Open Cromer 2024 – entries

I know all art is about art and I can see influences in my work and realise a sort of (not so ) invisible hand guides artists and me too via my upbringing and background. I come from a Bohemian background and my parents tastes (father typographer Bauhaus influenced) and living in Cornwall from 8-10 as a country child near St Ives, mother a writer opinionated and informed about painting.) Apparently I always drew, and from these influences I emerged as a colourist and responder to nature meaning light/ the elements and landscapes, but also interiors and so still lives . I seek to convey the sensual experience of what I see and feel in the captured moment .

Girl with Blackbird

27 x 39 cm Clay £230 This portrait drawn on Crank clay is about a relationship ..I have a number of birds in my garden and we chatter together. Clay asks to become 3D but I enjoy drawing ..incising marks to make portraits usually about close interactions as in this case

Helen's Garden

62 x 87 cm £200 This oil is painted as if its a fairy story although its an actual garden of a dear friend it could be a stage set or a backdrop ..the Gaudi mosaics on the concrete garden seat..in all its a literary sort of painting this image could appear as one read the opening of a short story called Helen’s Garden

Still Life: Garden

74 x 95 cm £250 watercolour This watercolour is both about part of a flower bed in a Garden ..but it could also be a still life . I am interested in shifts in scale in the same painting .The Watercolour is full of life and strength: A happy painting.

I am influenced by how through the pain we can experience in life produces scars, but through healing those scars can mould us into a thing of beauty. I've been particularly influenced by the silver birch and the lines, shapes and texture that are on each individual tree and yet look so beautiful. By using scrapers, acrylic and line work I deconstruct the tree and reformat it in unique and impressionistic ways.

Together Strong

This piece is made up of multiple canvases, and reflects the journey each of us experience as we navigate through life's challenges and the scars we collect along the way, which I have tried to represent through lines and mark making. Whilst our scars don't have to define us, they are still a part of our lives, but through the healing of time, and through the comfort of others we can stand strong and realise the beauty of standing together.

Paul Wolterink is a cross-disciplinary artist and Dutchman who, since 2016, lives and works in rural west Norfolk. Here he set up his print studio and creative practice in a former primitive Methodist chapel. For a more close up view please visit www.paulwolterink.com

CHANGE

Change. A call for change? We need change. People have difficulties to change. People may not be ready for change. However, change is always happening. We can’t avoid it. Everything is subject to change and we better adapt or work towards it. The very simple concept of a mobile will look completely abstract in some moments, it’s letters will not form any words, or some abacadabra maybe. But as the mobile is constantly in motion, in other moments, the mobile will clearly give the viewer the word CHANGE.

Schaakmat

This piece uses the squares of a typical checkered lumberjack shirt to set up a game of chess on its back. The shirt just simply lays on the ground or is draped on a rectangular pedestal and on the back of the shirt the chess pieces are standing in ‘start’ position. Over the span of the exhibition games of chess can actually evolve, if the audience wishes this. The shirt has to be yellow and blue. Materials: Chekered shirt, chess pieces

Where would you like to be? In the NOW, or HERE, or NOWHERE? The audience is in charge. Via a switch they can switch off this art (two lettered lightboxes) completely, by keeping the sign totally ‘on black’ or they can choose for NOW, or for HERE, or for NOWHERE, by switching the lightboxes on and off. Every guest can change it. See figure A. PS. In the luxury version, larger lightboxes are standing on the roof of Cromer Artspace and you can switch them on and off from the Cromer Pier (or from anywhere by using an App). See figure B.

My work is a search for the ‘contemporary picturesque’, finding beauty in landscapes placed firmly in the here and now, with both expected and unexpected vistas. I live in Norfolk, and the majority of my works are of local landscapes. My aim is to capture a fleeting trinity of composition, light, and colour while asking the viewer to appreciate the joy of a 21st-century landscape.

The Pea Harvesters, Runham Swim

Oil on canvas board, 297mm x 420mm.This is a view from Runham Swim, at first the viewer may not be able to ascertain the location but looking closely you can see Scroby Sands wind turbines and Great Yarmouth on the horizon. The pea harvesters are incredible yellow machines and add to this magnificent vista.

Breaking out of a pattern of perfectionism, my recent work is focused around brush strokes, exploring bold colours and creating a sense of life. My goal is to be curious and continuously experimenting.I am a Kiwi artist who recently relocated to Norfolk after falling in love with the wildflowers, the oak trees, the quaint stone buildings and cottage gardens. My subject matter revolves around nature and the beauty of our environment, with an aim of calling people to pause and soak in their surroundings.

Abundance

16" x 20"Acrylic on canvasA celebration of rich colour focusing on creating an immersive experience for the viewer, drawing them into a world of warmth characterised by rhythmic and intuitive flow, from brush stroke to composition.

