Paul Feiler, British 1918-2013 - Mousehole Harbour, 1953; ink and pencil on paper, signed and dated lower left 'Feiler 53', 13 x 16.8 cm (ARR) Provenance: The Collection of Mollie and Graham Dark Note: the present work relates to the paintings 'Mousehole Harbour, 1952' and 'Low Tide, Mousehole Harbour, Cornwall, 1953' and demonstrates the artist pairing down the Cornish landscape into abstract form, using a darkened palette. These works were made while the artist was living in Bristol and in the lead-up to his first one-man exhibition at the Redfern Gallery in London. There is a photocopy of a drawing of two figures attached to the reverse of the frame, possibly an image of the reverse of the work. Feiler was an important and celebrated artist of the modernist St. Ives School in the latter part of the 20th century, alongside William Scott, Peter Lanyon and Bryan Wynter. He first visited Cornwall in 1949, producing highly abstracted responses to the landscape. Tate St Ives has held two large solo exhibitions of his work in 1995 and 2005.
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Laurie Stewart (20th Century) - A group scene in sunlit landscape - Mixed media on paper - 21 x 33.5cm - 35 x 47.5cm framed - Inscribed below and to the backing - Together with a surrealist pen and ink drawing signed Max Symens (?) and dated 27/11/67, 25 x 15.5cm, 45 x 31cm framed (2) - Provenance: By descent from James (Jim) O'Connor, Edward Wolfe's partner
Circle of Gaspar Dughet (1615-1675)Landscape with dancing figuresPen and brown ink, wash, traces of black chalk, ruled ink borderline, laid onto mount support with gold border, crudely erased ink inscription [Richardson's? hand] to mount that reads 'Nicolas Poussin', minor handling creases and surface dirt, sheet 184 x 257 mm (7 1/4 x 10 1/8 in) (framed)Provenance:Jonathan Richardson Snr. (1667-1745) [Lugt 2183]GH (mark unidentified) [Lugt 1160]Private collection, UK*** Showing influences of Lorrain, Poussin and other artists working in France in the 17th century, the present drawing has some similarities to the drawing Landscape; three figures on the bank of a river..., held in the British Museum and currently attributed to Gaspar Dughet and Crescenzio Onofri (c.1632-1712) [see BM museum no. Pp,4.76].
David Hockney (b.1937)Neal Street Restaurant Seating PlanA unique offset lithograph with a pen and ink drawing of a tin of caviar and other ink additions to the work, circa 1970, signed by David Hockney, Howard Hodgkin, John and Jane Kasmin, Terrence Conran, Wayne Sleep, George Dawson, and others, on wove paper, with full margins, sheet 420 x 295mm (16 ½ x 11 5/8in) This rare work is the seating plan for a dinner, featuring some of the most prominent names in the professional and social circles of David Hockney in the 1960s. Each person at the meal has signed their name, and Hockney in addition to signing has humorously drawn for himself a large tin of caviar, as well as making other pen additions to items on the table, including a crack in the vase upper right.
*** Please note the description of this lot has changed. Giovanni Francesco Grimaldi (1606–1680)Landscape with shepherds kneeling before a termPen and brown ink, 17th century, on thick laid paper without watermark, pencil attribution to Grimaldi verso inscribed 'Attribution Pouncey BM', central vertical fold with associated creasing, minor surface dirt, laid at extreme edges onto 18th century window mount with verso exposed, sheet 235 x 325 mm (9 1/4 x 12 3/4 in) (framed)Provenance:Colnaghi, London [as by Annibale Carracci (1560-1609)]Private collection, London*** The present drawing bears Philip Pouncey's attribution to Giovanni Francesco Grimaldi verso.
Emil Nolde (1867-1956) Red Blooming Cacti (Epiphyllum Lovibia), signed lower right, watercolour on Japanese long fibred paper, 47 x 35.5 cm (SH), frame by Alfred Hecht (1907-1991) 76 x 64 cmThis painting has been authenticated by the Stiftung Seebüll Ada und Emil Nolde and will be included in the forthcoming Catalogue Raisonné of watercolours and drawings by Emil Nolde. A copy of the certificate signed by Dr Christian Ring and Dr Astrid Becker will be included. Provenance: Private collection, Shropshire, inherited by the current owner in 1963 and subsequently valued for family asset division in 1968 by Lord Westmorland at Sotheby's. The painting is believed to have been sourced by art dealer Dr Hermann Burg (1878-1946) for the family in the early 1940s.Notes: Emil Nolde (1867-1956) was a German-Danish painter and printmaker. He was one of the first Expressionist artists and an important figure in German Expressionism. Nolde was renowned for his intense and masterful use of colour, drawing his inspiration from the landscapes, flora and folklore of his surroundings and his home in the rural border between Germany and Denmark. He initially trained as a woodcarver but turned to painting in his thirties becoming associated with Die Brüke and Der Blaue Reiter groups 1908-1910, but Nolde preferred to work as an individual, unencumbered by the influence of others.The artist was supportive of the NSDAP party but the Nazi regime opposed Emil Nolde and banned him from painting. His work was labelled ‘degenerate art’ and 1,025 of his paintings were seized and confiscated by the Nazis. Some of these pieces were included in the infamous ‘Degenerate Art’ exhibition organised by Adolf Ziegler and the Nazis in Munich in 1937. Degenerate Art was defined as works that ‘insult Germany feeling or destroy or confuse natural form’, exhibiting 650 works by 112 artists including; Paul Klee, Pablo Picasso, Jean Metzinger, Piet Mondrian, Marc Chagall and Wassily Kandinsky. The exhibition attracted huge crowds, over two million visitors attended during its run, averaging 20,000 people per day.Despite being prohibited from working until the fall of the Third Reich, Nolde continued to paint in secret, producing some of his most striking watercolours during this period, asserting his creative freedom. Condition:The painting is a watercolour on Japanese long-fibred paper with an ink signature to the lower right. The painting does have a frame with glazing, it is currently kept separately to the frame inside acid-free wrappng inside a folder to allow for safe viewing and transportation. The sheet is in overall good condition, there are no obvious losses. There is a small repaired tear to the lower right edge which likely resulted from adhesive gum tape holding the painting in place within the frame which was repaired with lens tissue and wheatstarch paste by a conservator. All adhesive tape glue residue has been removed. There are some creases/crumples present including a horizontal crease extending horizontally at the mid-upper right edge between the flowers. There are further crumples which have been photographed - please see additional images in catalogue. There are some spots of foxing present which are predominantly located in the background areas rather than the flowers, the spots appear generally sparsly distributed across the sheet. The paint surface appears generally stable and the colours are good. The frame is gold coloured with black painted outer, the mount is topped with pale green material. The joints of the frame are sound, there is some general wear and tear present.
