My work is about my grandmother. She is 90 years old and suffers from Alzheimer’s disease.
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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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Tricia Gillman
Anthony Green RA
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
Vanishing Point, a long term work-in-progress, has involved sculpture, installation, photography, video and collaboration with three composers…
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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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Alexander Hinks
My practice represents the relationship between nature, technology and even the sublime – as upon peering into another world with bold straight line structures which contrast curves and fluidity, the voids and chasms of space alluding to universes.
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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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Chris Horner
As an artist, my main concern is how pre-used building materials are transformed into artworks that have heightened value and appreciation.
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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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