ALEXANDRA OVERTHROW
PHOTOGRAPHER

My 'portraits' of non-space are an escape into moments of solitude. They are about taking away the fuss and complications of modern life and being left with something bare; a space with no obvious subject matter. A corner of a room with no purpose, a windowsill silently sitting between two spaces flooded with natural light; bringing new energy to a forgotten space. I aim to create simple meditations on beauty, on slowing down time, on being still. The pictures aren't staged or artificially lit. They are that moment, in the corners in life that are unchanging.

www.alexandraoverthrow.co.uk

 

 

 

 

AMY ALBRIGHT

PAINTER

 

The language I have developed within my paintings derives from many sources; meteorological, astronomical, satellite and microscopic imagery as well as my own first hand photographs. I have explored the subtle interconnection with natural forms and patterns that surround us, relationships between macro and microscopic, as well as the unnoticed, minute marks and traces. I have an approach to painting imitating nature's ephemeral flux, allowing and capturing elements of chance, trapping the intangible and questioning the viewers’ sense of scale, giving clues but not completion.

 

www.amyalbright.co.uk

 

 

 

 

 

 

 

 

 

BECKY ROSE

PAINTER

 

Shadows of our past surround us and are often left to rot in front of our eyes, but are never really appreciated. We are swallowed up in our everyday existence that we forget to notice how things begun or end, and it is the beginnings and leftovers of society that I draw inspiration from. Things stripped bare to reveal their raw elements, whether they are at the start of their journey or about to turn to dust. It is a general subject that spurs off in many directions, and at present I’m concentrating on the architectural forms of abandoned buildings. I have come across a vast amount of visual stimulation when encountering these abandoned buildings, but the emotional senses go into overdrive when you are confronted with a forgotten building with an extensive history. I capture the composition with various camera angles and try to create an atmospheric emotion with the application of the oil paint, engaging the viewer to see what they would normally dismiss.

www.beckyrose.co.uk

 

 

BENJAMIN PICKERSGILL

PAINTER

Painting from direct observation is paramount to my work. I feel an obligation to paint honestly and as faithfully as possible, to be there before the subject to record and make decisions on the painting.
All my images are founded on measurements taken from the subject with a pair of dividers, held at arms’ length, from my hand to my eye. The first thing I do when starting a drawing or painting is punctuate it with measuring marks, lines or perhaps the occasional hand-written note to my self, to remind me of a particular detail. I do these, as if I were planning a journey through unfamiliar territory and I want be sure where I’m going. I revel in the challenge of painting and enjoy testing my ability with complex subjects. Persevering with these complications and eventually overcoming them is of great satisfaction, and from these strict protocols I find I am able to bring forth coherence and order that increases my understanding of the world around me. 

 

 

 

CHARLOTTE BROOKS

PRINTMAKER

I document in the way of painting and printing, personal expressions of my feelings and awareness of the cyclical aspects of life. The Circle is a symbol of an unbroken continuum that merges all aspects of life as one; all things fit into the great round of existence. We live in a state of interdependence between people and nature, a never ending circle and this, I feel, can easily be forgotten. My work could be seen as a type of mandala used for meditation or contemplation; not always round, but expressive of the roundness of life. I deliberately create ambiguity so that the viewer can draw their own perception of my experience and gain a truly deeper understanding of the power of the circle, which I hope will genuinely remind them of our place in the cycle of life.

 

 

 

 

 

HANNAH MORRISON

PRINTMAKER

Architectural and structural forms in all their diversity are key inspirations for my work. I especially seek forms that have or did have an intimidation of power within the landscape, thus creating a feeling of unease when in their presence.

In creating these images I use printmaking and drawing, often working with techniques that scrape back through the layers of pigment to the original surface. These techniques reflect an atmosphere of decay and impermanence, slowly removing areas to reveal the exposed structure. The actual surfaces I select to work on also play a part in creating the striking industrial qualities of the structures, they allow the subject to be physically present.

www.hannahmorrison.com

 

 

 

HARRY ROSE

PHOTOGRAPHER

In my photography I look for the appeal or beauty in abandoned or disregarded objects. What was once useful but now thrown away may go onto a longer life as a object of desire through the media of photography. To find this beauty the eye must search those areas not ordinarily ventured into, the rewards can be breath taking and thought provoking when viewed through the lens of a camera. Photography may not be regarded by some as art; however, it is not necessarily what the artist photographs or manipulates that is the art, but what the viewer allows their mind to accept.

 

 

 

 

 

JESSICA MADELEY

PAINTER AND PHOTOGRAPHER

The motivation behind all my work is a fundamental fascination with the human psyche, the body and behaviour, gestures and words or lack of them, isolation and a place where communication is defunct. I am concerned with the transcendence of everyday life, the space between desire and fantasy and reality, where imagination becomes a source of refuge. Our responses to failure, disappointment and boredom, our strategies for mental survival; to escape, to reject reality, to disappear.

 

 

 

 

 

 

 

 

MIKE STOUT

DRAWER

I feel that in this current world, art is critiqued and forced to become an object of which people find enjoyment in speculation. However, I feel this merely defeats the whole point of expression, with people rarely excepting what in fact is on the canvas. Instead they try to dig deeper for answers or even reason, rather than simply accepting the piece of work for what it rightly is. Within my work I concentrate on what you are directly forced to see and not necessarily the stories or undertones that lie beneath it; to point out that beauty is not what’s behind the page but what in fact is on it. In my illustrations I aim for a portrayal of simplicity, using fine detail with text in order for them to hint at quirkiness and humor.