Manner of WALTER RICHARD SICKERT ARA (British 1860-1942) Study for L'armoire a Glace Ink drawing, signed 'Sickert' lower right, 16cm x 10cm, frame 27cm x 19.5cm. Unproven provenance: purchased from Ron Slaven of Wakefield together with a Francis Hogkins for £3,700 on 14th January 2001.Image has not been inspected out of the frame. Waves in the paper would suggest that the image is not stuck down.
Scottie Wilson (1888-1972) 'Ducks and Fish', pen and ink drawing, unsigned, 39cm x 26cmProvenance: Previously from the estate of Kendrick Owen. Overall marks and scuffs. Display wear to the frame. There is damage to the mount in the lower left corner. Some discolouration to the paper in places. Otherwise seems ok.
JOHN WHITE ABBOTT (BRITISH 1763-1851) THE LOWER PART OF CORRA LINN, FALLS OF CLYDE watercolour, pen and ink on paper 23cm x 18cm (9in x 7in) The Artist's great, great, grandsonwith The Fine Art Society, London, 1946 Loyd CollectionChristie's, London, British Art on Paper, 5 June 2007, lot 3Christie's South Kensington, Old Master and British Drawings and Watercolours, 5 December 2013, lot 105 Exhibited: Newbury, Newbury Spring Festival, The Development of English Landscape Painting in Watercolours and Drawings, 1984, no. 9Literature: Leslie Parris, The Loyd Collection of Paintings, Drawings and Sculptures, Bradbury Agnew, 1967, no. 67, p. 30, pl. 59.Francis Russell et al, The Loyd Collection of Paintings, Drawings and Sculpture, privately published, 1991, no. 67, p. 30, pl. 67According to Christie's cataloguing in 2013, the original mount bore the inscription 'The lower part of Corriag... Lynn - one of the Falls of the Clyde./JWA. July 6.1791' and was numbered 'No 42' (on the verso of the mount)The lot was further footnoted: Abbott's earliest known watercolours date from 1791, when he undertook a tour of Scotland and the Lake District, through Lancashire, Derbyshire and Warwickshire. There is another drawing of Corra Linn, from the same tour, numbered 47, in the Victoria & Albert Museum, London (E.324-1924).
THOMAS STOTHARD (BRITISH 1755-1834) THE ORLEANS FAMILY RECONCILED BY THE DUKE OF BURGUNDYpen and ink and wash8 x 23cm; 3 1/4 x 9in32 x 50cm; 12 3/4 x 19 1/2in (framed)The present work is a study for one of the eight panels en grisaille of chivalrous scenes from the chronicles of Enguerrand de Monstrelet that Stothard completed to decorate the upper part of the octagonal library at Hafod, the estate of Colonel Thomas Johnes in north Wales. A wealthy landowner, Johnes devoted his time to literary pursuits and surrounded himself with a circle of artists that included J. C. Ibbetson, John 'Warwick' Smith, J.M.W. Turner and the architect John Nash. Stothard had first been employed by Johnes as drawing master to his precocious invalid daughter Marianne. When a fire burned the house down in 1807, Johnes had it rebuilt by Nash in an Indian style with an octagonal library to hold what remained of his valuable library. Stothard's great interest in medieval art prepared him for this commission which was much admired by the bibliophile Thomas Dibdin.
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.
Noemi Conan The Ambassador, 2024 Smooth gel ink ball point pen and Ferrero Roche wrapper 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.
Jessie Makinson Don't Wrinkle Him, 2025 Watercolour, gouache, and chinese ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jessie Makinson (b. 1985, London) lives and works, London. Makinson's work is in the collections of the British Museum, London; Long Museum, Shanghai; Hessel Museum, New York; and X Museum, Beijing. She has had solo exhibitions at Lyles & King, New York, US; Francois Ghebaly, Los Angeles, US; Galería OMR, Mexico City, MX; among others. Her work has been exhibited in group exhibitions including British Art Now, Telegraph Foundation, Olomouc, CR; The Descendants, K11 MUSEA, Hong Kong, CN; Machines of Desire, Simon Lee Gallery, London, UK & Hong Kong; Drawing Attention: Emerging British Artists, British Museum, London, UK; Der abscheuliche kuss, Kunstverein Dresden, Dresden, DE; Dancing in Dark Times, Pippy Houldsworth Gallery, London, UK; I See You, Victoria Miro Gallery, London, UK; No Patience for Monuments, Perrotin, Seoul, KR; In the Company Of, curated by Katy Hessel, TJ Boulting, London, UK; Formal Encounters, Nicodim Gallery, Bucharest, RO; among others. Makinson is represented by Lyles & King, New York and Francois Ghebaly, Los Angeles. 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.
