Emma Hack is a highly acclaimed Australian artist whose works in the medium of body paint installation and photography have captured the attention of art collectors and lovers around the world.

Emma Hack, Artist, has gained worldwide attention also for her Motor Accident Commission, where she built a sculpture of 17 bodies arranged as a crashed car. She was also commissioned by the WA Ballet for their upcoming program imagery. Emma Hack’s mural ‘Madame Hanoi’ at Nic Watt’s restaurant in Adelaide is currently the largest body art mural in the world standing at 8m and is a particularly memorable work for Emma Hack.

Emma Hack is well known also for her work in the music video for Grammy Award winning musician, Gotye’s “Somebody That I Used To Know”, she painted the set and vocalists. The shoot was for 23 hours straight using photography and stop motion to create the video which has been viewed by over 800 million people worldwide.

Emma Hack works predominantly with body paint installation and photography, using her paintbrush to merge people seamlessly with the background so they become camouflaged like a chameleon. Emma Hack states that “the human is secondary to the work; the human is blended allowing nature to stand first.” She draws inspiration from around the world, from Australian flora and fauna to Oriental influences.

Emma Hack is a pioneer in the artform of body painting, beginning in 1990 and exhibiting since 1999. Emma Hack’s expression of creating on the human form has evolved over the years into a photographic installation work.

Emma Hack’s focus on nature in her works spring from her childhood in South Australia; surrounded by green fields contrasted with the desert she had a constant access to the diversity of the natural world.

“I am always influenced by my journeys and travels, body art is the oldest artform in the world, it’s interesting to explore this within my creations.”

Emma Hack Wallpaper Series (2005-2010) encapsulates this idea, where people painted with animals and birds blend into the ornate wallpaper backgrounds by Florence Broadhurst with such magic realism that one has to double take to realise the living canvas.

Emma Hack now paints her own backgrounds to compliment the artworks and takes her own photography.

“I love illusion, the human is ‘at one’ within their background, it’s a discussion of sense of self and looking after the environment and the beauty within it.”

A limited edition photograph of Emma Hack’s installation work with body paint.

Emma Hack follows her theme of flora and fauna to camouflage the human body with realistic paintings of flowers merging into the background behind.

Emma Hack draws inspiration from around the world, from Australian flora and fauna to Oriental influences.

“You can feel my work, it’s not just aesthetically lovely, it has a meaning, is beautifully executed and presented.”

This piece is from Emma Hack’s Collection ‘Chinoiserie’.

Available in four sizes.

1/1 – An edition of 1
Size 155x110cm
Price £8200

Special Edition – An edition of 3
Size 145x103cm
Price £5500

Large – An Edition of 10
Size 125x90cm
Price £4500

Small – An Edition of 1o
Size 85x63cm
Price £3500

2016

Digital Print

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of the ‘Different Persona’ collection.

An original collage by Gavin Mitchell.

Size: 22.5x30cm framed

Price: £750 framed

Original collage with vintage photograph and stamp.

This original artwork by Gavin Mitchell is part of his ‘Different Persona’ collection.

‘Vaudeville 3’ is a wonderful piece of assemblage art by contemporary artist Claire Newman-Williams.

Size: 24.5×11.5x3cm

Price: £600

Mixed Media Assemblage Box

Combining original photographic images, usually portraits that Claire Newman-Williams creates with old cameras and alternative processes, with found objects. She creates collages layered and arranged in antique wooden boxes. These Story Boxes are intended to be like inner landscapes, addressing the recurrent themes of the smothering of identity and our fear of being seen – truly seen by those around us.

Claire Newman-Williams sources the boxes themselves from auctions and house clearances and the contents of the box are the ephemera of everyday life, the junk that others throw away: old book covers, flakes of old textured paint, strips of leather, old nails, snippets of newspaper from years past. Vintage glass slide casings cover the photographic portraits giving the viewer the impression that they are being looked at from behind a window. The viewer becomes the viewed.

‘Vaudeville 2’ is a wonderful piece of assemblage art by contemporary artist Claire Newman-Williams.

Size: 11x21x5.5cm

Price: £600

Mixed Media Assemblage Box

Combining original photographic images, usually portraits that Claire Newman-Williams creates with old cameras and alternative processes, with found objects. She creates collages layered and arranged in antique wooden boxes. These Story Boxes are intended to be like inner landscapes, addressing the recurrent themes of the smothering of identity and our fear of being seen – truly seen by those around us.

Claire Newman-Williams sources the boxes themselves from auctions and house clearances and the contents of the box are the ephemera of everyday life, the junk that others throw away: old book covers, flakes of old textured paint, strips of leather, old nails, snippets of newspaper from years past. Vintage glass slide casings cover the photographic portraits giving the viewer the impression that they are being looked at from behind a window. The viewer becomes the viewed.

‘Specimen’ is a wonderful piece of assemblage art by contemporary artist Claire Newman-Williams.

Size: 53x40x8.5cm

Price: £1200

Mixed Media Assemblage Box

Combining original photographic images, usually portraits that Claire Newman-Williams creates with old cameras and alternative processes, with found objects. She creates collages layered and arranged in antique wooden boxes. These Story Boxes are intended to be like inner landscapes, addressing the recurrent themes of the smothering of identity and our fear of being seen – truly seen by those around us.

Claire Newman-Williams sources the boxes themselves from auctions and house clearances and the contents of the box are the ephemera of everyday life, the junk that others throw away: old book covers, flakes of old textured paint, strips of leather, old nails, snippets of newspaper from years past. Vintage glass slide casings cover the photographic portraits giving the viewer the impression that they are being looked at from behind a window. The viewer becomes the viewed.

‘View’ is a wonderful piece of assemblage art by contemporary artist Claire Newman-Williams.

Size: 53x40x8.5cm

Price: £1200

Mixed Media Assemblage Box

Combining original photographic images, usually portraits that Claire Newman-Williams creates with old cameras and alternative processes, with found objects. She creates collages layered and arranged in antique wooden boxes. These Story Boxes are intended to be like inner landscapes, addressing the recurrent themes of the smothering of identity and our fear of being seen – truly seen by those around us.

Claire Newman-Williams sources the boxes themselves from auctions and house clearances and the contents of the box are the ephemera of everyday life, the junk that others throw away: old book covers, flakes of old textured paint, strips of leather, old nails, snippets of newspaper from years past. Vintage glass slide casings cover the photographic portraits giving the viewer the impression that they are being looked at from behind a window. The viewer becomes the viewed.

‘Pheasant Girl’ is a wonderful piece of assemblage art by contemporary artist Claire Newman-Williams.

Size: 30×21.5x4cm

Price: £600

Mixed Media Assemblage Box

Combining original photographic images, usually portraits that Claire Newman-Williams creates with old cameras and alternative processes, with found objects. She creates collages layered and arranged in antique wooden boxes. These Story Boxes are intended to be like inner landscapes, addressing the recurrent themes of the smothering of identity and our fear of being seen – truly seen by those around us.

