Under £500
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2022 'Daisy Blush' is a limited edition giclee print available in two sizes:
Large - 66 x 68cms, unframed - Edition of 20, signed and numbered
XL - 96 x 98cms - Unframed - Edition of 10, signe and nubmered
Embellished print 66 x 68cms, unframed, hand embelished with pens, spray and acrylic, giving areas of 3D texture. (A bit of a cross between an original and a print) . signed and numbered.
Embellished print 96 x 98cms, unframed, hand embelished with pens, spray and acrylic, giving areas of 3D texture. (A bit of a cross between an original and a print) . signed and numbered.
Lee’s contemporary abstract paintings are colourful, textured and full of movement. Aiming to change the perception of somewhat dated subjects and injecting them with an urban twist. He allows bold, intuitive marks to clash and merge in perfect harmony. Viewers are invited to explore negative spaces and eye-popping shades of colour.
2018, limited edition print, artwork 60x60cm, (actual paper size 66x68cm - 3cm border left, right and top, 5cm border bottom, unframed. Edition of 20, signed, numbered and embossed.
Lee's fantastic abstracted landscape limited edition print is inspired by memories of rail journeys up and down the UK.
2018 digital collage print, 40x60cm, limited edition of 25, unframed
Fei is interested in creating utopian microcosms and parallel universes.
She says 'I like to bring a touch of surrealism to everyday life and create a dialogue between fiction and reality, to make collages that manufacture their own reality. It can be considered as an escape from our own reality'.
'I am personally attracted a lot by pink. I think it’s very powerful and provocative colour. It carries a lot of conflict as well. There are all these stereotypes in modern western culture associated with pink, it seems like at some point in the 40s femininity got wrapped in pink. So pink ended it up considered a 'girly' colour. But what 'girly' even means in today's society? Anyway, I love pink and try to embrace it'.
Giclee print on Hahnemühle paper, 70x70cm unframed
Fei is interested in creating utopian microcosms and parallel universes.
She says 'I like to bring a touch of surrealism to everyday life and create a dialogue between fiction and reality, to make collages that manufacture their own reality. It can be considered as an escape from our own reality'.
'I am personally attracted a lot by pink. I think it’s very powerful and provocative colour. It carries a lot of conflict as well. There are all these stereotypes in modern western culture associated with pink, it seems like at some point in the 40s femininity got wrapped in pink. So pink ended it up considered a 'girly' colour. But what 'girly' even means in today's society? Anyway, I love pink and try to embrace it'.
No Bad Days is one of my latest works. Volcano explosion and neon positive signs create a surreal scenery full of contrast.
Giclee print on Hahnemühle paper, 50x40cm unframed
Fei is interested in creating utopian microcosms and parallel universes.
She says 'I like to bring a touch of surrealism to everyday life and create a dialogue between fiction and reality, to make collages that manufacture their own reality. It can be considered as an escape from our own reality'.
Marilyn Monroe was considered one of the most beautiful woman of the world, and for that she was greatly objectified. She had a dark side that no one knew about. The moon that covers half her face represents her darkness.
Giclee print on Hahnemühle paper, 40x60cm unframed
Fei is interested in creating utopian microcosms and parallel universes.
She says 'I like to bring a touch of surrealism to everyday life and create a dialogue between fiction and reality, to make collages that manufacture their own reality. It can be considered as an escape from our own reality'.
'I am personally attracted a lot by pink. I think it’s very powerful and provocative colour. It carries a lot of conflict as well. There are all these stereotypes in modern western culture associated with pink, it seems like at some point in the 40s femininity got wrapped in pink. So pink ended it up considered a 'girly' colour. But what 'girly' even means in today's society? Anyway, I love pink and try to embrace it'.
Giclee print on Hahnemühle paper, 50x70cm unframed
Fei is interested in creating utopian microcosms and parallel universes.
She says 'I like to bring a touch of surrealism to everyday life and create a dialogue between fiction and reality, to make collages that manufacture their own reality. It can be considered as an escape from our own reality'.
'I am personally attracted a lot by pink. I think it’s very powerful and provocative colour. It carries a lot of conflict as well. There are all these stereotypes in modern western culture associated with pink, it seems like at some point in the 40s femininity got wrapped in pink. So pink ended it up considered a 'girly' colour. But what 'girly' even means in today's society? Anyway, I love pink and try to embrace it'.