Fleur Yearsley To Hold the World in a Lava Lamp, 2024 Soft pastel, graphite, and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Fleur Yearsley is a visual artist based in Manchester, UK. Her work explores themes of memory, humour, gender, and unfolding narratives, often drawing on pop culture to create a relatable connection with the viewer. Offering a fresh, immersive perspective, Yearsley reclaims the tradition of 'the gaze', which has historically objectified women in the Western canon of art, shifting the power dynamic. She engages viewers, inviting them into her approachable paintings to reflect on how they perceive the subjects and their own role in the act of looking. Her process is characterised by immediacy and openness, balanced with playful refinement and a colourful sensibility. Through a diverse range of gestural actions, hard edges, and flat colours, she infuses her work with energy and a sense of vibration. Yearsley's paintings resonate like a generational anthem, addressing concepts of high and low brow culture, everyday life, urban environments and social norms. Education 2015-2017 MFA in Fine Art, Slade School of Fine Art, UCL, London, UK 2010-2013 BA (Hons) Fine Art, Manchester School of Art, MMU, Manchester, UK Solo Exhibitions 2023 Breathing is Free, The Edge Gallery, UK 2022 ONE MORE TUNE, The Manchester Contemporary, UK Coming Up, Ruslan Faraev Institute of Art, UK 2021 When The Lights Go Up (Curated by Julia Lucero), Sapling Gallery, UK Group Exhibitions 2025 A Day In The Life, School Gallery, UK 2024 Input/Output, Paradise Works, UK Shifting Sands, Saan1, UK Manchester Open, HOME, UK 2023 In The Membrane, Paradise Works, UK OPEN, Bury Art Museum & Sculpture Centre, UK NSFW, Smolensky Gallery, UK Unity, Smolensky Gallery, UK 2022 Things Fall Apart, Paradise Works, UK Bankley Open, Bankley Gallery, UK 2021 SLAP-BANG, Warrington Contemporary Arts Festival (Curated by Short Supply), Castlefield Gallery's New Art Space, UK Anything Goes, Aatma, UK 2020 John Moores Painting Prize, Walker Art Gallery, UK 2019 GIFC & Velvet Ropes, House of Vans, UK Bow Open Show, Nunnery Gallery, UK Isolation Association, Art In The Docks, UK 2018 Desires, GNYP Gallery, Germany Original London Print Fair, Royal Academy of Arts, UK 2017 Paper Cuts, Tripp Gallery, UK BUFF, Slade Summer Residency, UK Slade Graduate Degree Show, Slade School of Fine Art, UK 2015 The Windshow Drawing, Camden People's Theatre, UK 2014 OBSESSION: Love, Ritual, Collection, Embassy Tea Gallery, UK 2013 We Are All Explorers, Manchester School of Art, UK Awards 2024 Shortlisted 'Macfarlanes Art Prize' Shortlisted 'Clyde & Co Art Prize' 2022 Shortlisted 'BEEP Painting Prize' 2021 Winner 'Repaint History Prize for Womxn Artists' 2016 Shortlisted 'Blooom Award, by Warsteiner' 2016 Shortlisted 'Taking Shape Prize' 2014 Shortlisted 'Young Masters Art Prize' 2014 Shortlisted 'The Signature Art Prize' Gallery Representation Seventeen (London, UK) Public Collections V&A Museum Collection (London, UK) Statement about AOAP Submitted Artwork 'Queen' is a hopeful bid for equality in light of International Women's Day, as Queen Conch shells are seen as lucky. They are a motif that I return to regularly in my work as they are also evocative of the female form. 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.
Jemima Sara She's Magnificent, 2025 Ink, watercolour, and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jemima Sara (b.1997) merges diaristic texts with the figurative - incorporating everyday life and freedom of expression into her work. Jemima's formal training in BA Puppetry: Performance & Design at The Royal Central School of Speech and Drama (graduating in 2018) followed by a MA in Fine Art: Drawing at Camberwell (graduating in 2021) has enabled her work to embody the interplay between text, figurative paintings and performative installations. In November 2024, Jemima Sara was recognised as a finalist for the Ingram Prize, the drawings and paintings Jemima creates are journal-like entries, they show the daily tumultuous experience of the mundane existence. The work begins with unfiltered intrusive thoughts, the figures of women and fragmented words unravel the layers of her inner dialogue. Each work is a cathartic personal exploration, inviting audiences to decode the intricate layers of meaning embedded within. On her canvases and within her drawings, figures or women tend to appear with martini glasses. Jemima odes these figures to be her 'alter egos' or 'martini ladies'. When Jemima first started drawing she would use these 'martini ladies' as her voice. The naked ladies vulnerably get everything out on the table, physically and emotionally, and the martini glass - well, in my experience with the right attitude and martini glass you could do anything. Every work is like a secret code, inside joke or unfiltered diary entry waiting to be deciphered. She has turned work-in-progress into a genre. The works oscillate between bold declarations and intimate reflections. Education 2020/21 MA Fine Art: Drawing - Camberwell College, University of the Arts London 2015/18 BA Puppetry: Design and Performance - Royal Central School of Speech and Drama, University of London Solo Exhibitions 2024 SEE WHAT LOVE, St George's Church, UK 2023 The Toilet, Liminal Gallery - The Cupboard, Margate, UK 2022 I'VE LOST MY FAITH IN THIS CRAP, CRATE Gallery, Margate, UK 2021 My mind is a toilet, CRATE Gallery, Margate, UK 2020 165 Draycott Avenue, London, UK Rest, Miller Harris, Hong Kong 2019 Anxiety & Butterfly, Old Brompton Road, London, UK Recovery, Miller Harris Canary Wharf, London, UK 2017 Martini Ladies, The Square Gallery, London, UK Group Exhibitions 2024 Small is Beautiful XLII, Flowers Gallery, London, UK Ingram Prize Exhibition, Unit 1 Gallery, London, UK Salon II, Liminal Gallery, Margate, UK 2023 Salon, Liminal Gallery, Margate, UK Because - reprise, Dorothy Circus Gallery, London, UK Because, Dorothy Circus Gallery, Rome, IT 2022 Catalogue, F&deO Gallery, Madrid, Spain Green Grads, LDF Samsung, London, UK The Crossover Project x Edward Bulmer, LDF, London, UK The Crossover Project, Royal Exchange, London, UK ADONIS, The Margate School, Margate, UK 2021 It's a Wrap, Laurent