Claire Newman-Williams sources the boxes themselves from auctions and house clearances and the contents of the box are the ephemera of everyday life, the junk that others throw away: old book covers, flakes of old textured paint, strips of leather, old nails, snippets of newspaper from years past. Vintage glass slide casings cover the photographic portraits giving the viewer the impression that they are being looked at from behind a window. The viewer becomes the viewed.

‘In The Country’ is a wonderful piece of assemblage art by contemporary artist Claire Newman-Williams.

Size: 30x23x7cm

Price: £600

Mixed Media Assemblage Box

Combining original photographic images, usually portraits that Claire Newman-Williams creates with old cameras and alternative processes, with found objects. She creates collages layered and arranged in antique wooden boxes. These Story Boxes are intended to be like inner landscapes, addressing the recurrent themes of the smothering of identity and our fear of being seen – truly seen by those around us.

Claire Newman-Williams sources the boxes themselves from auctions and house clearances and the contents of the box are the ephemera of everyday life, the junk that others throw away: old book covers, flakes of old textured paint, strips of leather, old nails, snippets of newspaper from years past. Vintage glass slide casings cover the photographic portraits giving the viewer the impression that they are being looked at from behind a window. The viewer becomes the viewed.

A stunning original work by Rod McIntosh

Size: 80cm diameter

Price: £2400

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, charcoal paste, gesso, matt varnish and 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 80cm diameter

Price: £2400

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, charcoal paste, gesso, matt varnish and 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 100cm diameter

Price: £3600

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, gesso, matt varnish.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 100cm diameter

Price: £3600

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, gesso, matt varnish and 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 100cm diameter

Price: £3600

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, gesso, matt varnish and 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 120cm diameter

Price: £4800

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, charcoal paste, gesso, matt varnish and 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 120cm diameter

Price: £4800

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, charcoal paste, gesso, matt varnish and 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 120cm diameter

Price: £4800

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, gesso, matt varnish and 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 120cm diameter

Price: £4800

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, gesso, matt varnish and 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 100cm diameter

Price: £4000

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, gesso, matt varnish and 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 120cm diameter

Price: £4800

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, charcoal paste, matt varnish. 24 carat gold leaf on bole.

From Rod McIntosh’s ‘Eccentric Moments’ Series.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

‘Happy Nations Have No History (Camo 3)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £2,000

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Camo 2)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £2,000

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Camo 1)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £2,000

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Yellow Orange)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £1,850

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Turquoise Pink)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £1,850

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Royal Blue Blue)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £1,850

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Red Pink)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £1,850

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Red Blue)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £1,850

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Pink Orange)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £1,850

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Mauve Peach)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £1,850

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Mauve Moss)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £1,850

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘Happy Nations Have No History (Acid Purple)’ is a brand new unique silkscreen print by Magnus Gjoen.

2018

Size: 100x100cm

Price: £1,850

Limited Edition Unique Print with Archival Pigment Inks & Silkscreen Spot Varnish on Cotton Rag Paper.

This brand new work by Magnus Gjoen is from an edition of 25 unique colourways. Each is completely individual.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘You’ll Miss Me When I’m Gone’ is a brand new Limited Edition print by Magnus Gjoen.

2018

Size: 70x70cm/50x50cm

Price: £600/£295

Limited Edition Print with Archival Pigment Inks on Cotton Rag Paper.

This limited edition print is available in two sizes: the first edition is 70x70cm and is an edition of 25. The second is 50x50cm and is an edition of 80.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

‘You’ll Miss Me When I’m Gone’ sees Gjoen’s unmissable, unique and striking style of working but sees him return to his characteristic weapon motif exploring how something potentially extremely destructive can be transformed into a beautiful and delicate work of art.

Signed & Numbered by the artist.

‘We The Living Are To Blame For The Painfulness Of Death’ is a brand new Limited Edition print by Magnus Gjoen.

2018

Size: 85x85cm/50x50cm

Price: £1,500/£300

Limited Edition Print with UV Inks & Liquid Silver Silk Screen on Cotton Rag Paper.

This limited edition print is available in two sizes: the first edition is 85x85cm and is an edition of 50. The second is 50x50cm and is an edition of 80.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

 

‘J’ayme à Jamais (I Love For Ever)’ is a brand new Limited Edition print by Magnus Gjoen.

2018

Size: 50x50cm

Price: £295

Limited Edition Print with Archival Pigment Inks on Cotton Rag Paper.

This piece is from a Limited Edition of 80.

Magnus Gjoen, former designer for Vivienne Westwood, creates images that are full beauty but also thought provoking. His art explores the interaction between power and fragility, juxtaposing the two states for maximum conceptual effect. Magnus Gjoen’s work blends a range of styles, incorporating a street and pop aesthetic into a fine art approach.

Signed & Numbered by the artist.

‘The Desire To Please’ is a limited edition print by contemporary artist, Gavin Mitchell.

Size: 64x100cm

Price: £2,200 framed

Pigment Print on Archival Fine Art Paper, Hand Finished with Gold Leaf & UV Protective Varnish

‘The Desire To Please’ is a Limited Edition of 5 and is part of the ‘East Meets West’ Series.

‘East Meets West’ is an ongoing collection of work using early 20th century Japanese postcards depicting the daily routine of a Geisha. Disrupting the inherent tranquillity and ethereality by juxtaposing Western iconic imagery and exposing the implied seductiveness behind these culture portrayals.

‘Playboy Playgirls’ is a limited edition print by contemporary artist, Gavin Mitchell.

Size: 124x104cm

Price: £4,400 framed

Pigment Print on Archival Fine Art Paper, Hand Finished with Gold Leaf & UV Protective Varnish

‘Playboy Playgirls is a Limited Edition of 3 and is part of the ‘East Meets West’ Series.

‘East Meets West’ is an ongoing collection of work using early 20th century Japanese postcards depicting the daily routine of a Geisha. Disrupting the inherent tranquillity and ethereality by juxtaposing Western iconic imagery and exposing the implied seductiveness behind these culture portrayals.

‘New Musical Express’ is a Limited Edition Photograph from contemporary artist & photographer Mark Vessey

2018

C-Type Photogrpahic Print on Cotton Rag Paper

Size: 80x80cm

Price: £495

Limited Edition of 50

Signed & numbered by the artist on an additional certificate.

‘Swatting’ is a Limited Edition Print, hand finished by contemporary artist, Gavin Mitchell.

2018

Size: 94x140cm / 70x102cm

Price: POA

A Limited Edition Print of 50
Signed & Numbered by the Artist

An edition available in two sizes.

Large Format – An Edition of 20
Hand finished with Gold Leaf & Metal Leaf
Pigment Print with hand applied acrylic UV varnish on paper.

Medium Format – An Edition of 30
Pigment Print with hand applied acrylic UV varnish on paper.