Marta Pedzik is a Polish-born Midlands-based painter concerned with the combination of abstract processes and figurative imagery. Her references are taken from personal and found photographs, showing people engaged in activities. Pedzik applies the paint in a way which seeks to similarly occupy the viewer with the painting's surface. Physical qualities of paint are pushed to depict different pictorial elements, which are contextualised within the image. Pedzik toys between the figures' relationship to the canvas surface, when it's isolated from an obvious setting. The artist aims to portray a documentative sense of familiarity and memory.

To Ski I

13cm x 15cmOil on canvas on board

To Ski III

16cm x 20.5cmOil on canvas on board

To Ski IV

17cm x 16.5cmOil on canvas on board

Central to Kirkpatrick’s studio-orientated making and thinking process is his curious fascination for materials, landscape formations and objects. Materials and images are found, made, remade, altered and organised to form works that he describes as ‘workings out’ or ‘placements’. The objects that he makes, and the resulting placements are propped up by shelves and tables or hung from hooks to reference the domestic and the familiar.‘’My work stems from my curious fascination for materials, (inanimate) objects and natural landscape formations. I initially navigate my curiosity through object making or ‘thing-making’, creating forms that mimic or re-imagine collected or observed natural objects. I make, remake, layer, grow, investigate, order, re-order and then place these made or found objects to form visual or material dialogues that allow me to work though my thoughts. The created objects - re-imaginations or re-workings of the familiar - are then placed on shelves and tables or hung from hooks, forming curiosities ready to be questioned and unpicked visually by the viewer.’’

Observations

MDF, paint, steel, aluminium, copper sulphate, salt, polymer clay, clay, FDM 3D prints, sterling silver thread, pewter, oak and twigSize: H60cm x W50cm x D15cm

Tangle

FDM 3D prints, paint, sterling silver thread, oak and steelSize: H60cm x W10cm x D10cm

I am a largely self-taught contemporary landscape painter. My semi-abstract style is concerned with capturing the form and contours of the land, rather than a literal representation of place.My inspiration comes largely from the Norfolk and Suffolk marshes and coastal estuaries that surround me, but also from travels further afield. Drawn to the strong shapes, lines and patterns formed by the complex interplay of water and land in the landscape, my work acts as a visual diary, in particular walks taken. Smaller works in mixed media are formed and they, along with photographs and memories, are used to develop larger works, enabling her to further explore colour, shape, texture and abstraction.

Coastal Path

Oil and oil and cold wax on canvas 70 x 113 cmDeep white tray frame£2250

Coastal Path II (Study)

oil and oil and cold wax on canvaswhite tray frame36 x 58 cm £750

Coastal Path V (Study)

oil and oil and cold wax on canvaswhite tray frame36 x 58 cm £750

I tend towards small scale works that combine flat forms and irregular grids of contrasting colours to conjure a presence. Each work evolves over weeks or months and I think this slow process also requires the viewer to invest time to look and look again. My compositions can be thought of as visual concoctions that layer references in an emblematic manner, contrasting flatness and three dimensionality, surface and illusion, to compound meaning. My starting point may be visual or literary; enduring influences include Spanish Romanesque painting and the poetry and prose of Borges and Lorca.

Sweet, stay awhile

2024, oil and collage on primed card, 18.8 x 13.2 cm (framed 23 x 18 cm)

Born and raised in the quiet landscapes of Suffolk I went on to study Graphic Design and illustration. I have long found comfort and meaning in the creative process. Recently I have returned to my artistic roots, and particularly enjoy exploring connections, be that the relationships we build and develop with our peers, or with nature and our environment.

North Norfolk Coast Path I

A watercolour and soft pastel study of the Norfolk Coast Path near Sheringham

North Norfolk Coast Path II

A watercolour and soft pastel study of the North Norfolk Coast Path as it winds its way along the coastline

North Norfolk Coast Path III

A simple, free-flowing ink study observed whilst walking the North Norfolk Coast Path

A work born out of the books I’ve read this year which have delved into the origin and meaning of fairy tales, incorporating an understanding of archetypes, and touching on the Jungian shadow. Living in Cromer, the sea is both a background and undercurrent to my work and life. This image represents parts of all these things and also the necessity to embrace the darker parts of ourselves.

Diver

Black and white photograph on semi- matte photographic paper, 16.5 x 11.5 inches.

My work consists of photographs, cyanotypes and painting. I am fascinated by forms from the natural world, especially the shapes of leaves as silhouettes. To me, these forms have an emotional presence which varies according to the light, or time of day. I recently undertook an artist residency at The Grange Projects, Great Cressingham, Norfolk, where I took many photographs of the polytunnels for growing vegetables. I was fascinated by the shapes of plants through the plastic, and the complex reflections of leaves in the sunlight. I was also struck by the poignancy of blurred images behind plastic.

