Pond invisor plants
'Pepsi on the Technicolour Sofa', Virginia Cayzer, Oil on linen, 60 x 60 cm 'Thistledown', Vivienne Rew, Waterbased medium on paper, 63 x 89 cm 'Spring', Antoinette Favre Bonvin, Oil pastel and aquarelle pigment, 106.5 cm x 67 cm 'Opulence', Andy Allen, Oil on canvas, 125 x 125 x 4 cm 'Domestic Bliss 2020', Phillip Reeves, Oil on aluminium panel, 80 x 110 cm 'Obedient Dog', Andrew McKay, Acrylic, ink and graphite on panel, 61 x 46 cm
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'Marnixstraat (An Unexpected Gift)', Amelia Schutter, Oil on canvas, 60 x 80 cm Day 5.', Stuart Pearce, Oils on acrylic ground, 51 x 51 cm
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'Unquilted', Catherine Lette, Acrylic on canvas, 90 x 90 cm 'Tree of Witness', Denise Howard, CPSA, CPX, UKCPS, MPAS, Coloured pencil on paper, 50.8 x 38.1 cm 'Ascension', Ludvig Sjödin, Oil on plywood, 41 x 31 cm 'Waiting', Bianca MacCall, Acrylic on board, 41 x 30 cm 'Sara', Mantas Poderys, Pastels on paper, 30 x 60 cm 'Quiet Summer', Robbie O'Keeffe, Oil on wood, 22.5 x 30 cm 'Incidental', Jill Tate, Oil on canvas, 51 x 61 cm 'Xinzi Song, Qinhangdao, China', Catherine Knight, Gouache on watercolour paper, 14 x 21 cm 'Desire & Longing 20', Sue Williams A'Court, Graphite mixed media on linen canvas, 180 x 180 cm For me painting is an ongoing conversation between past and present, an exploration of new forms from old imagery and narratives. I think of painting as a time based medium, layers of paint are like timelines on a tree, each holding memories of marks and integral to the finished piece. Flowers are Memento Mori, they remind us of the ephemeral, fleeting nature of life. As the painting evolves I add and remove paint and turn the canvas to destabilise my process.Īn interest in the passing of time is central to my work. Evidence of each layer is visible, revealing the painting’s journey. Compositional tensions arise through gestural marks juxtaposed next to carefully painted lines. My desire to respond to the memory is eventually abandoned as intuition and spontaneity take over from linear rational thinking and the work writes its own narrative in the layers of paint and marks. I paint from memory, working directly onto the canvas.
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These memories are translated into a contemporary pictorial language, linked through expressive colour, gesture and form. ‘After Rachel I’ is a response to memories of works by Dutch 17th Century Still Life painter Rachel Ruysch.