A stunning original work by Rod McIntosh

Size: 40cm diameter

Price: POA

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, bole, 24 carat gold leaf resin coated.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 120cm diameter

Price: POA

Indian ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) on panel, gesso and copper leaf, resin coated.

This work is from Rod McIntosh’s ‘Eccentric Moments’ Series that explores the form of an ellipse: an off-centre/eccentric circle that is created with a more fluid and dynamic brush stroke, often a mix of speed and weight on the paper, giving a difference in the mark the brush makes. This series works with the tension between a rehearsed, planned and intended mark (the ellipse) and the unplanned, unintentional drips of ink from the laden brush. The notions of the perfect and imperfect, being present and the parts either side of the moment, and bringing beauty and attention to this.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 50x50cm

Price: POA

Acrylic on Wood

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 50x50cm

Price: POA

Acrylic on Wood

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 50x50cm

Price: POA

Acrylic on Wood

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 50x50cm

Price: POA

Acrylic on Wood

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

‘Carry My Soul To Heaven’ is a stunning Limited Edition print from contemporary artist Alexandra Gallagher.

Size: 128x128cm framed

Price: £1500 framed

Print on 310gms 100% cotton rag paper, black frame and black mount.
Signed and numbered by the artist

Limited Edition of 3

Alexandra Gallagher’s surreal and bizarre works tell a story of imagination and thought which happen between the realms of memory as well as finding inspiration from her surrounds; fashion, design, music, culture as well as ‘people watching’.

‘When The Storm Came’ forms part of Gallagher’s ‘Bird with Birds’ Collection.

“I take influence from everything around me – like every artist. Fashion, design, other artists, music, culture, society etc. Everything I see, hear and talk about. It all influences what I do. From a short abstract conversation with a stranger, to memories I have as an individual… we all have a story to tell, something interesting that is unique to all of us. I love people watching; looking at people and seeing how I could translate that into a piece of art – from my own perspective.” -Alexandra Gallagher

‘Immortal Salvation’ is a stunning Limited Edition print from contemporary artist Alexandra Gallagher.

Size: 128x128cm framed

Price: £1500

Print on 310gms 100% cotton rag paper, black frame and black mount.
Signed and numbered by the artist

Limited Edition of 3

Alexandra Gallagher’s surreal and bizarre works tell a story of imagination and thought which happen between the realms of memory as well as finding inspiration from her surrounds; fashion, design, music, culture as well as ‘people watching’.

‘When The Storm Came’ forms part of Gallagher’s ‘Bird with Birds’ Collection.

“I take influence from everything around me – like every artist. Fashion, design, other artists, music, culture, society etc. Everything I see, hear and talk about. It all influences what I do. From a short abstract conversation with a stranger, to memories I have as an individual… we all have a story to tell, something interesting that is unique to all of us. I love people watching; looking at people and seeing how I could translate that into a piece of art – from my own perspective.” -Alexandra Gallagher

‘Beyond The Veil Of Deception’ is a stunning Limited Edition print from contemporary artist Alexandra Gallagher.

Size: 128x128cm framed

Price: £1500 framed

Print on 310gms 100% cotton rag paper, black frame and black mount.
Signed and numbered by the artist

Limited Edition of 3

Alexandra Gallagher’s surreal and bizarre works tell a story of imagination and thought which happen between the realms of memory as well as finding inspiration from her surrounds; fashion, design, music, culture as well as ‘people watching’.

‘When The Storm Came’ forms part of Gallagher’s ‘Bird with Birds’ Collection.

“I take influence from everything around me – like every artist. Fashion, design, other artists, music, culture, society etc. Everything I see, hear and talk about. It all influences what I do. From a short abstract conversation with a stranger, to memories I have as an individual… we all have a story to tell, something interesting that is unique to all of us. I love people watching; looking at people and seeing how I could translate that into a piece of art – from my own perspective.” -Alexandra Gallagher

‘Many A True Word’ is a stunning Limited Edition print from contemporary artist Alexandra Gallagher.

Size: 128x128cm framed

Price: £1500 framed

Print on 310gms 100% cotton rag paper, black frame and black mount.
Signed and numbered by the artist

Limited Edition of 3

Alexandra Gallagher’s surreal and bizarre works tell a story of imagination and thought which happen between the realms of memory as well as finding inspiration from her surrounds; fashion, design, music, culture as well as ‘people watching’.

‘When The Storm Came’ forms part of Gallagher’s ‘Bird with Birds’ Collection.

“I take influence from everything around me – like every artist. Fashion, design, other artists, music, culture, society etc. Everything I see, hear and talk about. It all influences what I do. From a short abstract conversation with a stranger, to memories I have as an individual… we all have a story to tell, something interesting that is unique to all of us. I love people watching; looking at people and seeing how I could translate that into a piece of art – from my own perspective.” -Alexandra Gallagher

A stunning original work by Rod McIntosh

Size: 90cm diameter

Price: POA

Ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) gesso and 24 carat gold leaf on birch panel, bees wax polished edges.

This work is from Rod McIntosh’s ‘Eccentric Moments’ Series that explores the form of an ellipse: an off-centre/eccentric circle that is created with a more fluid and dynamic brush stroke, often a mix of speed and weight on the paper, giving a difference in the mark the brush makes. This series works with the tension between a rehearsed, planned and intended mark (the ellipse) and the unplanned, unintentional drips of ink from the laden brush. The notions of the perfect and imperfect, being present and the parts either side of the moment, and bringing beauty and attention to this.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 110cm diameter

Price: POA

Ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) gesso and 24 carat gold leaf on birch panel, bees wax polished edges.

This work is from Rod McIntosh’s ‘Eccentric Moments’ Series that explores the form of an ellipse: an off-centre/eccentric circle that is created with a more fluid and dynamic brush stroke, often a mix of speed and weight on the paper, giving a difference in the mark the brush makes. This series works with the tension between a rehearsed, planned and intended mark (the ellipse) and the unplanned, unintentional drips of ink from the laden brush. The notions of the perfect and imperfect, being present and the parts either side of the moment, and bringing beauty and attention to this.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

A stunning original work by Rod McIntosh

Size: 90cm diameter

Price: POA

Ink on Chinese mulberry paper, mounted to Fabriano cartridge (120gsm) gesso and 24 carat gold leaf on birch panel, bees wax polished edges.

This work is from Rod McIntosh’s ‘Eccentric Moments’ Series that explores the form of an ellipse: an off-centre/eccentric circle that is created with a more fluid and dynamic brush stroke, often a mix of speed and weight on the paper, giving a difference in the mark the brush makes. This series works with the tension between a rehearsed, planned and intended mark (the ellipse) and the unplanned, unintentional drips of ink from the laden brush. The notions of the perfect and imperfect, being present and the parts either side of the moment, and bringing beauty and attention to this.