Polytunnel one

30cmx42cm, photographic print, 2024

Polytunnel two

30cmx42cm, photographic print, 2024

Polytunnel three

30cmx42cm, photographic print, 2024

Born in Ipswich, 1990 and currently living in Norwich, I completed an MA at Norwich University of the Arts in 2019. In the same year I was selected as a Bloomberg New Contemporary and included in the Saatchi Art Rising Stars report. I work largely in painting, drawing and photography, collage, 3D and more. I also produce murals, illustrations and am a prolific zine maker. My work takes influence from the D.I.Y. cultures of skateboarding, punk, hip-hop and folk scenes and is inspired by a wide spectrum of interests including; politics, society, current events and more.

Why We Can't Have Nice Things

60 x 90cmAcrylic on canvas2024This work plays on popular meme’s with the text included in the work. ‘Why We Can’t Have Nice Things’ is centred around the cat who is seen scratching the sofa, having knocked a mug of tea on the floor, bought in a dead mouse, vomited on the rug and chewed plant leaves off. However the images on the TV, newspaper and the bills shows the increasing costs of living, the widening of the gap between the working and upper classes all in a rapidly heating world, the real reasons ‘we can’t have nice things’.

False Memory Syndrome Vs Recovered Memories

127 x 89cmAcrylic, paper, spray paint, wood, mount board, nails2024This work is inspired by the reasonably common belief, at least in the UK, that at some point in the 1990’s Walkers crisps swapped the colours of their packaging on Salt & Vinegar and Cheese & Onion crisps. Despite hundreds of thousands of people having a memory of this happening the brand denies it, and maintains the crisps have always been packaged how we see them today. It’s an excellent example of the ‘Mandela effect’, a common term specific false memories of a large group of people. The title of this work refers to the actual psychological studies on memory, and although the crisp packets are a light-hearted conversation starter I want the viewer to consider the inconsistencies of memory and the political / social consequences of misremembered or incorrectly presented history.

Using acrylic inks, charcoal and water soluble crayons I endeavour to capture the wonder I feel in our beautiful Norfolk countryside. I am to capture the feel of nature.

Autumn Walk

My piece reveals the field before me as it unfolds towards its edge as I walk across it in Autumn Acrylic inks and mixed media 42 x 29.4

Abstract compositions inspired by the urban environment - working intuitively with a limited palette and using a variety of multi media mark making techniques to produce bespoke textural pieces which are then layered and combined on paper and board using acrylic, inks and pastel

Homeward

20x20 cm mixed media on cradled panel

Off square

20x20 cm mixed media on cradled panel

Perfect days are the ones where everything feels almost round. They slot together nicely and dark moments make everything else shine brighter. This painting consists of six small panels to form a unit of joy.

Perfect Days

Mixed media painting consisting of six small wood panelsTotal size 51x72 cm

My practice is concerned with a continuing enquiry into landscape - a quest for a real understanding of what lies beyond the aesthetic. Through drawing, painting, mapping and installation, my work explores our experience of and relationship with land, the impact we have and the marks we leave behind. I’m always seeking the narrative of place - fascinated by what you can read in a landscape and what it reveals about our relationship with the earth. Recent work explores the ‘colour of time’ as represented by the rocks beneath our feet and the sense of place they convey.

The Hunstanton Six

A collection of geospheres created from the materials found on Hunstanton beach, each one representing the landscapes of millions of years ago. In a display case stained with oak gall ink. Medium: Shaped from ground up rock and water H 5.5 x L 18.5 x W 13cm

The Hunstanton Collection

A colour chart for Hunstanton using pigments found on site 13 x 29.5 cm

I love the patterns and nostalgia of vintage fabrics, and I transform them into canvases, breathing new life into their stories. My aim is to capture cherished moments of time.I use the colours and patterns in the fabric to dictate the my subject choices. Painting on these fabrics gives me a sense of calmness and warmth, which I hope resonates with the viewer. Central to my ethos is a commitment to sustainability. I repurpose and reuse discarded canvases and reclaimed wood to a standard that is still acceptable in any contemporary home.” Insta- AtsumiArt

Too and fro

Acrylic paint on vintage curtain with a frame made of wood from the racking of an old store.

Tea at Nannas

Acrylic on vintage lace , mounted on different size canvases on a vintage tablecloth covered box canvas.

Velvet and Gold

Acrylic paint on a patchwork velvet remnant.Framed with reclaimed wood from the racking of a vintage shoe shop .

I work in different media using colour and mark making to capture mood and light. Recently I have used more abstract forms and vivid colours and take my inspiration from my surroundings and environment .

Land and Sea

Acrylic on paper. 40cm by 37cm.

Harbour

Acrylic. 42cm. X 35 cm.

River

Acrylic. 40cm x 33cm

I am a painter and printmaker based in East London. Working with found materials I transform earths, plants and human-made debris into pigments and inks and encourage them to make their mark on paper. This series of painting/collages is made with things picked up on the beach beneath the crumbling cliffs of North Norfolk. Out of them tumble mammoth bones, flints and many coloured earths from different eras as well as human-made objects from houses that have fallen as the cliffs erode, all of which have made their way into these works. 07837246872 @Samhodgeart www.samhodge.co.uk

1. Out of the Cliff

Copper and rust ink from objects found on West Runton beach on Arches paper, with collage of Runton brown earth and chalk sprinkled onto acrylic medium on Japanese tissue.

