Moich Abrahams

Moich enjoys combining spontaneity and playfulness with exploring deeper aspects of the unconscious. He is fascinated with both unwrapping the mysterious and reinventing child-like expressiveness. Central to this process is the art of ‘letting go’.

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Bryan Benge

My current working practice is informed by an investigation into the use of LTM (Long Term Memory), particularly episodic memory/ schemata that refer to specific events in time (autobiographical).

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Frank Bowling RA

Art should treat of life, pathologising; pictures must give balm in a manner that no other man made substance can, inhabiting and leading the viewer into the spirit world, a world wherein we meet the ancestors.

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Ece Clarke

My work is broad in scope – painting, sculpture and etching – and I use a wide range of media, including oil and acrylic, bitumen and shellac in my paintings.

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Robert Clarke

Born in London in 1947, Robert Clarke trained at Ravensbourne College of Art and Design, B A and Post Graduate Painting , Chelsea school of Art MA.

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Tim Craven

My work explores the dichotomy and relationship between painting and photography. I contrast a deadpan, Photorealist style with English romantic subjects such as trees.

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Sandra Crisp

I use borrowed visuals downloaded from the Net which are reworked over time – Using a process of sampling/recycling/drawing and layering the diverse elements of media images, text/graphics, video screen-casts, and camera-phone photos etc.

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John Crossley

John Crossley lives and works in London, he has exhibited widely across the U.K and Internationally. He has works both in Public and Private collections around the world.

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Philip Crozier

People mostly become artists because their most profound aesthetic sensations have come from art works and they want to participate in the dialogue.

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Peter Clossick

“The former London Group president is a man seemingly in love with paint as both a substance and a subject. So oils are generously applied in a series of confident, purposeful strokes…”

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Gus Cummins RA

Gus Cummins approach towards his work is constantly evolving, “I am constantly trying to ‘shift my ground’, alarming myself by stepping off safe and familiar territory”.

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Mark Dunford

Making a statement about painting is always very dangerous. There are always more questions than satisfactory answers. Everything is in a state of flux and continuously changing.

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Anthony Eyton RA

I like having a problem to solve, pitting my wits against the evidence of the senses. I want to be accurate in resolving the problem, to meet the challenge of light and colour and sense of place.

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Eric Fong

My practice explores themes relating to the body, identity and difference, often informed by my previous profession as a medical doctor. I work mainly in film, photography and sculpture.

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Cadi Froehlich

My work explores the physicality of exchanges between people, objects and material. In particular I investigate the hidden infrastructure of the interaction between these things.

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Susan Haire

These images are of installations from Reflection, Peterborough Cathedral, May/June 2012, a solo exhibition ranging across the whole Cathedral, made in collaboration with New York composer Stephen Dydo.

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Alexandra Harley

I use a variety of different materials – mostly wood, but also stone, clay, and paper – to explore the concept of movement and animation in non-kinetic sculpture.

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Julie Held

I love colour and use it to structure composition. Drawing is as important. My subjects are taken from daily life then mediated in my imagination.

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Aude Hérail Jäger

On and off human beings become aware of a constant juggling of mysterious inner forces, some palpable and loud, others hidden, yet all potent and powerful. I am drawn to investigate what is not there in full view.

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Martin Heron

I make two and three dimensional drawings and paintings exploring spontaneous mark making, experimental use of prefabricated materials and ready-made forms.

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John Holden

The making of drawings, painted images, is an inherent aspect of my experience of living and has been since childhood; not to make visual images of some sort would be an act of denial of an essential need.

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Jane Humphrey

The landscape contains many hidden ‘secrets’ ; ancient field systems identified through aerial photography, droves and tracks reinforced through thousands of years of constant use, or the more transient ‘memories’ of successive lines of a ploughed field.

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Gill Ingham

Gillian Ingham was educated at Ravensbourne College of Art (BA) and Chelsea School of Art (MA). She was elected to the London Group in 1981 and is currently Vice President. From 1990-2012 she was Head of Art at Kensington and Chelsea College.

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Annie Johns

“Making makes, say, boxes and the boxes may be good to look at, but making always matters: so, if anything is to be made to last, it might as well be the making as the box”*

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Jockel Liess

I am an audiovisual artist and composer. My mainly abstract works are meditative environments as explorational spaces of aesthetic concepts. They examine microtonality, timbre, texture, colour and the self-similarity of image and sound, as well as the indeterminacy of change.

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Jeff Lowe

Internationally acclaimed sculptor Jeff Lowe studied at St. Martin’s (1971-75). Taught by amongst others, Sir Anthony Caro, Philip King and William Tucker.

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