Rod McIntosh’s current work is in the tradition of drawing, following traditional eastern ink recipes on delicate Chinese papers. His mark-making is a process guided by mindfulness, each fluid movement with his brush is connected to his body and breath in a manner of meditation. Being an artist, for Rod, is not just about being defined by the time and work created in the studio and the bricks and mortar of a studio, it is an all-encompassing part of who he is and vital to who he is. These rituals, these activities are the pillars to support that creativity and well-being. He speaks of his works as; “Physical meditations, that offers himself, and the viewer, a moment to pause.” The muted, monotone palette of his striking, minimalist works echo the quiet and calm meditative state that is so integral to his process.

“The black and white mark is an original ink painting created with one single gestural flow that I have rehearsed, choreographed, embodying the movement of my feet, arms, whole body and the brush whilst registering the breath; the inhale/exhale. After a time, when I feel I am in the flow and the mark is good to be seen, I use an ink and water solution to see what the movement I have registered to muscle memory looks like. Any revisions to the movement can be made and the image is discarded or wiped away. Again I will practice the mark with a wet brush as it behaves/feels differently to dry brush. And only when I feel confident, present in the moment do I dip the brush into the full ink solution and make the mark. You get one chance to record the moment.”

‘Vaudeville 2’ is a wonderful piece of assemblage art by contemporary artist Claire Newman-Williams.

Size: 9x9x9cm

Price: £390

Mixed Media Assemblage Illuminated Box

Claire Newman-Williams’ story boxes are intended to be like inner landscapes, addressing the recurrent themes of the smothering of identity and our fear of being seen – truly seen by those around us. Claire Newman-Williams sources the boxes themselves from auctions and house clearances and the contents of the box are her own photography.

“I found a box of old magic lantern slides encased in lovely old glass frames at an auction and they just captured my imagination. I began thinking of ways that I could illuminate them in a way that would re-create that sort of vignetted, almost cinematic effect that they would have had originally and came up with the idea of creating little boxes to put them in. Once I started taking the slides apart I realised I could use the vintage glass, print my own imagery on a transparent substrate, add in some diffusion and thus the illuminated boxes were born! The first boxes were made of mdf and painted, but then I saw some really beautiful walnut wood, thought it would look great and I’ve been using it ever since.”

‘Tinker’ is a wonderful piece of assemblage art by contemporary artist Claire Newman-Williams.

Size: 9x9x9cm

Price: £390

Mixed Media Assemblage Illuminated Box

Claire Newman-Williams’ story boxes are intended to be like inner landscapes, addressing the recurrent themes of the smothering of identity and our fear of being seen – truly seen by those around us. Claire Newman-Williams sources the boxes themselves from auctions and house clearances and the contents of the box are her own photography.

“I found a box of old magic lantern slides encased in lovely old glass frames at an auction and they just captured my imagination. I began thinking of ways that I could illuminate them in a way that would re-create that sort of vignetted, almost cinematic effect that they would have had originally and came up with the idea of creating little boxes to put them in. Once I started taking the slides apart I realised I could use the vintage glass, print my own imagery on a transparent substrate, add in some diffusion and thus the illuminated boxes were born! The first boxes were made of mdf and painted, but then I saw some really beautiful walnut wood, thought it would look great and I’ve been using it ever since.”

‘Bunnykins’ is a wonderful piece of assemblage art by contemporary artist Claire Newman-Williams.

Size: 9x9x9cm

Price: £390

Mixed Media Assemblage Illuminated Box

Claire Newman-Williams’ story boxes are intended to be like inner landscapes, addressing the recurrent themes of the smothering of identity and our fear of being seen – truly seen by those around us. Claire Newman-Williams sources the boxes themselves from auctions and house clearances and the contents of the box are her own photography.

“I found a box of old magic lantern slides encased in lovely old glass frames at an auction and they just captured my imagination. I began thinking of ways that I could illuminate them in a way that would re-create that sort of vignetted, almost cinematic effect that they would have had originally and came up with the idea of creating little boxes to put them in. Once I started taking the slides apart I realised I could use the vintage glass, print my own imagery on a transparent substrate, add in some diffusion and thus the illuminated boxes were born! The first boxes were made of mdf and painted, but then I saw some really beautiful walnut wood, thought it would look great and I’ve been using it ever since.”

‘Lone Wolf II’ is a striking Original painting by contemporary artist, Dan Baldwin.

Size: 76x97cm

Price: POA

Acrylic on Linen

This piece of art is a signed Original Acrylic painting by Contemporary Artist, Dan Baldwin.

Dan Baldwin, described by Sir Alan Sugar as “one of the top five” artists in the country, uses his art to touch upon themes of love, philosophy, nostalgia, memory, innocence, life and death – universal themes in a constantly shifting climate. His work is spontaneous and energetic.

Dan Baldwin’s work is collected by Sir Ronald Cohen, Bernie Ecclestone, Petra Ecclestone, Jake Chapman, Shepard Fairey, Chris Packham, Jo Whiley, Liam Howlett, Maxim, Holly Willoughby, Allison Mosshart, The Kills and Damien Hirst.  It is held in the permanent collections of The Groucho Club, The Wellington, Café Royal and House of St. Barnabas Club.

‘Release’ is a striking Original painting by contemporary artist, Dan Baldwin.

Size: 152.5×152.5cm

Price: POA

Acrylic on Canvas

This piece of art is a signed Original Acrylic painting by Contemporary Artist, Dan Baldwin.

Dan Baldwin, described by Sir Alan Sugar as “one of the top five” artists in the country, uses his art to touch upon themes of love, philosophy, nostalgia, memory, innocence, life and death – universal themes in a constantly shifting climate. His work is spontaneous and energetic.

Dan Baldwin’s work is collected by Sir Ronald Cohen, Bernie Ecclestone, Petra Ecclestone, Jake Chapman, Shepard Fairey, Chris Packham, Jo Whiley, Liam Howlett, Maxim, Holly Willoughby, Allison Mosshart, The Kills and Damien Hirst.  It is held in the permanent collections of The Groucho Club, The Wellington, Café Royal and House of St. Barnabas Club.

‘Climate’ is a striking Original painting by contemporary artist, Dan Baldwin.

Size: 41x56cm

Price: POA

Acrylic on Linen

This piece of art is a signed Original Acrylic painting by Contemporary Artist, Dan Baldwin.

Dan Baldwin, described by Sir Alan Sugar as “one of the top five” artists in the country, uses his art to touch upon themes of love, philosophy, nostalgia, memory, innocence, life and death – universal themes in a constantly shifting climate. His work is spontaneous and energetic.

Dan Baldwin’s work is collected by Sir Ronald Cohen, Bernie Ecclestone, Petra Ecclestone, Jake Chapman, Shepard Fairey, Chris Packham, Jo Whiley, Liam Howlett, Maxim, Holly Willoughby, Allison Mosshart, The Kills and Damien Hirst.  It is held in the permanent collections of The Groucho Club, The Wellington, Café Royal and House of St. Barnabas Club.