2. Out of the Cliff

Runton brown earth in gum arabic on Arches paper, with collage of Runton earths and chalk sprinkled onto acrylic medium on Japanese tissue

3. Out of the Cliff

Peat from Hunstanton beach in gum arabic on paper with collage of Runton brown and dark grey earth sprinkled onto acrylic medium on Japanese tissue

My practice has always been driven by drawing, emotional experience and the body. Recently, this has shifted to encompass the landscape, now underpinning much of my work. Walking and being in natural spaces has become increasingly important, and I explore this emotional response to the environment. Specifically, I’m endlessly interested by where I fit into these wild places, and how other people exist within rurality. My process consists of walking to gather imagery, forms and observations. These collected and remembered are reconfigured, with figures bleeding into environment, and internal landscapes reflected in colour, form and line.

'As the sun disappeared'

DrawingOil pastel and soft pastel on paper30 x 45cm

'September'

PaintingOil on canvas,100 x 50 cm

'Yew'

PaintingOil, oil pastel, oil stick on canvas,40 x 40 cm

This work reflects on the condition of being in an enclosed space and vibrating to be released. Humans must connect with other beings, people, animals, and plants. Sharing with others is a state embedded in our DNA.

Encierro

Ink and drawing on paper. 25.5 cm x 19.5 cm Year: 2021 Price: £140

Work is oil upon board or canvas depending upon the size. All done from life & Life!Thanking you.

Self Portrait, Boxing Day '22

Oil on board. 11 x 11 cm unframed.

Self portrait, CA VH Nov '23

Oil on board. 10 x 10 cm unframed.

Self portrait, CA VH Apr '23

Oil on board. 15 x 19 cm unframed.

Working mainly in paint, I use systems of layering and juxtaposition to explore the surface I am working on. Strict geometric forms are layered over more gestural paint marks, delicate freely drawn lines below flat blocks of colour, creating a sense of movement and depth. Not wanting things to feel centred or complete, shapes intrude from the edge ofther picture planes or pass across them. I play with contrasts in my paintings; the geometric and organic, lines and washes, the transparent and opaque.

summer breeze

Acrylic on canvas 80cmx40cm addendum: I omitted to write in my description that this work is on two separately stretches canvas as 40x40cms but is a diptych

This work reflects on the condition of being in an enclosed space and vibrating to be released. Humans need to connect with other beings, people, animals, and plants. Sharing with others is a state embedded in our DNA.

Encierro

Ink and drawing on paper 26.5 cm x 16.5

I make sculptural pieces in stoneware clay- until recently based on ideas around the human need for shelter and protection, often incorporating found material- rust, sand and metal- into the work. This year I have broadened my scope with pieces on a water theme and I am especially pleased with my latest piece- Salvage Rainbow- the first time I have been able to use found material in such a positive way.

Salvage Rainbow

Stoneware clay, found metal, found fishing line, 30cm x 60cm; This piece is designed to rock but in the gallery I would fix it in one position with museum putty

Deep water

Stoneware and glass, 23cm x 18cm; wallpiece

River mouth

Stoneware, 30cm x 30cm; free-standing

The drawings submitted reflect an ongoing interest line, space and colour. These small scale pieces are finished works, and also explorations for larger paintings. Ideas are worked through rapidly and intuitively, analysed and built upon in series.

YELLOW FALL

Pastel on paper13cm x 21cmMounted size A4

YELLOW DIVIDE

Pastel on paper13cm x 21cmMounted size A4

A STITCH IN TIME

Chalk and blackboard paint on paper19cm x 27cmMounted size A3

I create abstract mixed media pieces that touch upon the tensions between simplicity and complexity, connection and isolation, as well as formal qualities of colour and form. Inspired by both natural and man-made patterns, I aim to convey a feeling of joy through an eclectic and playful use of colour, shape and collaged materials. My intention is to communicate a spirit of optimism which seems ever more important at this time of huge global problems. These works are executed with a bold, expressive sense of freedom and risk-taking. My hope is to visually delight and uplift the viewer.

Cell Flow Grid - Black, Brown and Bronze

Size: 30cm x 21cmMedium: Mixed media (acrylic, oil pastel, coloured card)Although there is no direct reference to the observed world, the work suggests water and cells suspended within it. These float and are within a loose web, keeping them contained and safe. The visual effect is one of a rhythmic pattern that somehow extends beyond the edges of the paper.

Cell Flow Grid - Green and Bronze

Size: 30cm x 21cmMedium: Mixed media (acrylic, oil pastel, felt tip, coloured card)Although there is no direct reference to the observed world, the work suggests a grid and cells suspended within it. These move and yet are held are within a loose frame keeping them contained and safe. The visual effect is one of a rhythmic pattern that somehow extends beyond the edges of the paper.

