Timothy Powell, Layered Nature Silver No.2 3D Sculpture / Upholstery, 36.0 x 36.0 x 4.0 cm
Three children. Oil on board, 63 x 92cm
Timothy Powell creates abstact pieces from nature using raw materials like wood and fibre to create organic subtle abstract pieces that suit Modern London up market homes with paired down minimal contemporary furnishings.
His evolving journey in creativity has grown due to his fascination and connection with the elements of "Mother" Nature and self. His innovative Wall Art themed "Nature" was conceived through his regular therapeutic walks across many extensive woodlands, coastal and countryside trails, along with his fascination with natural gemstones and mineral rocks his creativity truly resonates nature. His intent is to express the beauty, organic movement, reflections, shadows and textures seen and felt throughout our valuable natural environment.
In this series of paintings I have experimented with inverting the colours. This effects a metamorphosis by transforming our usual way of perceiving the world.
It began in response to Brexit. The first painting inverts the colours of a painting by Oskar Kokoschka of Dover, the port which will be most affected when Brexit erects barriers to the movement of people and goods. I was thinking about how Brexit represented a national reversal of the European values that Kokoschka held dear.
The second painting inverts the colours of Ford Madox Brown’s painting, “Last of England”. Madox Brown was commenting upon the fact that British people in the mid nineteenth century were being forced by poverty to leave the country and seek a life abroad. I wondered if those who voted for Brexit ever imagined themselves as migrants?
The third painting is an inversion of the colours of the British flag, with a nod to Jasper Johns’ series of paintings transforming the American flag. What does it mean to metamorphise the colours of the British flag?
“Hounds of Death” was a response to the Corona virus. It inverts the colour of Titian’s “Diana and Actaeon”, which imagines the very moment of Actaeon’s metamorphosis into a stag set upon by the goddess Diana’s hounds. I painted this thinking of all the deaths from Corona virus, wondering what myth can help us face death?
The last two pictures invert the colours of my own paintings. In “Three Children” I metamorphised the original painting by overpainting the figures in the inverse colours of the original. “Elegy for street life 8” is one of a series of paintings on aluminium which I have done during lockdown, inverting the colours of some of my previous paintings celebrating life on the street. These pictures are a lament for how social life has been metamorphosed by anxiety about the Corona virus.
Emma Louise Moore, Marble together, Sculpture
Emma Louise Moore
Emma Louise Moore is an Irish artist who completed her Bachelors of Art in Limerick School of Art and Design, Ireland. She went on to have a career in commercial Sculpture and Film. 'In recent years I have turned my focus solely to my own work and practice, including completing my Masters in Fine Art in Central Saint Martins, London."
Pre-lockdown I took the mentality of a crowd as my point of departure. Investigating how we follow the seven closest people to us, my works calls for an awareness of our complacent tendency to follow others, becoming ontological refugees, distanced from our own choices. Usually, I create investigative performance pieces which call for this awareness of self. Due to the nature of this work being mass orchestrated performances, the creation of this work was put on hold over Covid 19.
Covid 19 meant losing a studio space shared with other artists- I then began drawing from the new space around me. The period of isolation created a strange bubble of time, with the passing of time no longer defined by travel, work, and college. During Covid, time always seemed “off”, either moving incredibly slow or fast. I was given access to a large studio space over Covid, sunlight passed through the buildings roof lights, creating four squares of light, these squares became my new indication of time. Sundials are described as being a level closer to time, this is now paramount to my work, this work allows the passing of time to be recorded on a physical, visceral level. Chasing this light, for me, was the only justifiable thing to focus my attention on, the closest thing to reality in a time of utter confusion. I have created this work by grinding down marble, a clay support, allows me to grind the marble to a thickness of 3ml. It is then translucent when penetrated by the sun. As the artist, I create these pieces in a space of servitude, standing as a phenomenon facilitator. The ephemerality of this piece is vital, taunting our instantaneous expectations. Its times of ‘inactivity’, are as important, it is set up in the galley only to be “activated” at a certain time of the day. The actuality and visceral physicality of the sun's movements, signifies a justifiable worship.
Yelena is an artist /Illustrator/Photographer based in New York, her watercolour paintings express moods and stages of life with the application of vivid colour emotion
In my work, I explore how people relate to themselves and the world around. I seek out emotional, candid moments where dreams are juxtaposed with reality, and the vibrant, diverse, creative crowds of New York are my favourite place to look. The fluidity of inks and flexibility of oil paints correspond so well with the surprises of life and the obscurities in our imagination.