‘Carnival’ is a striking Original painting by contemporary artist, Dan Baldwin.

Size: 152.5×152.5cm

Price: POA

Acrylic on Canvas with Gold Leaf

This piece of art is a signed Original Acrylic Painting with Gold Leaf by Contemporary Artist, Dan Baldwin.

Dan Baldwin, described by Sir Alan Sugar as “one of the top five” artists in the country, uses his art to touch upon themes of love, philosophy, nostalgia, memory, innocence, life and death – universal themes in a constantly shifting climate. His work is spontaneous and energetic.

Dan Baldwin’s work is collected by Sir Ronald Cohen, Bernie Ecclestone, Petra Ecclestone, Jake Chapman, Shepard Fairey, Chris Packham, Jo Whiley, Liam Howlett, Maxim, Holly Willoughby, Allison Mosshart, The Kills and Damien Hirst.  It is held in the permanent collections of The Groucho Club, The Wellington, Café Royal and House of St. Barnabas Club.

‘Martyrdom’ is an original piece of art using acrylic & aerosol on reclaimed wooden cable drum reel top finished in Kolner Varnish by Urban Artist, Lhouette.

Canvas size: 79cm diameter
Price: £4000

Lhouette’s trademark fusion of gritty urban street art and Warhol-esque pop culture iconography is a concept the artist describes as “Post Urban Glamour”.

Elements of Lhouette’s early techniques can still be glimpsed within his more polished artworks of today through the use of raw materials such as forklift pallets and other industrial throw-offs. This striking binary between the old and new and the raw and the refined, is the major juxtaposition inherent to Lhouette’s work.

‘My techniques originate from self-taught graphic design & stencil practices. I started with a mixed box of old mechanic aerosol paints and scrap sheets of salvaged wooden board. Along with a moody scanner/printer that I had acquired…the work was beautifully raw! I try to retain that essence as the work continues to develop’. – Lhouette

2018

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 45x108cm

Price: £1,950

Acrylic & Spray Paint On Found Object (Window Frame)

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Collage Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 51x78cm

Price: £1,950

Acrylic & Collage on Canvas

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Collage Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 51x78cm

Price: £1,950

Acrylic & Collage on Canvas

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 76×101.5cm

Price: £3,100 framed

Acrylic on Canvas

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 76×101.5cm

Price: £3,100 framed

Acrylic on Canvas

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 250x170cm

Price: £19,000

Acrylic on Canvas

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 150x151cm

Price: £11,000

Acrylic & Collage on Canvas

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 44x82cm

Price: £1,500

Acrylic & Spray Paint On Found Object (Boiler Cover)

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

An Original Painting by David Shillinglaw from his ‘Human Soup’ collection

Size: 44x82cm

Price: £1,500

Acrylic & Spray Paint On Found Object (Boiler Cover)

Human Soup is an ongoing body of work by David Shillinglaw. An artistic practice that moves between drawing, painting, collage and found objects attempting to describe the construction and fragmentation of the Human experience.
Human Soup is… rush hour in any city.
Human Soup is… a boat full of migrants crossing the ocean.
Human Soup is… an overcrowded beach full of humans on holiday cooking in the sun.
Human Soup is… border control stamping passports of people who are let in or left out.
Human soup is… a landfill or ocean full of plastic bottles and flip-flops.
We are croutons floating in this broth. Planet Earth is a boiling bowl of Homo Sapien soup.

David Shillinglaw’s motivation to make art is an ongoing obsession about how to capture or conjure the universal themes of what it means to be alive in the ‘human hive’ – a universal set of ingredients that we all produce and consume. Every day, we fill ourselves up and empty ourselves out, from royalty and heads of state to the lowest lives of the displaced or imprisoned. We all suffer the same appetites and desires, fears and misfortunes.

The artwork is colourful and playful, deliberately humorous and, at times, ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait. Not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the human figure in which the characters represent everyone or nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like Frankenstein’s monster it wakes up, it speaks for itself, and it answers back.

David Shillinglaw aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human; constructing heavily layered and detailed descriptions while also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of differences and coexistence, global and local story telling; the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, and we are all fantastic.

A stunning new work on Canvas by pop artist Brad Faine

Digital mono-print on stretched canvas with hand applied glazes & diamond dust.

2018

Size: 110x110cm

Price: £4500

Limited Edition of 5 & 1 Artist’s Proof

Signed by the Artist

New limited edition works by Brad Faine featuring diamond dusted text

A stunning new work on Canvas by pop artist Brad Faine

Digital mono-print on stretched canvas with hand applied glazes & diamond dust.

2018

Size: 110x110cm

Price: £4500

Limited Edition of 5 & 1 Artist’s Proof

Signed by the Artist

New limited edition works by Brad Faine featuring diamond dusted text

A stunning new work on Canvas by pop artist Brad Faine

Digital mono-print on stretched canvas with hand applied glazes & diamond dust.

2018

Size: 110x110cm

Price: £4500

Limited Edition of 5 & 1 Artist’s Proof

Signed by the Artist

Doors Of Perception are new limited edition works by Brad Faine featuring diamond dusted tarot symbols

“I have for a number of years thought that the Tarot might provide an interesting point of departure for a series of mono-prints. However, the motivation for the subject came from a director of one of the Martin Lawrence galleries in the USA, who said that a number of clients had asked if I had ever done anything on the Tarot. With the optimism of the uninformed, I purchased the ‘Rider Waite Tarot Deck’ and became fascinated by the titles and images of the Major and Minor Arcana and thought it might be interesting to replace them with famous classical and modern paintings. In addition, I investigated some of the symbolism associated with the Tarot and selected some of the of images Swords, Cups, Wands and Pentacles as well as the ouroboros and juxtaposed them with the card, using diamond dust.” – Brad Faine

A stunning new work on Canvas by pop artist Brad Faine

Digital mono-print on stretched canvas with hand applied glazes & diamond dust.

2018

Size: 110x110cm

Price: £4500

Limited Edition of 5 & 1 Artist’s Proof

Signed by the Artist

Doors Of Perception are new limited edition works by Brad Faine featuring diamond dusted tarot symbols

“I have for a number of years thought that the Tarot might provide an interesting point of departure for a series of mono-prints. However, the motivation for the subject came from a director of one of the Martin Lawrence galleries in the USA, who said that a number of clients had asked if I had ever done anything on the Tarot. With the optimism of the uninformed, I purchased the ‘Rider Waite Tarot Deck’ and became fascinated by the titles and images of the Major and Minor Arcana and thought it might be interesting to replace them with famous classical and modern paintings. In addition, I investigated some of the symbolism associated with the Tarot and selected some of the of images Swords, Cups, Wands and Pentacles as well as the ouroboros and juxtaposed them with the card, using diamond dust.” – Brad Faine

‘Day’ is an original mixed media piece by pop artist Simon Kirk.

