyn Art Gallery, Cornwall Group Exhibitions 2023 Tao Hua Tan residency group exhibition, Hefei Kurami Art Gallery, Hefei, China Windows and thresholds, Bell House, London, UK 2022 Re-Call, Award winners show, Air Gallery, Manchester, UK Saul Hay Gallery, Manchester, UK Cambrian Open, Conwy, Wales 2021 Air Gallery open, Saul Hay Award winner, Manchester, UK Frontier Art Open, 3rd Runner up, Sheffield, UK Overexposed, The visionary Projects, Online Tangled up in blue, Purslane art gallery, Online 2020 Hedges and houses and mothers and children, I Like your work, curated with Dazed and Confucius, Online exhibition Summers Shadow, A Way Art Gallery, Online exhibition We could apply our lipstick, C&C Gallery, London, UK Wells Contemporary art open, Somerset, UK Harley Open, Harley gallery, Nottingham, UK 2019 RA Summer exhibition, London, UK Morph, Mash Gallery, Los Angeles, USA 2018 Beep painting prize, Swansea. Wales Art Gemini Prize, London, UK Awards 2022 Artworks Solo Show Award, Barbican Arts Group Trust Saul Hay Award, Air Gallery You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Faye Eleanor Woods Kiss me quick!, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Faye Eleanor Woods' sensual paintings act as a love letter to her own experience, full of life's joy, absurdity, humour, loss, and fear. Using raw pigments and acrylic ink, she forces rich colour into the grain of the canvas, blurring edges with copious amounts of water or using thin layers of oil to blend the figures with their backgrounds, creating an ethereal presence. As Woods says, "I try to bring attention to the surreal aspects of life and the way the oddness of experience manifests within individuals and how that manifestation then affects me. In my vulnerability, I crave strange moments of intimacy. I imagine drinking straight from the tap of all emotion, drinking so much of it, I take on too much and I'm sick and everything I spew out ends up in my work." Inherently influenced by British folklore and folk horror, Woods' paintings tell their own tales rooted in corporeal experience which then becomes heightened or exaggerated, resulting in a form of magical realism. A spirit of excess runs throughout the scenes that she depicts. Empowered yet vulnerable, the behaviour of paint sensualises her ruby red mouths, flushed cheeks, pert nipples, and knees rubbed raw. Dancing, leaping, cavorting figures in various states of consciousness or undress partake in a bacchanale that defies the hypocrisy of supposed propriety and convention, challenging the stiff upper lip. Eyes shine with ecstatic bewitchment as her animalistic protagonists dance and leap in a debaucherous state which teeters on the fine line edge between calamity and joy. What is conveyed is the relatable oddness that exists between the magical and the mundane. Education 2017 - 2021 Painting and Drawing BA Hons Solo Exhibitions 2023 The Grass Are Green, The Flowers Is Brown and Crimson, Anima Mundi, Cornwall, UK Group Exhibitions 2024 My Soul Hurts and I Think I Have Tinnitus, Calcio Gallery, London, UK 198th RSA Annual Exhibition, Edinburgh, UK VESSELS, OHSH, London, UK 2023 Ostara, Anima Mundi, Cornwall, UK New Contemporaries, Royal Scottish Academy, Edinburgh, UK Blue Shop Cottage WOP 5, London, UK Intersections, Black White Gallery, London, UK Bodies, Gluttony and Me, Pictorum Gallery, London, UK Neo Gothic, OHSH, London, UK Awards 2021 New Contemporaries RSA Gray's School of Art Purchase Prize 2024 RSA Latimer Award Statement about AOAP Submitted Artwork All four of these works are monoprints made with acrylic. I have been exploring accidental mark-making with my smaller works, and I feel like this experiment captured them perfectly! You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ashley January Seekers Study, 2024 Oil, acrylic, and gesso on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ashley January creates contemporary paintings informed by her maternal experience. Exploring themes of preeclampsia, premature birth, and birth trauma, her newest body of work continues to address the Black maternal mortality and morbidity crisis in America. Ashley became the first recipient of the Women's Caucus for Art, 2022 Emerging Artist Award, and has recently debuted her newest series, Environments of a Heavy Joy, at EXPO Chicago 2024 and 1-54 Contemporary