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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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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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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