Acrylic, Pencil, Collage, Ink, Spray, Paint, Image Transfer

102x152cm

Price: £1400

Simon Kirk’s art consists of layers of paint and collaged elements. He uses decollage techniques including cutting, tearing or sanding away parts of the built up surface image to reveal layers below.

His practice associates images and cut-up text that helps us view everyday life with fresh eyes.

“I am interested in narrative, specifically the ambiguous, subjective ‘hidden’ narrative where the story remains ambiguous and undeclared.” – Simon Kirk

Across his many styles of art, ranging from Fine Art Oil Paintings to Pop Art collage works, there is something for all tastes.

This piece is signed by the artist.

2018

Above The Clouds 9 is a Limited Edition Print from contemporary artist Gareth Hayward.

In Gareth Hayward’s Collection ‘Above The Clouds’ Gareth Hayward presents London’s architecture in a manner that makes the building itself the absolute focus, whiting out the background in a way that enforces the majesty of the buildings and their sheer size rising from the clouds. The monotone colour scheme creates and emphasises the dramatic nature of the buildings that are such an iconic part of London’s skyline.

A C-Type Photographic print available in two edition sizes.

Size 42×59.4cm is an edition of 50
Size 100x150cm is an edition of 10

Both editions are signed & numbered by the artist.

2018

Limited Edition C-Type Photographic Print mounted on aluminium with varnish and subframe

42x59.4cm / 100x150cm

An Original Collage Painting by David Shillinglaw

Mixed Media Assemblage on Wood 2018

Size: 40x40cm

Price £960

Brand new works by David Shillinglaw from his body of work “Human Soup” exploring the relationship between words and image to tell a story

“I am fascinated with how we communicate and tell stories, both to the people around us, and to ourselves. The personal, private dialogue, of inner thoughts and mantras that help us balance through reality vs. the public displays and open sources revelations of information we share with the people we know, and the people we don’t. More than ever we are on show, being watched, and offering ourselves up for observation.”

“The artwork is colourful and playful, deliberately humorous and at times ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait; not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the Human figure, the characters come to represent The Everyone or The Nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like a Frankenstein’s monster it wakes up, it speaks for itself, it answers back.”

An Original Collage Painting by David Shillinglaw

Acrylic & Collage on Canvas 2018

Size: 50x50cm

Price £1500

Brand new works by David Shillinglaw from his body of work “Human Soup” exploring the relationship between words and image to tell a story

“I am fascinated with how we communicate and tell stories, both to the people around us, and to ourselves. The personal, private dialogue, of inner thoughts and mantras that help us balance through reality vs. the public displays and open sources revelations of information we share with the people we know, and the people we don’t. More than ever we are on show, being watched, and offering ourselves up for observation.”

“The artwork is colourful and playful, deliberately humorous and at times ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait; not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the Human figure, the characters come to represent The Everyone or The Nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like a Frankenstein’s monster it wakes up, it speaks for itself, it answers back.”

An Original Collage Painting by David Shillinglaw

Acrylic & Collage on Canvas 2018

Size: 100x100cm

£3,900

Brand new works by David Shillinglaw from his body of work “Human Soup” exploring the relationship between words and image to tell a story

“I am fascinated with how we communicate and tell stories, both to the people around us, and to ourselves. The personal, private dialogue, of inner thoughts and mantras that help us balance through reality vs. the public displays and open sources revelations of information we share with the people we know, and the people we don’t. More than ever we are on show, being watched, and offering ourselves up for observation.”

“The artwork is colourful and playful, deliberately humorous and at times ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait; not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the Human figure, the characters come to represent The Everyone or The Nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like a Frankenstein’s monster it wakes up, it speaks for itself, it answers back.”

An Original Painting by David Shillinglaw

Acrylic on Canvas 2018

Size: 60x90cm

Price £2700

Brand new works by David Shillinglaw from his body of work “Human Soup” exploring the relationship between words and image to tell a story

“I am fascinated with how we communicate and tell stories, both to the people around us, and to ourselves. The personal, private dialogue, of inner thoughts and mantras that help us balance through reality vs. the public displays and open sources revelations of information we share with the people we know, and the people we don’t. More than ever we are on show, being watched, and offering ourselves up for observation.”

“The artwork is colourful and playful, deliberately humorous and at times ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait; not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the Human figure, the characters come to represent The Everyone or The Nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like a Frankenstein’s monster it wakes up, it speaks for itself, it answers back.”

‘Triple Word Score’ is a Limited Edition Print, hand finished by contemporary artist, Gavin Mitchell.

A Limited Edition Print of 50
Signed & Numbered by the Artist

An edition available in two sizes.

Large Format – An Edition of 20
Hand finished with Gold Leaf & Metal Leaf
Pigment Print with hand applied acrylic UV varnish on paper.

Medium Format – An Edition of 30
Pigment Print with hand applied acrylic UV varnish on paper.

2018

140x94cm / 102x70cm

An Original Painting by David Shillinglaw

Brand new works by David Shillinglaw from his body of work “Human Soup” 2018

Paint & Mixed Media on Paper

Framed Size: 33x43cm

Price: £750 framed

David aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human, both constructing heavily layered and detailed descriptions whilst also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of difference, and coexistence, Global and local story telling, the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, we are all fantastic.

An Original Painting by David Shillinglaw

Brand new works by David Shillinglaw from his body of work “Human Soup” 2018

Paint & Mixed Media on Paper

Framed Size: 33x43cm

Price: £750 framed

David aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human, both constructing heavily layered and detailed descriptions whilst also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of difference, and coexistence, Global and local story telling, the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, we are all fantastic.

An Original Painting by David Shillinglaw

Brand new works by David Shillinglaw from his body of work “Human Soup” 2018

Paint & Mixed Media on Paper

Framed Size: 33x43cm

Price: £750 framed

David aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human, both constructing heavily layered and detailed descriptions whilst also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of difference, and coexistence, Global and local story telling, the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, we are all fantastic.

An Original Painting by David Shillinglaw

Brand new works by David Shillinglaw from his body of work “Human Soup” 2018

Paint & Mixed Media on Paper

Framed Size: 26x33cm

Price: £750 framed

David aims to construct a visual world that celebrates and incorporates the ingredients of what it means to be human, both constructing heavily layered and detailed descriptions whilst also reducing and simplifying ideas into abstractions that seek to describe the complexities and simplicities of the human condition. The work is a celebration of difference, and coexistence, Global and local story telling, the way we communicate to one another and to ourselves.

We are all strong, we are all vulnerable, we are all hungry, we are all courageous, we are all hideous, we are all fantastic.

An Original Collage Painting by David Shillinglaw

Acrylic & Collage on Canvas 2018

Size: 150x100cm

Price £6000

Brand new works by David Shillinglaw from his body of work “Human Soup” exploring the relationship between words and image to tell a story

“I am fascinated with how we communicate and tell stories, both to the people around us, and to ourselves. The personal, private dialogue, of inner thoughts and mantras that help us balance through reality vs. the public displays and open sources revelations of information we share with the people we know, and the people we don’t. More than ever we are on show, being watched, and offering ourselves up for observation.”