'This painting is based on Disney's Midsummer Nights Dream of 1935. " I don't know what time it was on in the USSR time , perhaps the censors thought it was so fantastical nobody would take it seriously. But I fell for it headlong,'Its still my favourite play'
Marina Emphietzi 'Detached' Acrylic On Canvas
81 x 101 x 2 cm
Although I am mostly known for my marine art, I was very inspired by the recent events of coronavirus and created my piece called 'Detached'. Detached' depicts an inner experience of self-transformation to become emotionally detached from other humans out of fear of illness and stress; a 'metaphora'* to a very different kind of creature in order to survive. (* Greek)
Such metamorphosis makes a good metaphor for the great changes of globalisation, and what this pandemic is bringing about, a world transformation, leading to a whole new perception of existence.
There may bea long period of confusion and disorientation on the inside, even if it is notshowing on the outside.
'What takes a caterpillar a few weeks can often take a human a few years.' as described by renowned evolution biologist and futurist, Elisabet Sahtouris.
the boat a clinker construction, an age old technique, utilises copper nails and roves
to join lengths of wood together.
Jonah, is a biblical narrative describing in its simplest of terms the transformation of self, a transcendence dance; the self beyond. In this balanced piece, the pebble represents the body, a slight expansion of references to be found in Brancusi's muses and the relationship of form positioning to be found in the works of Alison Wilding. The "boat" determines the whale; a boat has ribs it has skin, it has a spine, its aesthetic is beyond its utility; It narrates the journey. the boat in this case is of a clinker construction, an age old technique which utilises copper nails and roves to join lengths of wood together.
Pybus is a digital artists whose work takes on different themes using drawing as a basis of his expression . He developed his artist persona as Pybus and has been mixing digital media and drawing in the last few years. "My work is a mixture between hand crafted and digital working back and forth between each other. My creative process can start with an idea which reflects a dream then I try to recreate it. My inspiration can come from anywhere I listen to a lot of dark wave and electronic music which certainly motivates me and I try to reflect that in my art. My inspirations are Dave Mckean, David Lynch, David Bowie, Frank Zappa, Trent Reznor and Zdislaw Beksiński. " Pybus More
'Remnants’ Both pieces of cotton are approx. 92 x 45 cm, Cotton and found rusted objects
Polly's practice combines her interest in museology and her self-proclaimed amateur-scientist status with immediate observational responses produced 'in-situ’, and by collaborating with her rural environment she recreates experiences to represent the conditions of the landscape.
Cotton is transformed into a relic of London’s industry. By allowing rusty industrial artefacts, like buckles and nails, to shed in water, only their traces are left, mimicking the environment in which they were found: the Thames foreshore, and as these pieces once symbolised prosperity and trade, and in more basic terms, the movement of people globally, it seemed fitting this piece conveyed movement and portability. This idea took me outside to photograph the work, and subsequently the rusty objects became weights, being sown into the hems of the stained cotton to anchor the fabric from the wind, a trick originating in the 1800s to keep ladies garments shapely.
Uchenna draws on the eclectic imagery, colour and by his complex eye to create an extraordinary type of abstract surrealism that is unique. Inspired by dream, death, myth and dance he plays with dream-like images, line, colour, and movement to create vivid paintings that spring to life with vital energy. Swirling, curling and dancing across the canvas, graceful lines take centre stage in hisworks of varying abstraction.
Although many of the artist works delve into total abstraction, many others depict elegantly simplified figures, but each work, conjured in dreams, expresses the artist deep philosophical musings and inner psychological workings.
This is the world- the admiration of false myth and folk tale, 56 x 81 cm, acrylic and oil on cardboard,
Featured Artist Biagio Mastroianni Biagio's paintings are a diffusion of a futurist world with an emphasis on vivid colour, complex figurative characters and gestures. This is the world in our present time: leading by greed, avidity, horniness, glamour, fighting spirit and adoration of false myth and folk’s tale. The figurative expressive grimaces with anger, rage, disbelief, scepticism, admiration and hate, characterised by hard, fixed gaze and it accompanies combative gesture. Orange and red are the dominant colours. This highly pessimistic interpretation of our present time of a big city, stressing the alienation of man as he plunges headlong towards self-destruction. The transformation of the city from an apocalyptic vision into a more optimistic perspective: well-being and pleasure find expression in smiling, serenity and tranquillity, in a futuristic, more bright colours and abstract imagery.' Biagio Mastroianni