African Art Fair in London in October with Cynthia Corbett Gallery. She was selected as a finalist for the 2022 Artadia Chicago Award and in January 2023, Ashley had the second installment of her solo exhibition, Human | Mother | Black, at Western Illinois University. Most recently, her works were featured in the New York group show, Fruits of Labor: Reframing Motherhood and Artmaking at Apex Art. She was invited to participate in the Unit London (Voices) online group exhibition Naissance/Re-Naissance. Additionally, Tufts University School of Medicine's Center for Black Maternal Health and Reproductive Justice, acquired paintings from her series. Her works have been exhibited in numerous venues including, The Young Masters Autumn Exhibition in London, UK; the South Side Community Art Center, Chicago, IL; Mana Contemporary, Chicago, IL; SoLA Contemporary, Los Angeles, CA; the Museum of Science and Industry, Chicago, IL; Viridian Artists Inc, New York, NY; Laguna Art Museum, Laguna Beach, CA; Pacific Art Foundation, Newport Beach, CA; and the Irvine Fine Arts Center, Irvine, CA. Recently, she was featured in the January 2023 issue of Luxe Interiors + Design Chicago magazine. Her paintings have also been featured in the television series, Kings of Napa, on OWN. In 2018, she was selected as a first-place award winner at the Woman Made Gallery's Midwest Open in Chicago. In 2017, Ashley won the Beverly Bank Best of Show Award at the Beverly Arts Center's juried competition. Ashley earned her MFA in Painting from the Laguna College of Art and Design, Laguna Beach, CA in 2017 and her BS in Communication with an Advertising concentration and Minor in Studio Art from Bradley University, Peoria, IL in 2009. She lives in Chicago with her family while working from home and her studio at Mana Contemporary. Education 2015 - 2017 MFA, Laguna College of Art and Design, Laguna Beach, CA, USA 2005 - 2009 B.S. in Communication, Minor in Studio Art, Bradley University, Peoria, IL, USA 2013 - 2015 Vitruvian Fine Art Studio, Chicago, IL, USA 2008 Instituto Lorenzo de'Medici (LdM), Florence, Italy Solo Exhibitions 2023 Human | Mother | Black, Western Illinois University, Macomb, IL, USA 2022 Human | Mother | Black, The Beverly Arts Center, Chicago, IL, USA Group Exhibitions 2025 Sacred Motherhood, Woman Made Gallery, Chicago, IL, USA 2024 1-54 Contemporary African Art Fair, Cynthia Corbett Gallery, London, United Kingdom Heads Exhibition, Art Division Gallery, Los Angeles, CA, USA EXPO Chicago, Cynthia Corbett Gallery, Chicago, IL, USA Mama Needs a Raise!, Old Stone House, Brooklyn, NY, USA Neighbors, South Shore Arts, Munster, Indiana, USA 2023 Fruits of Labor: Reframing Motherhood and Artmaking, Apex Art, New York, NY, USA Voices - Naissance / Re-Naissance, Unit London, Online Platform, Cynthia Corbett Gallery, London Art Fair, London, United Kingdom The Young Masters Autumn Exhibition - Part 2, London, United Kingdom 2022 Embodied and Endangered, Alliance Contemporary, Chicago, IL, USA In Good Company, Mana Contemporary, Chicago, IL, USA 2021 The Balm: Art for Black Women's Wellness, South Side Community Arts Center, Chicago, IL, USA Pushing Through, Dominique Gallery, Artsy Beauty In the Mundane, Art Mums United, Online Awards 2022 Women's Caucus for Art, Emerging Artist Award 2022 Finalist, Artadia 2022 Chicago Award Gallery Representation Cynthia Corbett Gallery, London, United Kingdom Public Collections Tufts University School of Medicine's Center for Black Maternal Health and Reproductive Justice, Boston, MA, USA You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Mandy Racine Belle, 2024 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Painting takes me to another place, my own special world inspired by the old masters and Baroque & Rococo imagery. I'm inspired by the composition, colour & flow of the works and love to put my own contemporary twist on it, painting in a very gestural, energetic way, which I would best describe as abstract figurative. I work mainly with acrylic, partly because of the speed & energy with which I paint and particularly enjoy trying to incorporate a real sense of movement - the figures, fabrics, landscape & gestures. Education 1985-1988 BA (Hons) Degree Fine Art, West Surrey College of Art & Design, Farnham, Surrey 1984-1985 Foundation Course in Art & Design, East Surrey College