“The artwork is colourful and playful, deliberately humorous and at times ridiculous. Somewhere between ancient hieroglyphics and comic books or board games, the works present a kind of human portrait; not obviously male or female, old or young, the figures resemble totems, statues, chess pieces or key holes. There is just enough information to suggest the Human figure, the characters come to represent The Everyone or The Nobody. A painting takes on its own personality, it becomes more than the sum of its parts. Like a Frankenstein’s monster it wakes up, it speaks for itself, it answers back.”

2018

Maunsell Fort, Shivering Sands is an original oil painting on canvas by landscape artist, Adrian Walker.

Oil on Canvas

2018

Size: 142x183cm

Price £5500

Signed by the artist.

“Maunsell Fort, Shivering Sands” celebrates the continuation of a long held fascination with the sea in all it’s infinite moods, which the artist has enjoyed concurrent to more overtly Norse based themes. This painting examines the fate of the noble structures left to rust away slowly far out at sea, some 14 miles from land. Maunsell forts, of which only a handful now remain, were designed as a first line of defence for the nation during WWII. Their 2-3 year tenure was brief although use was found for some of them as a base during the 60’s heyday of pirate radio. Sadly they have become too unsafe to visit any longer and eventually they will disappear altogether. This theme perfectly suits the strong sense of mystery which characterises many of the artist’s larger canvases.”

‘Pink Pearl’ is a stunning sculpture by contemporary artist Mark Beattie.

This original piece of art is made using pink neon & painted copper on an ash plinth.

With the neon works Mark Beattie hides the wires & the transformer for the light. Ensuring the viewer cannot see how it is being powered. All the copper is rolled by hand and made around the neon so each piece is unique.

The neon light compliments Mark Beattie’s sculptures, adding to the movement of a piece and catching the viewers eye.

2017

Sculpture

40x32x30cm

‘Love And Light’ is a striking Limited Edition Screen Print by contemporary artist, Dan Baldwin.

This piece of art is a signed limited edition screen print on Somerset Archive Cotton Rag Paper which comes from an edition of 50.

Dan Baldwin, described by Sir Alan Sugar as “one of the top five” artists in the country, uses his art to touch upon themes of love, philosophy, nostalgia, memory, innocence, life and death – universal themes in a constantly shifting climate. His work is spontaneous and energetic.

His work is collected by Sir Ronald Cohen, Bernie Ecclestone, Petra Ecclestone, Jake Chapman, Shepard Fairey, Chris Packham, Jo Whiley, Liam Howlett, Maxim, Holly Willoughby, Allison Mosshart, The Kills and Damien Hirst.  It is held in the permanent collections of The Groucho Club, The Wellington, Café Royal and House of St. Barnabas Club.

2018

Limited Edition

90x90cm

‘National Geographic’ is a Limited Edition Photograph from contemporary artist & photographer Mark Vessey

‘National Geographic’ is available in two edition sizes.

Size 92x80cm. Edition of 50

Size 126x110cm. Edition of 15

Both editions are signed & numbered by the artist on an additional certificate.

2018

Cotton Rag Photograph

‘Gobble Time’ is an original mixed media piece by pop artist Simon Kirk.

Simon Kirk’s art consists of layers of paint and collaged elements. He uses decollage techniques including cutting, tearing or sanding away parts of the built up surface image to reveal layers below.

His practice associates images and cut-up text that helps us view everyday life with fresh eyes.

“I am interested in narrative, specifically the ambiguous, subjective ‘hidden’ narrative where the story remains ambiguous and undeclared.” – Simon Kirk

Across his many styles of art, ranging from Fine Art Oil Paintings to Pop Art collage works, there is something for all tastes.

This piece is signed by the artist.

2018

Acrylic, Collage & Image Transfer

102x152cm

‘I Am Your Density’ is a stunning original painting from contemporary artist Adam Green.

This piece of original art is an acrylic painting on canvas.

“Painting is something that rules my everyday existence. An inescapably compulsive urge to work results in the marrying of the mundane and the domestic with dreams and images of the unattainable and the beautiful. Meditative detail-work lies on layers of thrown and trickled paint – a first chaos which is drawn into a cohesion by time-eked care and precision, hopefully resulting in a faint hum of both tension and mutual harmony between the two.

The overall result is a minutely hand-crafted pop art infused with a mysticism that works across planes, layers and unexpected depths and axes. Often, the familiar and the domestic verge on becoming objects of unknown power and meaning, with work that revels in processes and thrives on unthinking at itself and its audience”. – Adam Green

2018

Acrylic on Canvas

180x90cm

A limited edition screen print by Street Artist David Shillinglaw

‘Croutons Floating in Cosmic Soup (Red)’ is a stunning limited edition screen print showcasing David Shillinglaw’s signature use of symbols to tell a story.

This work is also available in red and blue special colour releases.

Limited Edition of 10.

“The first artists were storytellers. They would sit around the fire and they would tell stories to people. And when you tell a story to people you change their consciousness. That’s magic. Because the first successful storytellers were also able to record those stories, write them down and recount them sitting around a fire. Everyone is storytelling all the time. We tell stories to ourselves and other people. It’s that power of storytelling and the magic of changing people’s consciousness that got passed on to artists, musicians, poets, comedians, and that power keeps getting passed on through time and now the people who have that power are corporations and advertisers. Everyone is putting their Instagram story, their Facebook story, we’re all storytellers. That’s the future. We are all artists expressing ourselves. We have this need to express ourselves.”

2018

Screen Print on 300gsm Somerset Paper

50x70cm

A limited edition screen print by Street Artist David Shillinglaw

‘Croutons Floating in Cosmic Soup (Blue)’ is a stunning limited edition screen print showcasing David Shillinglaw’s signature use of symbols to tell a story.

This work is also available in red and blue special colour releases.

Limited Edition of 10.

“The first artists were storytellers. They would sit around the fire and they would tell stories to people. And when you tell a story to people you change their consciousness. That’s magic. Because the first successful storytellers were also able to record those stories, write them down and recount them sitting around a fire. Everyone is storytelling all the time. We tell stories to ourselves and other people. It’s that power of storytelling and the magic of changing people’s consciousness that got passed on to artists, musicians, poets, comedians, and that power keeps getting passed on through time and now the people who have that power are corporations and advertisers. Everyone is putting their Instagram story, their Facebook story, we’re all storytellers. That’s the future. We are all artists expressing ourselves. We have this need to express ourselves.”

2018

Screen Print on 300gsm Somerset Paper

50x70cm

‘Elvis Gun…Cheque – Gold’ is a stunning 2 colour Limited Edition Screen Print, from pop artist Russell Marshall.

