Over £2,000
2022 Polymer coating, silk and oil on canvas, 100x100, framed, ready to hang.
Fintan Whelan's method of painting is characterised by an immediacy of process and an urgency of vision, which he has been developing over several years. Despite the appearance of serendipity, Fintan's technique involves constant assessment, measurement and exploration of pigments and their configurations, combined with varnishes, oils and a variety of materials.
2020 Polymer coating, silk and oil on canvas, 100x100, framed, ready to hang.
Fintan Whelan's method of painting is characterised by an immediacy of process and an urgency of vision, which he has been developing over several years. Despite the appearance of serendipity, Fintan's technique involves constant assessment, measurement and exploration of pigments and their configurations, combined with varnishes, oils and a variety of materials.
2022 Polymer coating, silk and oil on canvas, 100x100, framed, ready to hang.
Fintan Whelan's method of painting is characterised by an immediacy of process and an urgency of vision, which he has been developing over several years. Despite the appearance of serendipity, Fintan's technique involves constant assessment, measurement and exploration of pigments and their configurations, combined with varnishes, oils and a variety of materials.
2019 Polymer coating, silk and oil on canvas, 100x100x2cm, framed in a white aluminium floating frame, ready to hang.
Fintan Whelan's method of painting is characterised by an immediacy of process and an urgency of vision, which he has been developing over several years. Despite the appearance of serendipity, Fintan's technique involves constant assessment, measurement and exploration of pigments and their configurations, combined with varnishes, oils and a variety of materials.
2020 Polymer coating, silk and oil on canvas, 100x100, framed, ready to hang.
Fintan Whelan's method of painting is characterised by an immediacy of process and an urgency of vision, which he has been developing over several years. Despite the appearance of serendipity, Fintan's technique involves constant assessment, measurement and exploration of pigments and their configurations, combined with varnishes, oils and a variety of materials.
2022 Polymer coating and oil on canvas, 200x100cm, unframed, ready to hang.
Fintan Whelan's method of painting is characterised by an immediacy of process and an urgency of vision, which he has been developing over several years. Despite the appearance of serendipity, Fintan's technique involves constant assessment, measurement and exploration of pigments and their configurations, combined with varnishes, oils and a variety of materials.
2020 Polymer coating and oil on canvas, 160x100cm, unframed, ready to hang.
Fintan Whelan's method of painting is characterised by an immediacy of process and an urgency of vision, which he has been developing over several years. Despite the appearance of serendipity, Fintan's technique involves constant assessment, measurement and exploration of pigments and their configurations, combined with varnishes, oils and a variety of materials.
2020 Painted copper on a burnt plinth, 65x40x45cm
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
2018 Gold and nickel plated copper, 80x80x8cm
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
2020 Painted copper on a burnt plinth, 68x45x45cm
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
2019 24ct gold plated and nickel plated copper on painted steel backing, 80x80x8cm. Ready to hang.
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
2018 24ct gold plated, nickel plated copper and 60 year old reclaimed Acacia wood, 55x50x45cm
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
Weathered and polished copper on sycamore base, 55x40x40cm
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
Gold Plated and Painted Copper, 65x65x5cm
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
Weathered copper, 65x65x5cm
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
Turquoise Neon, painted copper and steel backing, 60x60x15cm
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
Weathered copper, 50x50x5cm
Mark Beattie's work is inspired by his travels; he draws on the experiences of different countries and cultures and a feeling of displacement and separation that comes with travelling. Working with various metals in all their contrasting properties of texture and finish, Mark enjoys the challenge of making the industrious material appear fluid, malleable and delicate.
2022 Acrylic paint on wood panel 120x120cm, unframed, ready to hang
Colin's art is inspired by the collective experience of contemporary living. City life is filled with an array of imagery; from airport and train station digital monitors to pixilated television and computer screens in the home; city landscapes lit up at night; supermarket shopping aisles and their myriad of packaging, lighting and random colour combinations.
Colin is fascinated by this imagery and combines aspects of this reality to create an equivalent visual experience. The relationship between urban living and all its technology is a recurring theme and influence in his work.
2022 Acrylic paint on wood panel 70cm, circular, unframed, ready to hang
Colin's art is inspired by the collective experience of contemporary living. City life is filled with an array of imagery; from airport and train station digital monitors to pixilated television and computer screens in the home; city landscapes lit up at night; supermarket shopping aisles and their myriad of packaging, lighting and random colour combinations.
Colin is fascinated by this imagery and combines aspects of this reality to create an equivalent visual experience. The relationship between urban living and all its technology is a recurring theme and influence in his work.
2022 Acrylic paint on wood panel 100x100cm, unframed, ready to hang
Colin's art is inspired by the collective experience of contemporary living. City life is filled with an array of imagery; from airport and train station digital monitors to pixilated television and computer screens in the home; city landscapes lit up at night; supermarket shopping aisles and their myriad of packaging, lighting and random colour combinations.
Colin is fascinated by this imagery and combines aspects of this reality to create an equivalent visual experience. The relationship between urban living and all its technology is a recurring theme and influence in his work.
2022 Acrylic paint on wood panel 70x70cm, framed, ready to hang
Colin's art is inspired by the collective experience of contemporary living. City life is filled with an array of imagery; from airport and train station digital monitors to pixilated television and computer screens in the home; city landscapes lit up at night; supermarket shopping aisles and their myriad of packaging, lighting and random colour combinations.
Colin is fascinated by this imagery and combines aspects of this reality to create an equivalent visual experience. The relationship between urban living and all its technology is a recurring theme and influence in his work.