Delaye Gallery, Ramsgate, UK Camberwell MA Fine Art Graduate Showcase x South London Gallery, London, UK SHIJ-ZY, Camberwell, London, UK Acedia, Purslane Gallery, UK The Postal Project, Camberwell, London, UK Awards 2024 Ingram Prize Finalist 2023 Print Club London Artist in Residence 2021-2022 Creative Business Accelerator with Google for Startups x UAL Statement about AOAP Submitted Artwork The postcard paintings: 'She's Magnificent', Showering' and 'Do not run from fear' explore the endless conflicted conscious yet subconscious monologue where I am constantly thinking of people I love, admire, lust for, despise, look up to, hate, am jealous of or who I am comparing myself to. The figures painted delve into the daily tumultuous experience of the mundane existence - but with martinis. I used a mixture of watercolour, acrylic, and ink to bring layers to the surface inviting the viewer to decode the intricate layers of meaning embedded within - what are they 'showering' in? who is the magnificent one? 'why do we run from fear?'. Perhaps I wish to burden the viewer with my thoughts or those are these important questions I need the answer to? 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.
Annette Pugh Landscove Palms, 2025 Ink and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Annette Pugh is a contemporary artist whose work explores concepts relating to leisure, longing, and absence. Solitude and solace are ever present in Annette's paintings, which investigate a sense of place, happenstance and our deep emotional connections to the landscape. Education 2021-22 Turps Correspondence Course 2004 MA Art and Design Histories, University of Central England, Birmingham 1998 MA Fine Art, University of Central England, Birmingham 1993 PGCE Art and Design, University of Central England, Birmingham, West Midlands 1990 BA(Hons) Fine Art, Stourbridge College/Wolverhampton Polytechnic, West Midlands Solo Exhibitions 2023 Happenstance, The New Art Gallery Walsall Bittersweet, Colley Ison Gallery, Birmingham 2019 Verdant, Reuben Colley Fine Art, Birmingham Wanderlust, Argentea Gallery, Birmingham 2018 Ornament, Reuben Colley Fine Art, Birmingham 2017 Restless, Argentea Photography Gallery, Birmingham Somewhere Never Travelled, Reuben Colley Fine Art Group Exhibitions 2025 Surreal Solihull, Outdoor Exhibition 2024 London Art Fair, The Design Centre, Islington Midlands Painters, Moonraven Gallery, Birmingham 2023 London Art Fair, The Design Centre, Islington Bewdley Museum, Memory of Place, Birmingham Artspace, Bewdley Museum 2022 RBSA Prize Exhibition Common Wealth Games Festival Summer Exhibition, Colley Ison Gallery, Birmingham Winter Exhibition, Colley Ison Gallery, Birmingham 2021 Figurative Art Now, Mall Galleries Ikon for Artists, Ikon Gallery Birmingham Returning Voices (Art\write online project) 2020 Moment, (Art\write online project) Hinterland 3, Medicine Gallery, Birmingham Two Chairs (an online collaborative project with Art\write) 2019 RBSA Open Drawing, Birmingham Coventry Drawing Prize, Blue Door Gallery, Coventry 2018 Bridge Gallery, Birmingham Museum and Art Gallery Romeo and Juliet; Take 2, Studley Artists Workhouse Gallery Representation Colley Ison Gallery, Birmingham Gala Fine Art, Bristol (Roaming Art Gallery) Statement about AOAP Submitted Artwork Landscove Palm, Clarence Park Fountain and The 'No Longer There' Tree all record hidden or quiet locations, discovered by happenstance. They explore our emotional connection to the landscape and speak of quietude and reflection. Created in ink and acrylic, these small reminders of place draw upon my love of hand-tinted photographs and archive materials. 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.
Josie Deighton By Candlelight IV, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Josie Deighton depicts figures as if transparent, pencil, brush or mouse weaving and darting around, inside out. Her works capture particular states of mind, how it feels, rather than how it looks. Deighton has been awarded several scholarships and prizes; her work is in held in notable collections and she exhibits widely within the UK and abroad. Deighton is a freelance artist and tutor in London and online. She has been facilitating life / live drawing since 2011. She is involved in and open to collectives, commissions and collaborations. Her work is held in notable and private collections, contact Deighton to arrange purchase of original art works or prints. Education 2014-15 Postgraduate Diploma, The Royal Drawing School, London, UK 2011-2013 Bachelor of Fine Arts, Birmingham Institute of Art and Design, Birmingham, UK 2012 Erasmus Scholarship, Universitatea Arta si Design, Cluj-Napoca, Romania 2009-2010 Foundation Diploma Fine Art, Sussex Coast College, Hastings, UK Solo Exhibitions 2023 Drawing Inside Out, The Crypt Gallery, London, UK Group Exhibitions 2024 Riverside Artists Group, Polish Social and Cultural Association, London UK, Brighton Fringe Flicks, Lewes, UK The Nave, Kruja Castle, Durres, Albania Figuratively Speaking, ArtSect Gallery, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK Passagi Atina, Aliso Beatrice, Atina, Italy We Like 'Em Short Film Festival, Oregon, United States Drawing Humans, XYZ Gallery, London, UK 2023 Borders, Polish Social and Cultural Association, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK 2022 Many Rivers to Cross, Riverside Studios, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, london UK Postcards from the Rivers Edge, Robert Phillips Gallery, Walton-on-Thames, UK It's a pattern, Art Car Boot Fair, online The Electic Art Car Boot Fair, online Awards 2015 Catherine Yarrow grant 2013 Pip Seymour Painting Prize Statement about AOAP Submitted Artwork The 'By Candlelight' series is a continuation of collaborating with Emily Metalskin, friend, muse and artist. Created by building layers of depth with saturated watercolour, viscous black sumi ink and glazes. Dark and sensual, Emily directs her fearless confident gaze out at us even as she contorts her body into the limited composition. Challenging the semi-transparency of womanhood, fitting herself into the frame yet alluding to outside of it. 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.