Instagram @traceyrossartistWebsite: www.traceyross-art.co.ukMy work explores the horizon- I paint to capture the beauty of the north Norfolk coast with its creeks and expansive beaches. The horizon line is my focal point and I spend a lot of my time sketching and observing- rapidly drawing my feelings and the energy I sense. I find painting in a semi abstract style using mixed media helps to reveal a deeper mystery. Having studied at NUA, I’m a member of Norwich 20 Group and have been a finalist for the RSMA, RI and the Holt Art prize.

Autumn Equinox

42x 36 cm framed size.Landscape painting. Acrylic on canvas - inspired by the changing seasons of the creeks and marshes on the north Norfolk coast.

Piercing the Night

100x50cm on a deep edge canvas. Unframed.Landscape painting with acrylic and mixed media. Inspired by colour combinations of teal blue and orange. My response to mood, drama and emotional energy.

Vivid Light

23x23cm framed size A small semi abstract mixed media painting using acrylic and various mixed media including tissue paper and Inktense blocks.

I originally trained as a furniture designer/maker but now concentrate on sculpture. Working in a variety of timbers I create large outdoor works alongside smaller carved or constructed pieces. The carved works are created from single pieces of timber and based on coastal landforms, erosion and the ever changing shape of the coastline. The constructions are made from laminated board and are part of an ongoing series, initially inspired by the architecture of Frank Gehry.

Burjala

Scorched and stained cedar sculpture100 x 20 x 7 cm (Plinth can be provided if needed)

Frank gets a headache

Laminated and painted board construction 78 x 27 x 28 cm(Plinth can be provided if needed)

I use plant images in my work which naturally shows seasonal changes as the plants are depicted through the seasons. To grow plants you have to have good resolve and come to terms with things totally out of our control, a little like my printing process in that I may have an initial idea but I use my lino plates intuitively, building up layers assessing how colours and shapes are working together. I keep going till I'm happy with the result.

Daisy, Daisy,Daisy

I adore daisies in all shapes and sizes. Daisy Daisy Daisy, is a varied series of monoprints, I’ve created a monoprinted lino base with the white daisy forms on, layered inked textured papers and inked separate cut lino pieces on top when the first monoprint layer was dry. Each print is a little different as I made separate decisions about colour and where to place the lino pieces with each print, keeping it fresh.

I mostly work in abstract and attempt to join components to create cohesion from disorder, or reverse. I choose concrete as my main 3d medium for its utilitarianism. I also draw and experiment in printmaking.

Race to the What

This work explores panic and chaos of rivalry and competition, aiming to reflect the ‘Wild West’ aspect of society.Materials; Concrete, woodSize; (incl base) 30cm x 23cm x 12cm

!

This work represents being comfortable in your own worries.Materials; Concrete, woodSize; (incl base) 30cm x 8cm x 8cm

I think of myself mostly as a painter of still lifes. I sometimes approach my subject directly and paint roomscapes and objects from observation, but often I focus just on the colour and light separated from the subject, letting the painting develop intuitively, and those works are usually read as abstract paintings. I like having these two ways of working, that I can switch back and forth between. I often make a body of work because I have a hunch about an idea, I don’t know if it will work, but I want to see what it will look like.

Claim

2024Oil on linen30 x 24 cm

Mockingbird

2024Oil on canvas40 x 30 cm

Rest

2024Oil on canvas40 x 30 cm

My paintings are responses to an accumulation of glimpses, perceptions and the experience of moving through ever changing landscapes. They hover in that liminal space between abstraction and depiction.Shifting light, an unexpected flash or combination of colours, space and silence, the feel of wind, wet or dry surfaces and textures all have the potential as starting points to be distilled through painting. The colour relationships are precise and deliberate.They become a way of fixing those memories.

Landslip, Sun, Mist, Glen Uig. Oil on canvas, 70 cm x 70 cm.

I have walked through Glen Uig many times, it is a unique small valley in the North of Skye. Small rounded conical land formations clearly show evidence of land slippage over many years. In the autumn they are covered in a ginger coloured bracken which has an intense glow in the moist atmosphere. Weak sunlight sometimes penetrates the damp mist. It is one of those places where one can sense time and history.

Most of the time we take the moon for granted.It is nearly always visible but seldom looked at closely.My main practice as an artist has always been drawing with a limited range of pencils on paper.In this latest 'Moon' series I have built up the images with layers of repetitive marks until the form emerges out of the dark to contrast with the brilliant reflected light from the sun.

Waxing Gibbous Moon. Pencil on 640 gms on Fabriano paper, 64 cm x 42 cm

A waxing gibbous phase is between a half moon and a full moon. ( waxing meaning the moon appears to be getting bigger.