Giclee print on Hahnemühle paper, 40x60cm unframed
Fei is interested in creating utopian microcosms and parallel universes.
She says 'I like to bring a touch of surrealism to everyday life and create a dialogue between fiction and reality, to make collages that manufacture their own reality. It can be considered as an escape from our own reality'.
'I am personally attracted a lot by pink. I think it’s very powerful and provocative colour. It carries a lot of conflict as well. There are all these stereotypes in modern western culture associated with pink, it seems like at some point in the 40s femininity got wrapped in pink. So pink ended it up considered a 'girly' colour. But what 'girly' even means in today's society? Anyway, I love pink and try to embrace it'.
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Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum id ligula porta felis euismod semper.
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C-type print, 50x50cm, 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.
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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.
2021 acrylic and mixed media on raw canvas 125x165cm, unframed, ready to hang
Anna’s work delves into the importance of negative space and the Zen philosophy "Ma" - the spatial relationship between structural elements.
Her paintings and drawings incorporate Shibumi principles; a complex process not evident in the outcome, creating works of unobtrusive beauty.
Beginning by referencing tangible elements from nature, after careful observation Anna strips away all but the non-essential, working with gestural marks and elemental colour to capture the essence of the subject. This redaction of the superfluous encourages the observer to slow down and appreciate the tranquillity of the work.
Anna’s interpretation of Minimalism also incorporates influences from Abstract Expressionism, mid-century Abstraction and Japanese calligraphy with an inclinationtowards Constructivism.
2021 acrylic and mixed media on raw canvas 125x75cm, framed, ready to hang
Anna’s work delves into the importance of negative space and the Zen philosophy "Ma" - the spatial relationship between structural elements.
Her paintings and drawings incorporate Shibumi principles; a complex process not evident in the outcome, creating works of unobtrusive beauty.
Beginning by referencing tangible elements from nature, after careful observation Anna strips away all but the non-essential, working with gestural marks and elemental colour to capture the essence of the subject. This redaction of the superfluous encourages the observer to slow down and appreciate the tranquillity of the work.
Anna’s interpretation of Minimalism also incorporates influences from Abstract Expressionism, mid-century Abstraction and Japanese calligraphy with an inclinationtowards Constructivism.
2021 acrylic and mixed media on raw canvas 125x165cm, unframed, ready to hang
Anna’s work delves into the importance of negative space and the Zen philosophy "Ma" - the spatial relationship between structural elements.
Her paintings and drawings incorporate Shibumi principles; a complex process not evident in the outcome, creating works of unobtrusive beauty.
Beginning by referencing tangible elements from nature, after careful observation Anna strips away all but the non-essential, working with gestural marks and elemental colour to capture the essence of the subject. This redaction of the superfluous encourages the observer to slow down and appreciate the tranquillity of the work.
Anna’s interpretation of Minimalism also incorporates influences from Abstract Expressionism, mid-century Abstraction and Japanese calligraphy with an inclinationtowards Constructivism.
2021 acrylic and mixed media on raw canvas 125x75cm, framed, ready to hang
Anna’s work delves into the importance of negative space and the Zen philosophy "Ma" - the spatial relationship between structural elements.
Her paintings and drawings incorporate Shibumi principles; a complex process not evident in the outcome, creating works of unobtrusive beauty.
Beginning by referencing tangible elements from nature, after careful observation Anna strips away all but the non-essential, working with gestural marks and elemental colour to capture the essence of the subject. This redaction of the superfluous encourages the observer to slow down and appreciate the tranquillity of the work.
Anna’s interpretation of Minimalism also incorporates influences from Abstract Expressionism, mid-century Abstraction and Japanese calligraphy with an inclinationtowards Constructivism.
Sed purus sem, scelerisque ac rhoncus eget, porttitor nec odio. Lorem ipsum dolor sit amet.
Vivamus pellentesque vitae neque at vestibulum. Donec efficitur mollis dui vel pharetra.
Praesent id libero id metus varius consectetur ac eget diam. Nulla felis nunc, consequat laoreet lacus id.