Millie Shafiee Shadows in the Sky, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation. Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images. 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.
Pia Bramley Self-Portrait, 2024 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Pia Bramley is an artist and printmaker. She makes small-scale works that document the wonder and tedium of daily life. Having left London after a decade of city life, she now lives and works in The New Forest. Education 2013/2014 The Royal Drawing School Scholarship Postgraduate Program 2007/2009 University of Brighton, BA Hons Illustration 2006/2007 University College for the Creative Arts - Awarded Distinction, Foundation in Art and Design Group Exhibitions 2022 These Cartoons Are a Work Event, Cartoon Museum, London Lullabies in Lockdown, Sunnybank Mills, Leeds 2021 Heavy Love, Dog and Bone Gallery, Brighton 2019 Royal Academy Summer Exhibition, London Three Colt Gallery Summer Salon, London 2018 Sunlight Soap, Ground Gallery, Hull 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.
Helen G Blake Here we sit, 2025 Ink and coloured pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Helen Blake is an artist whose practice focuses on colour; engaging with rhythm and formalism, chance and deliberation. Using a working method where process and contemplation guide the evolution of the work, she constructs overtly hand-made drawings and paintings which record and examine colour conversations within accumulating pattern structures, embracing accidents, flaws and discrepancies within their rhythms. Education 1980-1983 B.A. (Hons) in Visual Art, Aberystwyth University, Wales. Solo Exhibitions 2023 A room full of altarpieces, but not a church, The Molesworth Gallery, Dublin, Ireland. Recent Works, The Molesworth Gallery, Dublin, Ireland. 2019 Choir, Limerick Museum, Limerick, Ireland. Recent Works, The Molesworth Gallery, Dublin, Ireland. 2018 New Paintings, Fenderesky Gallery, Belfast, Northern Ireland. 2017 Recent Works, The Molesworth Gallery, Dublin, Ireland. 2016 Helen G Blake, Mermaid Arts Centre, Bray, Co Wicklow, Ireland. Group Exhibitions 2025 London Art Fair, showing with Molesworth Gallery. 2024 Winter Group Show, Molesworth Gallery, Dublin. Butterfly Memory, Fenderesky Gallery, Belfast. A0 Inside + Out, Drawing Box International, Leitrim Sculpture Centre Gallery, Manorhamilton Co. Leitrim. Kites above the Castles, curated by Patrick T Murphy, Director. RHA; Mary Lavin Place, Wilton Park, Dublin. The First Page of Summer, Fenderesky Gallery, Belfast Summer Group Exhibition, The Molesworth Gallery, Dublin RHA Royal Hibernian Academy 194th Annual Exhibition, Dublin H_A_R_D_P_A_P_E_R, Phoenix Artspace, Brighton, UK 2023 Small Paintings, Victoria Munroe Fine Art, New York Winter Group Show, Molesworth Gallery, Dublin The Ballinglen Arts Foundation and Museum of Art First Biennial Exhibition, Ballycastle, Co Mayo Call & Response, a project by The Drawing Box, curated by Anoushka Havinden and Pearl Kinnear, Glasgow Project Room Changing Group Exhibition, Fenderesky Gallery, Belfast RHA Royal Hibernian Academy 193rd Annual Exhibition, Dublin Twenty one, Mermaid Arts Centre, Bray, Co Wicklow 2022 In and of itself - abstraction in the age of images, RHA Gallery, Dublin. Winter Group Show, The Molesworth Gallery, Dublin Changing Group Exhibition, Fenderesky Gallery, Belfast Contemporary British Painting Prize 2022, judged by Hettie Judah, Geraldine Swayne, Grant Scanlan, Thames-Side Studios Gallery Contemporary British Painting Prize 2022, judged by Hettie Judah, Geraldine Swayne, Grant Scanlan, Huddersfield Art Gallery Walking in Two Worlds part 3, curated by Jonathan Powell; Volcano Theatre, Swansea RHA Royal Hibernian Academy 192nd Annual Exhibition, Dublin Generation2022: New Irish Painting, Butler Gallery, Kilkenny. Curated by Anna O'Sullivan 2021 Return to Disintegration-Periodical Review 11, selected by Sheena Barrett, Alice Butler, Mark Cullen and Gavin Murphy, Pallas Projects, Dublin Winter Group Show, The Molesworth Gallery, Dublin Changing Group Exhibition, Fenderesky Gallery, Belfast RHA Royal Hibernian Academy 191st Annual Exhibition, Dublin Walking in Two Worlds part 2, curated by Jonathan Powell; Oceans Apart Gallery, Salford, Manchester Walking in Two Worlds part 1, curated by Jonathan Powell; Oriel Carn Gallery, Caernarfon, Wales. Art Beijing 2021; showing with the Embassy of Ireland, curated by Niamh Cunningham and Peking Art Associates Awards 2023 Visual Arts Bursary Award, Arts Council of Ireland 2022 Highly Commended Award and Runner-up Prize, Contemporary British Painting Prize 2021 Agility Award, Arts Council of Ireland Gallery Representation The Molesworth Gallery, Dublin, Ireland Fenderesky Gallery, Belfast, Northern Ireland Public Collections Aberystwyth University, Aberyswyth, Wales, UK Arts Council of Ireland Ballinglen Museum of Contemporary Art, Ballycastle, Co Mayo, Ireland OPW Irish State Art Collection, Ireland Statement about AOAP Submitted Artwork 'Here we sit' is a methodical free-hand ink drawing of close-set chevrons, building up and enclosing at the lower edge two areas of warm glowing colour. 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.