When I paint I want to create beauty. I want to look at something and not just glance but to be able to go back and look again and again and see new things and beauty that I had not noticed before. I lose myself when painting into my own world for a short while. Instagram - susanlyndataylor - https://susanlyndataylorart.co.uk

Escape

Acrylic and mixed medium on stretched canvas - box framed - signed by Artist and ready to hang - dimensions 84 cms H x 93 cms W

Hello Sunshine

Acrylic on stretched canvas - boxed framed - signed by Artist - dimensions 95 cms H x 126 cms W - signed by Artist and ready to hang.

Spring Time

Acrylic on stretched canvas strung and ready to hang - signed by Artist - dimensions - 60cms H X 50 cms W

I have always enjoyed art, but recently I have begun to experiment with textiles. I love the wide variety of techniques and enjoy the extra dimension of manipulating fabrics. I am fascinated by social history and am passionate about research. I often incorporate personal items and my writing in pieces of work and lthink it is important to create a story.

Emily and Thomas

I have already submitted this.

Untold Story

I enjoy looking at old photographs and artefacts. I often wonder about the background stories and even in my family albums there are unidentified pictures and unfortunately there is no one to ask. In this work I have used vintage materials and photographs which have meaning to me and created a hand stitched a sampler of eco, tea and rust dyed fabric. At first glance this looks like a collage of textures and tones, but on closer inspection there is a story to tell.

My work straddles drawing, painting, sculpture and installation. These two drawings were made intuitively yet informed by coastal walks and Iris Murdochs novel The Sea, The Sea.

The sea which lies before me.

Charcoal, ink and acrylic on A2 paper.

What next I wonder?

Charcoal, ink and acrylic on A2 paper.

Born in central Glasgow in 1965, Billy spent his formative years visiting the Kelvinhall Gallery and the Glasgow School of Art.He moved to London in 1990, working as a chef from 2000 until moving to Norfolk in 2023 where he swapped his knives for paintbrushes and has discovered that the further away from Glasgow he is (both in time and distance) the stronger the memories have become. This series is inspired by the city - through the connective tissues a city weaves of its inhabitants and the way it imbues itself in your soul - skin, blood and bone.Instagram: @billygrant189

Connective Tissue 1 - Skin

Acrylic on canvas board, 16” x 20” unframed, high gloss varnished with frame

Connective Tissue 2 - Blood

Acrylic on canvas board, 16” x 20” unframed, high gloss varnished with frame

Connective Tissue 3 - Bone

Acrylic on canvas board, 16” x 20” unframed, high gloss varnished with frame

My work represents my struggle between chaos and control, spontaneity and thoughtfulness. Using mark making to express emotion as a response to events, and relieving feelings and emotion that would otherwise be carried with me. Expressing the difference between the inner self and the masks we all wear.

Rugged I

Mixed Media on Canvas 50 x50 cm

Rugged II

Mixed Media on Canvas 20x20 cm

Rugged III

Mixed Media on Canvas 20x20cm

Through my artworks which are produced in a range of mediums such as oil paint, pastel and gouache I create evocative and ambiguous scenes. I am interested in how figures occupy their space and how they affect and are affected by their surroundings, be it the room they are in or the people they are with.Symbolism also plays a vital role in my art, serving as a conduit for deeper exploration and interpretation. It becomes a way for me to examine the inner subjectivity of things and to give them form and voice. From enigmatic gestures to cryptic objects, each element within my works carries a significance, hinting at narratives both personal and universal.

Holding the weight of you

Oil on canvas. 2024. 72cm x 66cm

The Secret

Oil on canvas. 2024. 56cm x 51cm.

The abstracted forms in the work result from one’s absorption into the environment. The focus recently has been on absorbing flow of form into the work. Through abstraction it is possible to discover what lies beneath the physical and become in touch on a more emotional level.“We could never have loved the earth well if we had no childhood in it, if it were not the earth where the same flowers come up again every spring that we used to gather with our tiny fingers as we sat lisping to ourselves on the grass”. George Eliot (Mary Ann Evans).

Looking across

Oil, acrylic, plaster, paper, and canvas, stretched over a frame. 100 x 120 cm.

If you look

Oil on canvas stretched over a frame.100 x 50 cm.

As an artist, I really enjoy living and painting in North Norfolk having moved here 6 years ago from West Surrey. I studied art as my special subject at teacher training college and later, when teaching part time, I began to enhance my personal artistic skills and became an active exhibiting member of several art societies. Here, I continue to paint and exhibit in my favourite impressionistic style using acrylics, pastels, charcoal or oils, inspired by the landscape and powerful seascapes around me. www.artecat.co.uk Instagram carolanntaylorartist

Sea Horses

Acrylic on gallery canvas 46 x 35.5cm I admire the power and strength of horses - all the better to combine this with the energy of the sea.

Boxing Day Dippers

Acrylic on stretched canvas 40 x 40cm I admire the pluck and enthusiasm of all the swimmers plunging themselves into the winter North Sea! My impression showing some venturing forth!