This eye catching silkscreen art in black and gold featuring the King’s very own Colt Python pistol and the cheque he cashed to pay for it…

This print features the King of rock and roll’s very own Colt Python gun which has been arranged to form a butterfly motif, on top of a copy of Elvis Presley’s cheque, complete with his signature and fingerprints. From a limited edition of 75 this is an excellent chance to have a slice of Presley’s history for yourself.

Limited Edition Silkscreen with 24ct Gold Leaf on Birch Plywood

126x111cm

A limited edition photograph of Emma Hack’s installation work with body paint.

Emma Hack follows her theme of flora and fauna to camouflage the human body with realistic paintings of flowers merging into the background behind.

Emma Hack draws inspiration from around the world, from Australian flora and fauna to Oriental influences.

“You can feel my work, it’s not just aesthetically lovely, it has a meaning, is beautifully executed and presented.”

This piece is from Emma Hack’s Collection ‘Chinoiserie’.

Available in four sizes.

1/1 – An edition of 1
Size 155x110cm
Price £8200

Special Edition – An edition of 3
Size 145x103cm
Price £5500

Large – An Edition of 10
Size 125x90cm
Price £4500

Small – An Edition of 1o
Size 85x63cm
Price £3500

2016

Digital Print

A limited edition photograph of Emma Hack’s installation work with body paint.

Emma Hack follows her theme of flora and fauna to camouflage the human body with realistic paintings of flowers merging into the background behind.

Emma Hack draws inspiration from around the world, from Australian flora and fauna to Oriental influences.

“You can feel my work, it’s not just aesthetically lovely, it has a meaning, is beautifully executed and presented.”

This piece is from Emma Hack’s Collection ‘Flight of Fancy’.

Available in four sizes.

1/1 – An edition of 1
Size 150x110cm
Price £6750

Special Edition – An edition of 3
Size 140x104cm
Price £5500

Large – An Edition of 10
Size 120x90cm
Price £4500

Small – An Edition of 1o
Size 80x60cm
Price £3500

2018

Digital Print

A limited edition photograph of Emma Hack’s installation work with body paint.

Emma Hack follows her theme of flora and fauna to camouflage the human body with realistic paintings of flowers merging into the background behind.

Emma Hack draws inspiration from around the world, from Australian flora and fauna to Oriental influences.

“You can feel my work, it’s not just aesthetically lovely, it has a meaning, is beautifully executed and presented.”

This piece is from Emma Hack’s Collection ‘Flight of Fancy’.

Available in four sizes.

1/1 – An edition of 1
Size 150x110cm
Price £6750

Special Edition – An edition of 3
Size 140x104cm
Price £5500

Large – An Edition of 10
Size 120x90cm
Price £4500

Small – An Edition of 10
Size 80x60cm
Price £3500

2018

Digital Print

A limited edition silkscreen print with gold leaf, embossing and diamond dust by legendary pop artist, Sir Peter Blake.

‘American Trilogy (Cream and Gold Diamond Dust)’ is a striking print featuring three American Icons: The Stars and Stripes of the American flag, Elvis Presley and Coca Cola. This classic pop art image by Peter Blake explores the power of mass consumer products and popular culture, and America’s leadership in 1950s mass culture revolution.

As part of a set of three, all finished with gold or silver leaf, this print echoes the concept of mass production in the Pop Art tradition. The repetition of slightly varied imagery is reminiscent of the work of Andy Warhol, echoing the ‘sameness’ of mass production.

A Limited Edition Print 9/150

Image Size 62.5×83.5cm

Paper Size 76x99cm

2012

Limited Edition Silkscreen Print with Gold Leaf and Diamond Dust

A Limited Edition Hand painted Mixed Media Screen print by figurative artist Rosie Emerson.

An Edition of 10, all unique.

Rosie Emerson’s prints are hand painted and hand finished, making each one unique. Each print is signed and numbered by Rosie Emerson.

2018

Hand painted charcoal and bronze powder screen print on 300gsm somerset satin printmaking paper

55x75cm

A Limited Edition Hand painted Mixed Media Screen print by figurative artist Rosie Emerson.

An Edition of 20, all unique.

Rosie Emerson’s prints are hand painted and hand finished, making each one unique. Each print is signed and numbered by Rosie Emerson.

2018

Charcoal Powder Screenprint on 280gsm Printmaking Paper

35x100cm

A Limited Edition Hand painted Mixed Media Screen print by figurative artist Rosie Emerson.

A Limted Edition of 14, all unique.

Rosie Emerson’s prints are hand painted and hand finished, making each one unique. Each print is signed and numbered by Rosie Emerson.

2018

Hand painted charcoal and bronze powder screenprint on Bockingford 300 gsm paper

56x76cm

A Limited Edition Hand painted Mixed Media Screen print by figurative artist Rosie Emerson.

A Limited Edition of 14, all unique.

Rosie Emerson’s prints are hand painted and hand finished, making each one unique. Each print is signed and numbered by Rosie Emerson.

2018

Hand painted charcoal and bronze powder screenprint on Bockingford 300 gsm paper

56x76cm

“One Day The Sun Will Kill Us All” by Joe Webb

An Edition of 100

2018

9 Colour Screenprint with Black Diamond Dust Overlay on GF Smith Colourplan Black 570gsm Paper

88x63cm

“Building Blocks” is a Limited Edition by Joe Webb

An Edition of 100

2018

Silkscreen print on Naturalis Matt 330gsm paper

50x64cm

“Transmission” is a limited Edition Silkscreen by Joe Webb

An Edition of 100

2018

Silkscreen print with Black Diamond Dust on Naturalis Matt 330gsm paper

50x64cm

An original artwork on found wood by graphic artist Lily Mixe.

The work of artist Lily Mixe is inspired by nature, in particular the ocean. Through her paintings and collage she is giving nature a voice and encouraging people to reconnect to the planet. To respect and show awareness to the natural world.

This painting is presented in a plywood box frame.

2017

Gouache & Ink on Plywood

86 x 86 cm

‘Red Scarf’ is a stunning bronze sculpture from artist Carol Peace.

Carol Peace first draws her subject, then models it in clay before casting the final product from a mould.

Peace often incorporates plants and animals in her work and says she’s inspired by humanity’s relationship with nature. “I want to encourage people to think, we’ve taken a lot from nature and maybe we need to give a bit back.”

 

Limited Edition of 14

155Hx100Wx46D cm

‘Falling II’ is a stunning Limited Edition Original Silkscreen print, from abstract artist Charlotte Cornish.

The main theme of Charlotte Cornish’s work is the nature of human experience. Creating tensions and harmonies through colour and form, Charlotte Cornish aims to communicate a sense of what it feels like to be alive.

Charlotte Cornish striking abstract art prints are all Limited Edition Original Prints. Each print has been made from a series of her own hand painted stencils, one for each colour printed. The resulting image exists only in its printed form, meaning there is no ‘original’ from which the print has been copied. Charlotte Cornish makes prints using a range of printmaking techniques, mainly screen printing, but also etching.

Limited Edition Original Print of 125

54x76cm