Josie Deighton By Candlelight I, 2025 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Josie Deighton depicts figures as if transparent, pencil, brush or mouse weaving and darting around, inside out. Her works capture particular states of mind, how it feels, rather than how it looks. Deighton has been awarded several scholarships and prizes; her work is in held in notable collections and she exhibits widely within the UK and abroad. Deighton is a freelance artist and tutor in London and online. She has been facilitating life / live drawing since 2011. She is involved in and open to collectives, commissions and collaborations. Her work is held in notable and private collections, contact Deighton to arrange purchase of original art works or prints. Education 2014-15 Postgraduate Diploma, The Royal Drawing School, London, UK 2011-2013 Bachelor of Fine Arts, Birmingham Institute of Art and Design, Birmingham, UK 2012 Erasmus Scholarship, Universitatea Arta si Design, Cluj-Napoca, Romania 2009-2010 Foundation Diploma Fine Art, Sussex Coast College, Hastings, UK Solo Exhibitions 2023 Drawing Inside Out, The Crypt Gallery, London, UK Group Exhibitions 2024 Riverside Artists Group, Polish Social and Cultural Association, London UK, Brighton Fringe Flicks, Lewes, UK The Nave, Kruja Castle, Durres, Albania Figuratively Speaking, ArtSect Gallery, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK Passagi Atina, Aliso Beatrice, Atina, Italy We Like 'Em Short Film Festival, Oregon, United States Drawing Humans, XYZ Gallery, London, UK 2023 Borders, Polish Social and Cultural Association, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, London, UK 2022 Many Rivers to Cross, Riverside Studios, London, UK Creators Studio Concepts, CMDMSTUDIO ACAVA, london UK Postcards from the Rivers Edge, Robert Phillips Gallery, Walton-on-Thames, UK It's a pattern, Art Car Boot Fair, online The Electic Art Car Boot Fair, online Awards 2015 Catherine Yarrow grant 2013 Pip Seymour Painting Prize Statement about AOAP Submitted Artwork The 'By Candlelight' series is a continuation of collaborating with Emily Metalskin, friend, muse and artist. Created by building layers of depth with saturated watercolour, viscous black sumi ink and glazes. Dark and sensual, Emily directs her fearless confident gaze out at us even as she contorts her body into the limited composition. Challenging the semi-transparency of womanhood, fitting herself into the frame yet alluding to outside of it. 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.
Molly Burrows Rolling Hills, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Molly Burrows (b. Munich, 2002) is an artist and workshop facilitator based in South London. Her practice uses abstraction as a means of accessibility; by breaking down the human form into simplified shapes-panels of paint, clay, ink, or paper-she is able to tell stories through body language and share her techniques with others. Her work depicts individuals who are content amongst their natural environments, often blending into and becoming a part of their backgrounds. Her commitment to accessibility extends beyond her practice and workshops- she creates resources for exhibitions and galleries in order to make contemporary art spaces more welcoming. These booklets offer insight into artists' processes and practical advice for entering the art world. Education 2021-2024 BA Fine Art: Painting, Camberwell College of Arts, University of the Arts London 2020- 2021 Foundation Diploma in Art and Design, Trowbridge College Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST Gallery, The Levinsky and MIRROR Plymouth, Plymouth, UK Camberwell College of Arts Degree Show, London, UK 2023 Secret Postcard Auction 2023, Royal West Academy of England, Bristol, UK Drawing in Social Space, Drawing Room, London, UK Window Shopping, Satellite Store, London, UK That's All, AMP Gallery, London, Uk 2022 Unheard Voices, Spiral Galleries, London, UK Statement about AOAP Submitted Artwork A series of mountainous characters, colour studies for larger works. 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.
