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1963: Chichester, West Sussex. 1980-82: Foundation, West Sussex College of Design. 1982-85: BA (Hons) Fine Art, South Glamorgan IHE Cardiff. I was born in Chichester in the shadow of the South Downs. I had an early interest in making pictures, which developed into the desire to become an artist when I saw a powerful Picasso sculpture in...
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In my work I construct allegorical settings in order to explore, comment upon and sometimes confront injustice and violence. Although my work has serious intent, I poke fun at myself and use humour, pathos and the unexpected to engage my audience. I have used a range of media, and shown installations, drawings and work in new media. I have...
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The 'Dark Matter' sculptures and drawings refer to the vast majority of matter and energy in the universe that exists but cannot be seen. The work also reflects my interest in the experience of place and the ability of art to enable access to abstract, remote and invisible spaces including the space of the human unconscious. In the 'Dark Matter'...
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Today we are surrounded by a world that consists of hyperspace, virtual reality, cyborgs, genetic engineering, germ warfare, and advances in communication technology are developing at an alarming rate. I have always been interested in science and technology and have spent the past seven years working and exploring within this field through my art...
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Paula MacArthur is a painter. Her work has matured into an increasingly painterly style, with bold use of colour and a commitment to naturalistic draughtsmanship. Working quickly and instinctively she places colour onto the canvas working with wet on wet glazes, merging oily translucent layers with the brush and dropping colour onto the canvas...
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I am a figurative painter and my work is largely informed by drawing and photography, either in found images or my own technically bad photos. In fact the kind of ill composed photos from mobile phones are particularly fruitful.Movement but more importantly emotional tension in the human figure is the subject of my work. I like to create an...
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My art originates from observations of the incidental characteristics of the built environment. I gather inspiration in the ordinary, everyday surroundings I pass through by capturing the accumulation of history left behind in disused or forgotten areas. Aged surfaces and neglected structures hold a variety of clues as to the interests,...
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I explore themes of place making in the public realm. Commissioned projects are exclusively site and context specific in origin and are shaped and underpinned by extensive research and consultative practice. My aim and interest is to examine, re-frame and present historic and contemporary contextual evidence as evocative and relevant...
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Jeannie Driver creates installations, sculptures and 2D work from the ubiquitous material of waste paper. The relationship between the material and ideas is central to the work and provides an alternative visual and physical experience of the material that references ideas of bureaucracy, systems, flow, waste and resource. The actual paper...
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Memories lost and found is the focus for this body of work, what do we collect and take away from special occasions, visits or holidays? Plants pressed between the pages of books, photographs and other memorabilia, keeping memories alive, pasted in scrapbooks and on the wall. I create work in response to my personal journeys, family memory and...
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My practise is inextricably influenced by my physical location and my location in time. My investigation into landscape began with the sea. Wide open space, movement, energy and colour constantly in a state of flux. I explore what I see so that I see it differently, combining the metaphysical aspects of 'being' and 'knowing'.My...
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Much of my work, unless commissioned specifically as a portrait or particular piece of sculpture, is based on Theology. I try to express something of biblical truth or beg theological reflection by the beholder. Eight panels the size of an average door, depict the call of the disciples and are on permanent loan to Burton Agnes Hall. Also 'The...
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Practising artist, researcher and arts educator, specialising in drawing, printmaking (2D and 3D), video, sound works and site-specific public art projects that explore ideas associated with language and loss.
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I am an English born artist of Polish descent. My family settled here after the Second World War. I finished my Fine Art degree in 1997 at Surrey Institute of Art & Design, specialising in printmaking. I went on to do a Masters in Printmaking & Illustration in 2000 at (then) Bucks Chilterns University (now called Bucks New University),...
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I have worked with textiles for over twenty years, for the past ten specialising in tapestry weaving. What draws me to the medium as an artist is the constructive nature of the technique, you shape the bones of the piece as well as the external dressing, forming either flat wall work or small-scale three-dimensional pieces. Swailes has a duality...
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Artist statement Jayne Wilson’s work is conceived and then developed with an almost obsessive attention to the detail of narrative and sequence. ‘I take inspiration from a calculated organising, cutting up and collaging of found footage and ephemera to make images that stride between fact and fiction, and between the...
