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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Clive Burton

THE THREE GRACES REVISITED (a ‘serial’ installation in a constant state of flux and change)

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Paul & Laura Carey

Paul and Laura Carey are the first joint members of the London Group: figurative sculptors devoted to developing and exploring celebrity, race and sexuality.

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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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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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Jeff Dellow

I work with open-ended constructive ideas of composition, overlapping particular schemes of organization, from one work to the next.

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Mark Dickens

Mark Dickens has been commissioned by Bernie Ecclestone to create 20 paintings, one for each Grand Prix.

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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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Angela Eames

Angela Eames is a drawer whose practice has continuously involved the exploration of drawing in relation to technology.

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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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James Faure Walker

Do I have to explain why I make pictures this way? Does it matter any more that I work both digitally and with real paint?

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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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Genetic Moo

Genetic Moo is a digital art group. We build living installations in pixels and light.

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Vaughan Grylls

I still use the same approach to my work: I get an idea, think of the title and then make the work. So not much has changed since 1964.

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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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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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Judith Jones

As a Fine Art Photographer my work often relates to personal conflicts and human frailties.

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Pauline Little

For me, painting must operate independently of fashion if it is to make a meaningful statement.

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Amanda Loomes

My art practice is a form of socially engaged portraiture and involves filming people in their place of work.

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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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Graham Mileson

In 1991 at the Triangle International Artists Workshop in New York State I had the opportunity to use Interference Colour, this was when, this new artists medium was not available in the UK.

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Eric Moody

Over the years I have developed a focus on the material evidence of the interaction between city dwellers and their built environment.

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C. Morey de Morand

With a background of unknown forces and the mysterious chaos of the universe, the world in which we exist has rules imposed to define our society. We ourselves then impose our own boundaries, rules, moralities, guidelines by which we live: to make us safe.

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Kathleen Mullaniff

Since 1994 I have been exploring a series of inter-related issues, which takes as a fundamental question: how can painting embrace decoration to disclose a narrative of loss and dislocation?

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Darren Nisbett

My images begin in the dark and empty corners of abandoned places. Travel has become a big part of my imagery and I’ve seen a lot more of the world since taking photography.

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Ken Oliver

“Their physicality is the first and most immediately apparent of their qualities, the paint rich and dense and closely worked, the surfaces subtle and allusive in the variety of their effects, as though weathered and marked by time, bearing a secret history like old stone or wood. ”

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Eugene Palmer

In recent years my practice has involved me in a continuous examination of modes of representation related to cultural history and cultural identity.

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