Annette Pugh The 'No Longer There' Tree, 2025 Ink and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Annette Pugh is a contemporary artist whose work explores concepts relating to leisure, longing, and absence. Solitude and solace are ever present in Annette's paintings, which investigate a sense of place, happenstance and our deep emotional connections to the landscape. Education 2021-22 Turps Correspondence Course 2004 MA Art and Design Histories, University of Central England, Birmingham 1998 MA Fine Art, University of Central England, Birmingham 1993 PGCE Art and Design, University of Central England, Birmingham, West Midlands 1990 BA(Hons) Fine Art, Stourbridge College/Wolverhampton Polytechnic, West Midlands Solo Exhibitions 2023 Happenstance, The New Art Gallery Walsall Bittersweet, Colley Ison Gallery, Birmingham 2019 Verdant, Reuben Colley Fine Art, Birmingham Wanderlust, Argentea Gallery, Birmingham 2018 Ornament, Reuben Colley Fine Art, Birmingham 2017 Restless, Argentea Photography Gallery, Birmingham Somewhere Never Travelled, Reuben Colley Fine Art Group Exhibitions 2025 Surreal Solihull, Outdoor Exhibition 2024 London Art Fair, The Design Centre, Islington Midlands Painters, Moonraven Gallery, Birmingham 2023 London Art Fair, The Design Centre, Islington Bewdley Museum, Memory of Place, Birmingham Artspace, Bewdley Museum 2022 RBSA Prize Exhibition Common Wealth Games Festival Summer Exhibition, Colley Ison Gallery, Birmingham Winter Exhibition, Colley Ison Gallery, Birmingham 2021 Figurative Art Now, Mall Galleries Ikon for Artists, Ikon Gallery Birmingham Returning Voices (Art\write online project) 2020 Moment, (Art\write online project) Hinterland 3, Medicine Gallery, Birmingham Two Chairs (an online collaborative project with Art\write) 2019 RBSA Open Drawing, Birmingham Coventry Drawing Prize, Blue Door Gallery, Coventry 2018 Bridge Gallery, Birmingham Museum and Art Gallery Romeo and Juliet; Take 2, Studley Artists Workhouse Gallery Representation Colley Ison Gallery, Birmingham Gala Fine Art, Bristol (Roaming Art Gallery) Statement about AOAP Submitted Artwork Landscove Palm, Clarence Park Fountain and The 'No Longer There' Tree all record hidden or quiet locations, discovered by happenstance. They explore our emotional connection to the landscape and speak of quietude and reflection. Created in ink and acrylic, these small reminders of place draw upon my love of hand-tinted photographs and archive materials. 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.
Molly Burrows On the Horizon, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Molly Burrows (b. Munich, 2002) is an artist and workshop facilitator based in South London. Her practice uses abstraction as a means of accessibility; by breaking down the human form into simplified shapes-panels of paint, clay, ink, or paper-she is able to tell stories through body language and share her techniques with others. Her work depicts individuals who are content amongst their natural environments, often blending into and becoming a part of their backgrounds. Her commitment to accessibility extends beyond her practice and workshops- she creates resources for exhibitions and galleries in order to make contemporary art spaces more welcoming. These booklets offer insight into artists' processes and practical advice for entering the art world. Education 2021-2024 BA Fine Art: Painting, Camberwell College of Arts, University of the Arts London 2020- 2021 Foundation Diploma in Art and Design, Trowbridge College Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST Gallery, The Levinsky and MIRROR Plymouth, Plymouth, UK Camberwell College of Arts Degree Show, London, UK 2023 Secret Postcard Auction 2023, Royal West Academy of England, Bristol, UK Drawing in Social Space, Drawing Room, London, UK Window Shopping, Satellite Store, London, UK That's All, AMP Gallery, London, Uk 2022 Unheard Voices, Spiral Galleries, London, UK Statement about AOAP Submitted Artwork A series of mountainous characters, colour studies for larger works. 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.
R&F Mo The Listener, 2024 Watercolour, ink, and gouache on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Narrative is central to R&F Mo's cross-disciplinary practice (drawing, painting, stitch, and performance), connecting the seen, the sensed, and the dreamed, in colour, mark, thread and motion. Mo employs an improvisational approach, finding the way in the moment of making, keeping the work alive, and sometimes vocally sound scatting in response to the work, the action, and the material of place. Education 2020-2021 Turps Offsite 2019-2020 Turps Correspondence Course 2006-11 PhD (by practice) Camberwell (U.A.L.) 2002-04 MFA Fine Art Central St. Martin's (U.A.L.) 1981-84 MA Illustration, Royal College of Art London 1978-81 Dip A.D Graphic Arts. City and Guilds of London Art School Gallery Representation Oliver Projects London Statement about AOAP Submitted Artwork Sprinkle, Youth talking with the sun, An appparition, and the listener, were all made through an improvisatory method- beginning with blobs of paint blotted from another surface, these prompted me to recognise figurative shapes in the marks and develop small figurative incidents - an event happening - usually between two figures -i'm interested in relationships and how we behave. 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.
Jemima Sara Showering in Martini, 2025 Ink, watercolour, and acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Jemima Sara (b.1997) merges diaristic texts with the figurative - incorporating everyday life and freedom of expression into her work. Jemima's formal training in BA Puppetry: Performance & Design at The Royal Central School of Speech and Drama (graduating in 2018) followed by a MA in Fine Art: Drawing at Camberwell (graduating in 2021) has enabled her work to embody the interplay between text, figurative paintings and performative installations. In November 2024, Jemima Sara was recognised as a finalist for the Ingram Prize, the drawings and paintings Jemima creates are journal-like entries, they show the daily tumultuous experience of the mundane existence. The work begins with unfiltered intrusive thoughts, the figures of women and fragmented words unravel the layers of her inner dialogue. Each work is a cathartic personal exploration, inviting audiences to decode the intricate layers of meaning embedded within. On her canvases and within her drawings, figures or women tend to appear with martini glasses. Jemima odes these figures to be her 'alter egos' or 'martini ladies'. When Jemima first started drawing she would use these 'martini ladies' as her voice. The naked ladies vulnerably get everything out on the table, physically and emotionally, and the martini glass - well, in my experience with the right attitude and martini glass you could do anything. Every work is like a secret code, inside joke or unfiltered diary entry