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ConceptsMy current work involves creating constructed arrangements, reminiscent of stage sets, which I then paint from. This process allows me to use different collage elements, such as my own photographs or found images from books and magazines, as well as three-dimensional models I have made of real or imagined buildings and architectural...
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‘Goldsmith is amongst the foremost textile artists working in the UK at the present time’.       Prof. Lesley Millar MBE Director Anglo Japanese Textile Research Centre       Shelly Goldsmith uses textile materials and processes as a metaphor for imagining how psychological...
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I make non-representational paintings. I do not start from or work towards depicting an observed phenomenon and there is no process of abstracting from something seen in the external world.  I think of my paintings as things-in-themselves. Avoiding depiction means that I have to find other strategies for making paintings.  It's not...
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My practice centres around drawing reduced to the fundamental activity of placing one mark after another in predetermined and random sequences, utilising both haptic and digital construction. Each work is characterised by systematic, repetitive and indeterminate production that explores sensory experience of visual perception. Underpinning...
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Change the world - rebuild it in clay. I work with clay because it is such a responsive material. It is a pleasure to work with a medium that does (almost) what you want. Clay can be moulded when it is soft, when pressed it holds the shape you give it, when it dries to a leather-hard state it can be worked like soft wood or plaster, carved,...
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My practice explores notions of archetype and mediated image, focusing in particular on representations of youth.Employing source images found in the mass media my paintings appropriate the visual language of stereotype to question notions of superficial judgement. By using such images my portraits aim to provoke dialogue around the veracity of...
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In my practice I investigate the space between the real and the imaginary and the work has taken the form of mostly landscape paintings which hover between these two states. I was influenced by the history of Landscape painting, where even those naturalistic landscapes were actually completely fictitious constructed places. Memory and...
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My paintings present the/our human condition. They are suggestive in response but not actual, a moment in a journey. Hinting at hopes and fears, evoking dreams and inducing sober reality, confusing memorable fact with fiction. Delving into lush thick paint, I travel, gouge, temper and scrape, subverting my figurative subjects with delicate...
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The theme of my work is landscape, expressing awe at the overpowering force of nature, juxtaposed against its fragility and stillness. I am interested in details that usually pass us by: uneven, weathered stone textures, cracks in rocks and dry earth, moving grass and trees, drips revealing the passage of time; the simplicity and elegance of...
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Jim Lockey is an artist. His work is about creating fictions and often about artwork itself. Working predominantly with Text, Video and Performance he explores the complex relationship between artifact and viewer. He was the curator of Limbo Arts in Margate for 2011
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Exploring time, memory and reassurance is the focus of my practice; which is communicated through the manipulation of specific materials.The ambiguous wire sculptures are created as enclosed forms; inspired by the delicate, skeletal nature of decaying flower petals. The repetitive process of their creation communicates the notion of time;...
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My art practice centres on an enquiry into quality of place, especially the ways in which place is constructed and inhabited.  These interests led to my completing an MA in Architecture and Spatial Culture in 2004.  Much of my work over the last decade has focused on residencies and contexts in which I was invited to respond to a...
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My practice revolves around a discourse on subjectivity and embodiment. Most of the pieces evolve from a performative origin, as both performance and photography are inextricably bound to my conceptual concerns. Producing paintings, drawings, photographs and short films I often consider notions of transformation and the boundaries of the body,...
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My work creates a juxtaposition of dreams, realities and sensations, fleeting moments from life inspired by my own experiences. I explore a sense of empathy for existing across different places and times, examining personal sensations of deja-vu, while moving through times, locations, and states of being, without a fixed linear chronology. ...
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Much of my work emerges from the exploration of ideas through small sketches, whereby drawing can become a part of the eventual composition of my abstract paintings and monoprints or act merely as a starting point rather than a finite concept. However, the act of applying colour to a larger surface inevitably involves issues concerning the...
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I have been fabricating works in steel since leaving Wolverhampton Polytechnic in 1982. Early years were spent producing sculpture and automata for speculative exhibitions and galleries, and by the mid 90’s more and more public commissions were being undertaken. My work is illustrative in nature and, if a public commission, often draws...
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