of Art, Reigate, Surrey. Passed with Merit Group Exhibitions 2024 25th Anniversary Exhibition, Laura Rathe Fine Art Gallery, Houston, Texas USA Two Person Show, Laura Rathe Fine Art Gallery, Houston, Texas USA Papertrails, Laura Rathe Fine Art Gallery, Houston, Texas USA 2023 Grande Fete, Laura Rathe Fine Art Gallery, Houston, Texas USA 2022 Portraits installed in luxury suites at Fouquet's New York Hotel, USA Works shown at Little Art Boutique, Palma, Mallorca Gallery Representation Laura Rathe Fine Art, Houston, Texas, USA Joanne Artman Gallery, Laguna Beach, California, USA L&G Projects, La Jolla, near San Diego, California, USA Statement about AOAP Submitted Artwork I've painted some works in acrylic inspired by the Baroque/Rococo era. I hope to convey a sense of movement & a bit of frivolity. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Noemi Conan Underneath a purple cloud, 2025 Acrylic medium and biro on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Noemi Conan, born in Warsaw, Poland in 1987. Painter. Lives and works in London. Exploring the narrative potential of visual art through surreal, confrontational and/or humorous images of female friends, family and feline companions in forest landscapes of firs and ferns. Weaving slavic folklore with themes from communist and capitalist propaganda into stories based on personal experience of a young woman in off centre 90's Eastern Europe. Having gone through a miraculous journey through space and time, after working miriads of menial migrant jobs, Noemi Conan has finally decided that she's grown up to be a painter. Despite the warnings of her grandmother, despite the deluge of her mother's tears. She was not a good cleaner, not an attentive housekeeper. The famous Polish work ethic has not been ignited by any of the jobs that her friends in London worked their way up through. A passion for storytelling and the need for visual aids to explain a curriculum vitae that either confused or outraged her collegues has finally resulted in a glowing path to the Parnassus of a 'career'. Using plastic colours on canvas, on paper, on glass, on wood, the point of all these ridiculous adventures of the past has been found. Taking on the name of one of her REAL dads, the ones who actually taught her life in a small town in Western Poland all those years ago where even all the cats were female cats, Conan decided to take no prisoners. Following her other dad, the sad Norwegian man with a moustache, she gone over-the-top about her emotional landscapes. The last dad taught her that it's sometimes worth looking way back to go forward and applaud that progression on the faces of your opponents. Thank goodness for Arnold and Edvard and Igor. Conan's work has been exhibited in the UK and internationally. Her work is in the collections of Soho House London, Glasgow School of Art and the Urban Nation Museum in Berlin. She has been selected as one of Bloomberg New Contemporaries in 2021, has been featured in the John Moores Painting Prize in 2020, the Royal Academy Summer Exhibition in 2021 and the Royal Scottish Academy Annual Exhibition. She graduated with a BA (Hons) in Painting and Printmaking from the Glasgow School of Art followed by the Royal Drawing School Drawing Year (2021-2022). Currently at the Turps Studio Programme (2022-2024) and The Fores Project February-March 2023 residency. From september 2024 she will start an MFA in Painting at the Slade in London. Represented by Christine Park Gallery in Shanghai and Traits Libres Gallery in Paris. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Pia Pack Jumbled, 20025 Acrylic, wax pastel, and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pia Pack's work examines ideas surrounding motherhood and domestic life through an exploration of social interactions around the kitchen table; 'Table Talks'. Pia combines familiar patterns and shapes with repetition and overlapping to create looseness and tension. Through these contradictions, she expresses a universal statement about the challenges and satisfactions of human relationships. Her work speaks to engagement with family life, social expectations and daily patterns. Pia says of the works 'There is no shying away from the beauty and oddities of family life in these paintings.' Pia lives and works in Bristol and is represented by Gertrude. Pia