waiting to be deciphered. She has turned work-in-progress into a genre. The works oscillate between bold declarations and intimate reflections. Education 2020/21 MA Fine Art: Drawing - Camberwell College, University of the Arts London 2015/18 BA Puppetry: Design and Performance - Royal Central School of Speech and Drama, University of London Solo Exhibitions 2024 SEE WHAT LOVE, St George's Church, UK 2023 The Toilet, Liminal Gallery - The Cupboard, Margate, UK 2022 I'VE LOST MY FAITH IN THIS CRAP, CRATE Gallery, Margate, UK 2021 My mind is a toilet, CRATE Gallery, Margate, UK 2020 165 Draycott Avenue, London, UK Rest, Miller Harris, Hong Kong 2019 Anxiety & Butterfly, Old Brompton Road, London, UK Recovery, Miller Harris Canary Wharf, London, UK 2017 Martini Ladies, The Square Gallery, London, UK Group Exhibitions 2024 Small is Beautiful XLII, Flowers Gallery, London, UK Ingram Prize Exhibition, Unit 1 Gallery, London, UK Salon II, Liminal Gallery, Margate, UK 2023 Salon, Liminal Gallery, Margate, UK Because - reprise, Dorothy Circus Gallery, London, UK Because, Dorothy Circus Gallery, Rome, IT 2022 Catalogue, F&deO Gallery, Madrid, Spain Green Grads, LDF Samsung, London, UK The Crossover Project x Edward Bulmer, LDF, London, UK The Crossover Project, Royal Exchange, London, UK ADONIS, The Margate School, Margate, UK 2021 It's a Wrap, Laurent Delaye Gallery, Ramsgate, UK Camberwell MA Fine Art Graduate Showcase x South London Gallery, London, UK SHIJ-ZY, Camberwell, London, UK Acedia, Purslane Gallery, UK The Postal Project, Camberwell, London, UK Awards 2024 Ingram Prize Finalist 2023 Print Club London Artist in Residence 2021-2022 Creative Business Accelerator with Google for Startups x UAL Statement about AOAP Submitted Artwork The postcard paintings: 'She's Magnificent', Showering' and 'Do not run from fear' explore the endless conflicted conscious yet subconscious monologue where I am constantly thinking of people I love, admire, lust for, despise, look up to, hate, am jealous of or who I am comparing myself to. The figures painted delve into the daily tumultuous experience of the mundane existence - but with martinis. I used a mixture of watercolour, acrylic, and ink to bring layers to the surface inviting the viewer to decode the intricate layers of meaning embedded within - what are they 'showering' in? who is the magnificent one? 'why do we run from fear?'. Perhaps I wish to burden the viewer with my thoughts or those are these important questions I need the answer to? 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.
Ellie MacGarry Group, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Ellie MacGarry makes paintings which consider connection, distance, gesture and touch. Using repeated motifs, most notably the hand, her work explores the way we communicate with our bodies as much as we communicate with words. While paint will always fix an image in a moment, Ellie is particularly drawn to transitory moments - a window letting the light in in the morning, a shirt half open, two hands on the cusp of meeting. Education 2016-2018 MFA Painting, Slade School of Fine Art, London UK 2010-2014 BA Fine Art, University of Leeds, Leeds, UK Solo Exhibitions 2024 Echo, Cedric Bardawil, London, UK 2021 Disappearing Act, Steve Turner, LA, USA Your Hand is a Warm Stone, Steve Turner, LA, USA, 2021 (online) 2019 Come Undone, Daniel Benjamin Gallery, London, UK, 2019 Group Exhibitions 2025 XXS, County Gallery, Palm Beach, Florida 2024 Drawing Biennial, Drawing Room, London, UK Borrowed Drawings, Cubitt invites, London, UK Artist Fundraiser for MSF, Wharf Road, London, UK 2023 Full House, Canopy Collections, London, UK, 2023 Cure3, Bonhams, London, 2023 2022 Stage Effects, Kate MacGarry, London, UK Paper and Clay, Canopy Collections at Cromwell Place, London, UK CUBITT 30, Victoria Miro, London, UK All The Lives We Ever Lived, Canopy Collections at Cromwell Place, London, UK Erotiques, Nullepart, Estarac, France 2021 Until the Walls Became the World All Around, Canopy Collections at Van Gogh House, London, UK Chrysalis, Hyde Park Art Club, Leeds, UK 2020 Untitled (But Loved), Bosse and Baum, London, UK 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.
Bahar Sabzevari Breaking free from within, 2024 Acrylic, ink, and graphite on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bahar Sabzevari (b. 1980, Iran) is a visual artist based in New York and works internationally. She has a painting practice and creates self-portraits, figurative and narrative paintings. She has worked and studied in Iran, Europe and the US. Sabzevari's work explores the boundaries of human identity: self-identity, freedom, restriction, and sense of place and belonging. In particular, her work looks at transient and hidden forms of identity: the imagination, hopes, fears, dreams, histories and evolution. Sabzevari's process is research and studio-based and involves the bringing together of complex imagery, symbols and narratives, often drawing from the fields of mythology, science, religion and art history. 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.
Millie Shafiee The Dark Wives, 2025 Ink on paper Signed on VersoInk on paper 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation. Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images. 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.
Edie Flowers Miss Pettigrew, 2025 Charcoal, pastel, and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Edie Flowers studied sculpture before joining the Royal Drawing School. Her work is concerned with addressing moments that are hard and loving, rust and feathers. Drawing and redrawing from life, memory, books, music and the imagination, she creates images that have potential to be magical and require interpretation from the viewer. 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.
Bahar Sabzevari Wild Hope, 2024 Acrylic and ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Bahar Sabzevari (b. 1980, Iran) is a visual artist based in New York and works internationally. She has a painting practice and creates self-portraits, figurative and narrative paintings. She has worked and studied in Iran, Europe and the US. Sabzevari's work explores the boundaries of human identity: self-identity, freedom, restriction, and sense of place and belonging. In particular, her work looks at transient and hidden forms of identity: the imagination, hopes, fears, dreams, histories and evolution. Sabzevari's process is research and studio-based and involves the bringing together of complex imagery, symbols and narratives, often drawing from the fields of mythology, science, religion and art history. 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.
Millie Shafiee Castles in the Air, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation. Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images. 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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