The Seaside Rocks

Acrylic on 40x40cm stretched canvas The ever churning Sea challenging the steadfast rocks in the late afternoon sun. Mesmerising to watch.

As a semi-abstract landscape artist, working in a range of media, my interest lies in capturing the feel of what's happening in the environment. For the past year "Reeds" has been a recurring theme. These tall, strong and resilient willowy plants, sway in the breeze with the light filtering through them capturing their jewel like colours. They dance to the wind, survive downpours of rain, shrug off droplets of frost and return to their standing position of guardianship over broads, dykes and edgelands. They are an accolade of nature, to be celebrated and enjoyed through the medium of paint.

Fiery Reeds

In this painting using a range of water based mediums, reeds are depicted in bright reds and teal, of a hot summers day. This close up of a small group of reeds captures the swaying movement in the gentle breeze. The painting is tall reflecting the shape of the reeds. The measurements are w. 47.5cm x l. 86cm x d. 2cm.

Breezy Reeds

In this painting a range of water based mediums were used to capture the breezy summers day on Mulbarton Common from where the image originates. It is painted close up revealing the wealth of strength found within the reeds themselves. The painting is tall reflecting the shape of the reeds. The measurements are w. 47.5cm x l. 86cm x d. 2cm.

Hazy Reeds

In this mixed media painting of reeds, the season is early Spring and the reeds are just recovering from the winter frosts. They are awakening after a period of non growth. The painting is tall reflecting the shape of the reeds. The measurements are w. 47.5cm x l.86cm x d2cm.

In my paintings I use cold wax medium with oil paints to create layers into which I add surface texture, marks and lines. I am currently fascinated by the minutiae of detail and the immensity of land mass especially where the sea meets the land. Shorelines, rock surfaces and geological strata are witness to weathering, the passing of time, ageing. Alongside these themes is my consideration of how we inhabit and impact our environment, what is changed, preserved and left behind, remaining present in our absence.

Ancient Edge

Inspired by that elemental place where the sea meets the shore, where the eternal rhythm of the tide washes in and washes out, over centuries old rocks, constantly changing the nature of their ancient lines as they evolve, witness to people and wildlife passing through.Oils and cold wax on cradled panel76 x 76cm£750

Combining waste from two different worlds; salvaged remnants of rich theatrical fabrics and simple organic matter from along the coast, the work attempts to connect human ideals of what is precious, important or disposable, with the fragility and impermanence of natural ecologies. Following investigations into rising sea levels, flood, and coastal erosion, then using stitch in a slow meditative process, the work attempts to reflect on human use and mis-use of natural resources, and examine the tensions and imbalance that exist as we attempt to dominate and control the uncontrollable.

Hunter

3D wall hung textile. 54 x 23 x 5cm. Fabric, thread and organic matter.

Gatherer

Vessel-like sewn sculpture. 23 x 25 x 20cm Fabric, thread and organic matter.

These works hope to convey a visual representation of a memory in a confined space. They could appear as nostalgic as well as unfamiliar to the viewer and are non-literal scattered with figurative elements. A sense of belonging and clarity can be found in more recognisable aspects of nature amidst an infinite space enclosed only by the borders of the artwork itself. Some paintings may seem angrier and more energetic whilst others may evoke a recollection of a time - or space - serene and tranquil. The work is self-referential as they explore how time passes, how the climate changes, and thus how I reflect on these themes in the moment as well as retrospectively. Hence, the pieces take a while to complete. I do not want to rush creating the pieces so, I do what I refer to as “letting the work live” - a comment my art tutor made to me at university and has stuck with me ever since. A piece can sit in my studio untouched for up to a week so that I can digest not only the aesthetics and composition of the work but also the external factors that affect each piece.Each set has a monochromatic colour palette, specific to each season in each year. For example, the weather in spring 2023 was very unlike the spring that came before it; it was rainy, humid, and broke record levels of rain (which has now been surpassed by spring 2024) therefore this drastically affected my choice of colours in this season. In my work, I choose not to pick colours that depict a prototypical colour palette of spring, but those experienced and studied.I find creating a tangible depiction of something abstract accompanied by factual elements is where I find I can balance the combination of memory-landscape and figurative and literal in my work. I desire to capture the essence of each specific season whilst being connected to each piece as I change and grow with nature.