2022 Acrylic paint on wood panel 70cm, circular, unframed, ready to hang
Colin's art is inspired by the collective experience of contemporary living. City life is filled with an array of imagery; from airport and train station digital monitors to pixilated television and computer screens in the home; city landscapes lit up at night; supermarket shopping aisles and their myriad of packaging, lighting and random colour combinations.
Colin is fascinated by this imagery and combines aspects of this reality to create an equivalent visual experience. The relationship between urban living and all its technology is a recurring theme and influence in his work.
2022 Acrylic paint on wood panel 70cm, circular, unframed, ready to hang
Colin's art is inspired by the collective experience of contemporary living. City life is filled with an array of imagery; from airport and train station digital monitors to pixilated television and computer screens in the home; city landscapes lit up at night; supermarket shopping aisles and their myriad of packaging, lighting and random colour combinations.
Colin is fascinated by this imagery and combines aspects of this reality to create an equivalent visual experience. The relationship between urban living and all its technology is a recurring theme and influence in his work.
Acrylic and spray paint on canvas 70x70cm, unframd, ready to hang
Colin's art is inspired by the collective experience of contemporary living. City life is filled with an array of imagery; from airport and train station digital monitors to pixilated television and computer screens in the home; city landscapes lit up at night; supermarket shopping aisles and their myriad of packaging, lighting and random colour combinations.
Colin is fascinated by this imagery and combines aspects of this reality to create an equivalent visual experience. The relationship between urban living and all its technology is a recurring theme and influence in his work.
2022 Acrylic paint on wood panel 43x33cm, framed, ready to hang
Colin's art is inspired by the collective experience of contemporary living. City life is filled with an array of imagery; from airport and train station digital monitors to pixilated television and computer screens in the home; city landscapes lit up at night; supermarket shopping aisles and their myriad of packaging, lighting and random colour combinations.
Colin is fascinated by this imagery and combines aspects of this reality to create an equivalent visual experience. The relationship between urban living and all its technology is a recurring theme and influence in his work.
Gesso, acrylic and copper leaf on canvas 100x100cm. Unframed, ready to hang.
A reflection on the circular mark-making gesture. A painting to slow down to.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
The Zen circle is a key element in her visual vocabulary which she returns to repeatedly. Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
2022 gesso, ink and varnish on on canvas 86.5x173cm. unframed, ready to hang, 2 canvases.
The initial inspiration for this diptych (2 canvases) was the response to early morning thoughts in February. Using calligraphic gesture to work through the emotions at that time.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
Gesso, acrylic and copper leaf on canvas 100x100cm. Unframed, ready to hang.
A reflection on the circular mark-making gesture. A painting to slow down to.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
The Zen circle is a key element in her visual vocabulary which she returns to repeatedly. Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
Acrylic Ink and gesso, on natural linen canvas 102x200cm. Unframed, ready to hang. (3 canvases)
This triptych (3 canvases) 3 panels are from a study of musical rehearsals where Marin Alsop communicates with the BBC Symphony Orchestra through gesture, originally developed from sketchbook drawings.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
Gesso, acrylic ink and copper leaf on natural linen canvas 102x102cm. Unframed, ready to hang.
Contrast between the still, precisely painted Bi disc and the energy of circular gesture, the brush never touching the canvas. These marks then gilded in copper leaf.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
The Zen circle is a key element in her visual vocabulary which she returns to repeatedly. Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
Acrylic Ink and gesso, on natural linen canvas 102x200cm. Unframed, ready to hang.
This triptych (3 canvases) 3 panels were painted during a crashing storm, it is frenzied movement, both physical and metaphorical.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
Gesso, acrylic ink on natural linen canvas 102x102cm. Unframed, ready to hang.
Exploring the dynamism of circular gesture, the gesso spilling out from the speed of movement, giving an additional dimension of time.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
The Zen circle is a key element in her visual vocabulary which she returns to repeatedly. Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
Gesso, acrylic ink on natural linen canvas 102x102cm. Unframed, ready to hang.
Contrast between the still, precisely painted Bi disc and the energy of a circular gesture, the gesso-loaded brush never touching the canvas.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
The Zen circle is a key element in her visual vocabulary which she returns to repeatedly. Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
Gesso, acrylic ink on natural linen canvas 102x102cm.Unframed, ready to hang.
A reflection on the circular mark-making gesture. A painting to slow down to.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
The Zen circle is a key element in her visual vocabulary which she returns to repeatedly. Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
Gesso, acrylic ink on natural linen canvas 102x102cm. Ready to hang.
Exploring the dynamism of circular gesture, the gesso and ink spilling out from the speed of movement, giving the additional dimension of time.
Caroline uses the expressive and gestural quality of brush, gesso and ink with gilding and piercing in her explorations into the fluid and fugitive nature of memory, bearing witness to the passage of time. Some pieces can appear almost archaeological, surviving fragments from an unknown past.
The Zen circle is a key element in her visual vocabulary which she returns to repeatedly. Chance is an important element of the creative, meditative process with unpredictability playing its ever-present role as in life. She works with her materials on the knife-edge of control; once a mark has been made it cannot be taken back and the interplay between materials is itself a fascination.
Her aim is to create contemplative yet celebratory pieces, giving the viewer time for quiet reflection in today’s busy and sensorially bombarded world.
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2019 Polymer coating and oil on canvas, 120x120cm, unframed, ready to hang.
Fintan Whelan's method of painting is characterised by an immediacy of process and an urgency of vision, which he has been developing over several years. Despite the appearance of serendipity, Fintan's technique involves constant assessment, measurement and exploration of pigments and their configurations, combined with varnishes, oils and a variety of materials.