Donec id justo non metus auctor commodo ut quis enim. Mauris fringilla dolor vel condimentum imperdiet.
Commodo cursus magna, vel scelerisque nisl consectetur et. Donec id elit non mi porta gravida at eget metus.
Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum id ligula porta felis euismod semper.
Sed purus sem, scelerisque ac rhoncus eget, porttitor nec odio. Lorem ipsum dolor sit amet.
Vivamus pellentesque vitae neque at vestibulum. Donec efficitur mollis dui vel pharetra.
2020 powder coated steel 95x45x40cm (HWD)
Gareth's sculptures are based on American west coast architecture called Googie. Googie architecture was born of the post-WWII car-culture and thrived in the 1950s and 1960s. Features of this style of architecture include upswept roofs, curvaceous, geometric shapes and bold use of steel and colour.
2020 powder coated steel 40x80x40cm (HWD)
Gareth's sculptures are based on American west coast architecture called Googie. Googie architecture was born of the post-WWII car-culture and thrived in the 1950s and 1960s. Features of this style of architecture include upswept roofs, curvaceous, geometric shapes and bold use of steel and colour.
2020 powder coated steel 50x33x7cm (HWD)
Gareth's sculptures are based on American west coast architecture called Googie. Googie architecture was born of the post-WWII car-culture and thrived in the 1950s and 1960s. Features of this style of architecture include upswept roofs, curvaceous, geometric shapes and bold use of steel and colour.
2020 powder coated stainless steel 60x60x50cm (HWD)
Gareth's sculptures are based on American west coast architecture called Googie. Googie architecture was born of the post-WWII car-culture and thrived in the 1950s and 1960s. Features of this style of architecture include upswept roofs, curvaceous, geometric shapes and bold use of steel and colour.
2017 Painted stainless steel, 20x60x10cm
This wall mounted sculpture was inspired by surfing and waves, and each piece created is named after a wave or a beach. In this case it is Papara in Tahiti.
Gareth's sculptures are based on American west coast architecture called Googie. Googie architecture was born of the post-WWII car-culture and thrived in the 1950s and 1960s. Features of this style of architecture include upswept roofs, curvaceous, geometric shapes and bold use of steel and colour.
Powdered coated aluminium, 55x40x30cm
These Sculptures are based on American west coast architecture called Googie. Googie architecture was born of the post-WWII car-culture and thrived in the 1950s and 1960s. Features of this style of architecture include upswept roofs, curvaceous, geometric shapes and bold use of glass, steel and colour.
2017 Painted steel, 78x41x28cm
Gareth has created a series of work inspired by surfing and waves, and each piece created is named after a wave or a beach. In this case it is Kalk Bay in South Africa.
Gareth's sculptures are based on American west coast architecture called Googie. Googie architecture was born of the post-WWII car-culture and thrived in the 1950s and 1960s. Features of this style of architecture include upswept roofs, curvaceous, geometric shapes and bold use of steel and colour.
2020 Corten steel 90x40x40cm (HWD)
Gareth's sculptures are based on American west coast architecture called Googie. Googie architecture was born of the post-WWII car-culture and thrived in the 1950s and 1960s. Features of this style of architecture include upswept roofs, curvaceous, geometric shapes and bold use of steel and colour.
2020 Corten Steel 170x50x40cm (HWD)
Gareth's sculptures are based on American west coast architecture called Googie. Googie architecture was born of the post-WWII car-culture and thrived in the 1950s and 1960s. Features of this style of architecture include upswept roofs, curvaceous, geometric shapes and bold use of steel and colour.
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 on natural linen canvas 30x30cm. Unframed, ready to hang.
Exploration of the play between black and white, how they relate to one another within the picture plane.
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 and acrylic on canvas 30x30cm. unframed, ready to hang.
Exploration of a particular calligraphic gesture within a tight format
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 and copper leaf on natural linen canvas 30x30cm. Unframed, ready to hang.
An excavation, a recollection from long ago. Its original meaning may have been lost forever, opening up space for reflection.
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.
6 colour screen print on plywood, 90x60cm, Edition of 9
A 6 colour screen print, on spray painted plywood of the pagoda at the Kiyomizu-dera temple in Kyoto's Old Town.