Under £1,000

2022 Unique Varied Edition of 30 hand printed artworks on Vintage Brighton And Hove Monopoly Board. Hand finished with pink glitter, acrylic pens and oils. 50.5x50.5 unframed, 62x62cm framed in white, ready to hang

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

2022 Unique Varied Edition of 30 hand printed artworks on Vintage London Monopoly Board. Hand finished with pink glitter, acrylic pens and oils. 50.5x50.5 unframed, 62x62cm framed in white, ready to hang

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

2022 Hand pulled screen print with copper leaf finished with acrylic paint pen and ink. Printed on archival museum Board. Unframed 70x70cm, Framed 82x82cm. Varied edition of 19

This latest body of work by the urban landscape artist Jayson Lilley is an exciting development from the pursuit of perfection which sees him embrace the unexpected and unplanned as he allows the materials to take the centre stage of these dynamic cityscapes. The loose marks sit in contrast to this round lens, which seems to hold them at the precipice between freedom and constraint; a reflection of a conflicted existence that has been compounded by the COVID-19 pandemic and associated anxieties centred on our vibrant cities.

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

2022 Hand pulled screen print with platinumleaf finished with acrylic paint pen and ink. Printed on archival museum Board. Unframed 70x70cm, Framed 82x82cm. Varied edition of 19

This latest body of work by the urban landscape artist Jayson Lilley is an exciting development from the pursuit of perfection which sees him embrace the unexpected and unplanned as he allows the materials to take the centre stage of these dynamic cityscapes. The loose marks sit in contrast to this round lens, which seems to hold them at the precipice between freedom and constraint; a reflection of a conflicted existence that has been compounded by the COVID-19 pandemic and associated anxieties centred on our vibrant cities.

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

2022 Hand pulled screen print with gold leaf finished with acrylic paint pen and ink. Printed on archival museum Board. Unframed 70x70cm, Framed 82x82cm. Varied edition of 19

This latest body of work by the urban landscape artist Jayson Lilley is an exciting development from the pursuit of perfection which sees him embrace the unexpected and unplanned as he allows the materials to take the centre stage of these dynamic cityscapes. The loose marks sit in contrast to this round lens, which seems to hold them at the precipice between freedom and constraint; a reflection of a conflicted existence that has been compounded by the COVID-19 pandemic and associated anxieties centred on our vibrant cities.

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

2022 Hand pulled screen print with gold leaf finished with acrylic paint pen and ink. Printed on archival museum Board. Unframed 107x48cm, Framed 108x60cm Varied Edition of 39

n From Waterloo Bridge Lilley depicts Blackfriars Bridge, surrounded by London landmarks, St Paul's Cathedral, the Oxo Tower and The Shard.

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

2022 Hand pulled screen print with gold leaf finished with acrylic paint pen and ink. Printed on archival museum Board. Unframed 107x48cm, Framed 118x50cm. Varied edition of 10

From Waterloo Bridge is a silkscreen print finished with gold leaf and ink. The piece portrays the River Thames and the iconic landmarks that overlook it, including St Paul's Cathedral, Blackfriars Bridge and Canary Wharf.

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

2022 Hand pulled screen print with gold leaf finished with acrylic paint pen and ink. Printed on archival museum Board. Unframed 65x65cm, Framed 75x75cm. Varied edition of 20

In Square Mile II, Lilley depicts the skyline of the City of London, capturing the majesty of landmark buildings The Shard, The Walkie Talkie and The Gherkin.

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

Limited Edition hand pulled Screen print with silver leaf and ink, 107x48cm unframed, 117x58cm framed. Edition of 39, printed on archival board

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

Limited Edition hand pulled Screen print with gold leaf and ink, 107x48cm unframed, 117x58cm framed. Edition of 39, printed on archival board

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

2022 Hand pulled screen print with gold leaf finished with acrylic paint pen and ink. Printed on archival museum Board. Unframed 84x84cm, Framed 94x94cm Varied Edition of 39

Looking at Canary Wharf depicts the skyscrapers of London's central business district, illuminated by a vast golden sky.

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

Limited Edition hand pulled Screen print with gold leaf and ink, 85x85cm unframed, 97x97cm framed. Edition of 39, printed on archival board

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

Varied Limited Edition hand pulled Screen print with gold leaf and ink, finished with acrylic paint pen and ink. Printed on archival museum Board 85x85cm unframed, 97x97cm framed. Varied Edition of 39

From the Horniman II is a silkscreen print, finished with gold leaf and ink. It depicts the impressive view of the city from the South London museum, and features The Shard, The Leadenhall Building and The Walkie Talkie.

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

Limited Edition hand pulled Screen print with gold leaf and ink, 107x48cm unframed, 117x58cm framed. Edition of 39, printed on archival board

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

Varied Limited Edition hand pulled Screen print with gold leaf and ink, finished with acrylic paint pen and ink. Printed on archival museum Board 85x85cm unframed, 97x97cm framed. Varied Edition of 39

From Primrose Hill II is a silkscreen print, finished with gold leaf and ink. The image features the view of London's skyline from the famous North London park, set against an expansive golden sky.