studied painting at Wimbledon School of Art, Central St Martins and Bath School of Art and has been included in many group shows in London and in the U.S. In 2019, Alex Eagle invited Pia to take over their Soho studio with an exhibit entitled Table Talk. Whilst living in Los Angeles, Pia established the podcast 'What Artists Listen To' aimed at bringing artist's studio practises to life and building a community amongst creatives in the city and further afield. This communal sentiment has been continued recently with an initiative in London entitled 'The Binder of Women', organised by Pack to unite a group of 11 women artists to create a portfolio of works together. Solo shows 2024 Table Talk - TEALS, Somerset 2019 Table Talk - Alex Eagle, London, UK Group shows 2025 Tenterhooks presented by Binder of Women - Gillian Jason Gallery, London Art on a Postcard - International Womens Day, Bomb Factory, London 2024 Binder of Women, 4th Edition - Woolwich Contemporary Print Fair, London Colour Takes Shape - Eponine, London Art on a Postcard - International Womens Day, Bomb Factory, London Mothers of Invention - The Mount Without, Bristol Arts Emergency - Art for Charity Collective 2023 Presence - That Art Gallery, Bristol It's My House with CURA - Home House, London 2022 Binder of Women, 3rd Edition - The Arts Club, London Gertrude PRESENTS - The Truman Brewery, London Art for Charity Collective - Unit 1, London It's My House with CURA - Porch Gallery, Ojai 2020 Oblomovrooms - Bertoli Mauti, London LA: Night & Day with CURA - The Lodge LA 2019 Sexy X-Mas - The Lodge, LA A Store Show - Odd Ark, LA Dinner's Ready - Gallery Bang Bang, Nashville, TX You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Amanda Horwood Real' Xmas 2024 Part 3, 2025 Gouache and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About I work relationally, alongside the painting to reach the final conclusion. That can take a long time or can happen very quickly. It depends on the struggle that occurs, how quickly the work resonates and is possible to find balance. My use of colour, texture and mark-making helps me to build layers, and create areas that could be seen as 'zones'. I manipulate the paints to indicate something. An example being that a character belongs in another realm, or is both 'in and out' of the 'Real, and the Painting world'. 'There, and not there', is a continuing theme, along with loss and trauma. The painting process has developed into a visual language for my storytelling. Aesthetic decisions becoming metaphors. I use memories from my personal history and sometimes present experiences. The content merges with what I see and read, familiar faces often surprise me in the paintings. I have unexpected visits from film and TV characters, themes from music and literature, which I have absorbed will magically appear. Sometimes I lose characters, as their presence doesn't benefit the composition anymore. That can be hard - but the painting will stop moving on, until I can bring myself to do it. I'm not a spiritual person, but within my 'Painting world', there is an afterlife - a supernatural world beyond this one, parallel to the physical world. Spirits and angels interact with the living characters in my Painting world. Education 1997-2000 BA Hons - Fine Art, Leeds Metropolitan University 2006-2007 Postgraduate Cert in Post Compulsory Education - Art and Design 2007-2008 Foundation - Art Psychotherapy, Goldsmiths 2024-2025 Correspondence Course, Turps Banana Group Exhibitions 2024 God of Small Things, 54 The Gallery Interconnections, Elms Window Gallery Persephone Rising, 54 The Gallery Salt and Stars, JM Gallery London Murmuration, JM Gallery London BIG, Tower Gallery Chorus Arts Summer Show, Riverside Studios Seven for a Secret, JM Gallery London Schema, Elms Window Gallery Drama and Confusion, Elms Window Gallery 2023 Tart Factory (Open Call), Design District Into the Rose Garden, Elms Window Gallery Chorus Arts Launch, Riverside Studios 2021 Winter Exhibition, Three Colt Gallery Two Little Ducks, Elms Window Gallery Gallery Representation 2022-2023 The Hook Gallery, London 2023-2024 Tart Gallery, London Statement about AOAP Submitted Artwork These are a collection of small works painted in gouache and acrylic. The scenes depict a mixture of real and imaginary moments from Christmas 2024. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Ashley January Bodily Autonomy Study, 2024 Oil, acrylic, and gesso on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ashley January creates contemporary paintings informed by her maternal experience. Exploring themes of preeclampsia, premature birth, and birth trauma, her newest body of work continues to address the Black maternal mortality and morbidity crisis in America. Ashley became the first recipient of the Women's Caucus for Art, 2022 Emerging Artist Award, and has recently debuted her newest series, Environments of a Heavy Joy, at EXPO Chicago 2024 and 1-54 Contemporary African Art Fair in London in October with Cynthia Corbett Gallery. She was selected as a finalist for the 2022 Artadia Chicago Award and in January 2023, Ashley had the second installment of her solo exhibition, Human | Mother | Black, at Western Illinois University. Most recently, her works were featured in the New York group show, Fruits of Labor: Reframing Motherhood and Artmaking at Apex Art. She was invited to participate in the Unit London (Voices) online group exhibition Naissance/Re-Naissance. Additionally, Tufts University School of Medicine's Center for Black Maternal Health and Reproductive Justice, acquired paintings from her series. Her works have been exhibited in numerous venues including, The Young Masters Autumn Exhibition in London, UK; the South Side Community Art Center, Chicago, IL; Mana Contemporary, Chicago, IL; SoLA Contemporary, Los Angeles, CA; the Museum of Science and Industry, Chicago, IL; Viridian Artists Inc, New York, NY; Laguna Art Museum, Laguna Beach, CA; Pacific Art Foundation, Newport Beach, CA; and the Irvine Fine Arts Center, Irvine, CA. Recently, she was featured in the January 2023 issue of Luxe Interiors + Design Chicago magazine. Her paintings have also been featured in the television series, Kings of Napa, on OWN. In 2018, she was selected as a first-place award winner at the Woman Made Gallery's Midwest Open in Chicago. In 2017, Ashley won the Beverly Bank Best of Show Award at the Beverly Arts Center's juried competition. Ashley earned her MFA in Painting from the Laguna College of Art and Design, Laguna Beach, CA in 2017 and her BS in Communication with an Advertising concentration and Minor in Studio Art from Bradley University, Peoria, IL in 2009. She lives in Chicago with her family while working from home and her studio at Mana Contemporary. Education 2015 - 2017 MFA, Laguna College of Art and Design, Laguna Beach, CA, USA 2005 - 2009 B.S. in Communication, Minor in Studio Art, Bradley University, Peoria, IL, USA 2013 - 2015 Vitruvian Fine Art Studio, Chicago, IL, USA 2008 Instituto Lorenzo de'Medici (LdM), Florence, Italy Solo Exhibitions 2023 Human | Mother | Black, Western Illinois University, Macomb, IL, USA 2022 Human | Mother | Black, The Beverly Arts Center, Chicago, IL, USA Group Exhibitions 2025 Sacred Motherhood, Woman Made Gallery, Chicago, IL, USA 2024 1-54 Contemporary African Art Fair, Cynthia Corbett Gallery, London, United Kingdom Heads Exhibition, Art Division Gallery, Los Angeles, CA, USA EXPO Chicago, Cynthia Corbett Gallery, Chicago, IL, USA Mama Needs a Raise!, Old Stone House, Brooklyn, NY, USA Neighbors, South Shore Arts, Munster, Indiana, USA 2023 Fruits of Labor: Reframing Motherhood and Artmaking, Apex Art, New York, NY, USA Voices - Naissance / Re-Naissance, Unit London, Online Platform, Cynthia Corbett Gallery, London Art Fair, London, United Kingdom The Young Masters Autumn Exhibition - Part 2, London, United Kingdom 2022 Embodied and Endangered, Alliance Contemporary, Chicago, IL, USA In Good Company, Mana Contemporary, Chicago, IL, USA 2021 The Balm: Art for Black Women's Wellness, South Side Community Arts Center, Chicago, IL, USA Pushing Through, Dominique Gallery, Artsy Beauty In the Mundane, Art Mums United, Online Awards 2022 Women's Caucus for Art, Emerging Artist Award 2022 Finalist, Artadia 2022 Chicago Award Gallery Representation Cynthia Corbett Gallery, London, United Kingdom Public Collections Tufts University School of Medicine's Center for Black Maternal Health and Reproductive Justice, Boston, MA, USA You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
Catherine Chambers Fortune, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.
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