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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Ade Adesina, born in Nigeria, is an artist currently living and working in Aberdeen, Scotland. Ade previously studied printmaking at Grays School of Art, Aberdeen. He was elected as a Royal Scottish Academician in 2017 and a member of the Royal Glasgow Institute of the Arts, also in 2017.
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I am interested in the sensation of looking.
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I make installations through diverse printmaking techniques and drawing.
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I mould paper and shape cloth and other materials to make relief forms and wall sculpture.
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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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My work, which uses oil, watercolour, photography, and print mediums in particular, is figurative and seeks a fusion of the new and the traditional.
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Paul Bonomini is a British sculptor. He was born, lives and works in London, UK. He is an elected and active member of the Royal Society of sculptors (MRSS).
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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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Using familiar objects and materials, and experimenting with scale, light, colour, and multiplicity, I want to form new environments that are stimulating, playful, and questioning art in the space it inhabits.
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THE THREE GRACES REVISITED (a ‘serial’ installation in a constant state of flux and change)
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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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I’m an artist/ teacher. My work is completely concerned with context, process and materials.
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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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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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“Peter Clossick focuses on faces, the single figure, men and women, the nature of physical sensuousness itself…”
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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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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 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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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 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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My practice uses sculpture as a conduit to respond to our everyday experience.
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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 has been commissioned by Bernie Ecclestone to create 20 paintings, one for each Grand Prix.
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My practice explores boundaries and disconnections through time.
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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 is a drawer whose practice has continuously involved the exploration of drawing in relation to technology.
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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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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 is a multimedia artist working in film, photography, sculpture and installation. His practice explores issues relating to the body, identity and vulnerability in the context of biomedicine and forensic anthropology, often informed by his past experience as a medical doctor.
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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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My work is about my grandmother. She is 90 years old and suffers from Alzheimer’s disease.
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Genetic Moo creates immersive interactive experiences which encourage experimentation and collaborative play. We call our exhibitions Microworld.
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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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Vanishing Point, a long term work-in-progress, has involved sculpture, installation, photography, video and collaboration with three composers…
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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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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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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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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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