Jayson's vibrant artworks are inspired by London's architectural landscape, using his signature bold colours and illustrative approach.

2020 Acrylic & mixed media on circular canvas, 60x60cmx1.6cm, ready to hang

Corinne Natel creates bright, expressive, abstract paintings investigating colour, form, space and texture.

Acrylic & mixed media on canvas, 76x76cm

Flame Dance is a bold abstract fluid painting with flowing dancing colours of vibrant dramatic reds and oranges with gold sparkling elements.

Corinne Natel creates bright, expressive, abstract paintings investigating colour, form, space and texture.

2020, Acrylic & mixed media on canvas, 61x61x3.7cm,unframed, ready to hang

Corinne Natel creates bright, expressive, abstract paintings investigating colour, form, space and texture.

2018, Oil on canvas,50x43cm

Abigail Lipski's beautiful artworks of invented landscapes and interiors are inspired by childhood daydreams.

2018, Oil on canvas, 60x50x3cm

Abigail Lipski's beautiful artworks of invented landscapes and interiors are inspired by childhood daydreams.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

`Only in death do most animals pause long enough for our analytical minds to torture some truths out of them` - Stephen Asma, Stuffed Animals and Pickled Heads

Taxidermy and photography both allow energy and stillness to coexist.

In the 21st century there is a changing relationship with animals. No longer do we hunt an animal, stuff it and place it on show. The production process of collection, display and taxonomy has largely become defunct due to evolving environmental attitudes and perceptions. Our wider perspective of natural history, offered to us by film, photography and travel, questions and re-orientates a new way of considering animals outside the confines of the old systems of order. `The Quickening` is pieced together from specimens and taxidermy photographed from various Natural History museums across the country, re-activating these objects and giving them a new purpose.

`The Quickening` renegotiates the ideologies of the Natural History Museum and the cataloguing of the natural world, exploring the current understanding of nature compared with the British exploration and collecting of the nineteenth century. By no longer looking at taxidermy or specimens through the eyes of “Natural History”, this project realises that, in an increasingly endangered natural environment, the further we move away from nature, the closer we want to be.

C-type print, 100x100cm, edition of 15

In theory some lichens are immortal, their lives are often measured in hundreds rather than tens of years. Lichen are not individual organisms but part of a symbiotic colony of fungus and algae or cyanobacteria and researchers suspect that the fungus part does not age.

It is believed that one of the causes of ageing in animals could be related to genetic mutations building up as fertility begins to taper off or because the traits that make us reproductively successful may also be slowly killing us. If scientists can figure out how lichen and fungi get around ageing there could be huge implications for human medicine and the ageing process.

There are 17 species of Lichen in this image and 17 is known as the god number, the immortal number.

C-type print, 100x100cm, edition of 15

Plant Hunter is 6 days of photographs taken over a period of two weeks exploring the decay of a single flower. I have photographed every letter of the alphabet in a 156 images taken over 52 weeks spanning a year and a half.

It is about the various contortions and unexpected movements of the flowers in their decomposition and an observation of the varying degree and speed of this process in each flower, over time, exposing a secret world. This is the first image.

C-type print, 100x100cm, edition of 15

The central point of a Mandala is the space within which the viewer can identify themselves, in the centre of the circle is the highest deity or abstract concept. By placing a dead animal in that centre there is a possibility to shake some individuals perception of themselves and their whole, instinctively at a sub-conscious level. Something could be understood and revealed in that experience of the unfolding pattern. As the Mandala is an integral part of our collective consciousness that is shared by every person who ever lived. The varying reactions to my work make me believe that people are now so far removed from the cycles of the living world that they either fear that unknown exponentially or crave intimate knowledge of it and seek a return to a stronger connection with the natural cosmos. In some ways my work is exploring this disorder and departure from nature. I believe that our wholeness with the natural world around us is broken and by looking at the Mandala we can open our minds to what it actually means to be a human, as part of a natural environment, at this time in our history.

C-type print, 100x100cm, edition of 15

The central point of a Mandala is the space within which the viewer can identify themselves, in the centre of the circle is the highest deity or abstract concept. By placing a dead animal in that centre there is a possibility to shake some individuals perception of themselves and their whole, instinctively at a sub-conscious level. Something could be understood and revealed in that experience of the unfolding pattern. As the Mandala is an integral part of our collective consciousness that is shared by every person who ever lived. The varying reactions to my work make me believe that people are now so far removed from the cycles of the living world that they either fear that unknown exponentially or crave intimate knowledge of it and seek a return to a stronger connection with the natural cosmos. In some ways my work is exploring this disorder and departure from nature. I believe that our wholeness with the natural world around us is broken and by looking at the Mandala we can open our minds to what it actually means to be a human, as part of a natural environment, at this time in our history.

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.