Vaporscape 04

(autumn.22)Mixed media on paper bonded to panel, 50 x 50 x 2 cm (2024)

Vaporscape 17

(autumn.23)Mixed media on dibond panel, 35 x 35 x 2 cm (2024)

Vaporscape 18

(autumn.23)Mixed media on dibond panel, 35 x 35 x 2 cm (2024)

I am a floral artist based in Hethersett, Norfolk. I studied Fine Art at Norwich University of the Arts, specialising in painting. I draw inspiration from the natural world, focusing mainly on plants and flowers that I see in and around my home county of Norfolk. I create artwork using acrylics, watercolours and pencil, my art varies in style depending on what medium I use. Instagram: wildflowerart_uk

Sunflowers

SunflowersAcrylic on canvas45 x 34.5 x 1.5cmInspired by the sunflower fields in Norfolk

Purple Poppy

Watercolour on paper (framed)50.5 x 40 x 2.5cmInspired by the poppies on the North Norfolk coast

Poppy

Pencil on paper (framed)39.5 x 31 x 2.5cm

Drawing is the one fundamental activity common to all art and design processes and I have valued its importance as such, both as an educator and within my own creative activities. The drawings in my submission are developed from studies made on the spot and attempt to evoke a sense of mood and atmosphere and drama of the occasion.

Beached at Blakeney

Coloured pastels and charcoal drawing. 84x64 cms. Sale price £550The skeletal remains of a fishing boat decaying into the marsh at Blakeney.

Brograve Mill 1

Charcoal and coloured pastel study evoking the sculpural quality of this derelect broardland mill. 84x64 cms. Sale price £550

Brograve Mill 2

Charcoal study of a broardland mill set against a brooding sky with reeds blowing in the wind. 80x60 cms. Sale price £500

Oil on board, Suffolk landscapes mostly, Estuaries and farms 🚜. SMALL ,25X35cm in size and framed in a tray frame.Colours are usually rather subdued a la Gwen John ,Mary Potter,Prunella Clough,G.Morandi.www.andrewpringleartist.co.uk. is my website. Have shown in the Fermoy Gallery,RA summer show and Christchurch picture gallery Oxford and the Chappel gallery, Chappel.

'Lips'

Oil on board, 20x36 cm,£250.Semi abstract painting of a collage relief in my studio.

'STAGE'no.8(32)

Similar to first work(31)

A mainstay of my artistic practice is prolonging the life of the discarded. The objects and materials that have already served their purpose in the eyes of a trudging throwaway society. My work, hopefully, encourages people to rethink the value of things, and to see the beauty in what is often overlooked. Currently, my attention is focussed on waste materials that have become so as a direct result of my particular existence. One human among billions. Boxes and packaging that incessantly tend to accumulate specifically from my own purchases, no matter how frugally I try to live.

Seed 12

Cardboard boxes, cardboard tubes, clear tapeWall hung or free standing44cm x 44cm x 17cm

Seed 9

Cardboard boxes, cardboard tubes, clear tapeWall hung or free standing38cm x 38cm x 17cm

Genesis

Cardboard box, clear tape, bambooFree standing19cm x 25cm x 5cm

Most of my work is inspired by my surroundings here where I live on the North Norfolk coast I am currently experimenting with drawing techniques using charcoal and ink together.

The Cormorant Rock

Charcoal and ink drawing 134mm W X 165mm H

My painting’s aim to express the sensory experience of being in the landscape - a response to the changing light, colour and atmosphere in the natural world. It provides a visual stimuli which is interpreted in an emotional, intuitive and gestural manner. My work is thoughtful and playful, painting is a reflection of experience. Mark making and colour are an essential part of the process, seeking to explore subtle colour combinations that intrigue the senses and reveal something unexpected.

Lavender Whisper

This painting depicts how nature balances itself and provides a meditative place to be. To heal. Acrylic on canvas. 24”x 30”. £500

Home Again

Inspired by a view of the marshes - a connection with the space, light and colours. Acrylic on canvas. 24”x 30”. £500

Nevermind

Summer has gone and the crops have been gathered - this painting is about reconnecting with the land. Acrylic on canvas. 24”x 30”. £500

Most of my sculptures are inspired by the local wildlife, predominantly the delicate little birds that have such a strong presence in Norfolk. I aim to reflect this with my work, hoping to capture their characters with clay, again both a delicate and strong material.

Sandpipers

Wood fired in an Anagamma Kiln for 4 days. Stoneware, wire, ash and flame.

Much of my painting, on low grade surfaces, relies on the grid-like structure of a corrugated cardboard. At times there is an attempt to read the images from left to right, at others inserts are placed within the frame to imitate computer computer editing. The edges are often torn suggesting part of a continuing whole.The images reimagine text, medieval wall painting, interrupted repeating patterns, and/or human error. They are completely open to interpretation.

No Words

acrylic on cardboard 35 x 40

I work in mixed media . I usually consider gender and the human condition but this year the vibrancy of the colours of the Rapeseed fields and the sky in late spring took me to the vast sky and the wind and out of my head for a brief foray in to paint and peace .

Stockton Spring 1,

Sky and Rapeseed fields near my home

Stockton Spring 2

Sky and Rapeseed fields

Stockton Spring 3

Sky and fields spring in South Norfolk

Seawall Postcards: Sounding The Wash. A whistlestop tour of the unique & dynamic environments bordering The Wash, from Skegness to Holme Dunes. This tour takes in some of the wild coastal landscapes and habitats of sand dune, shingle, saltmarsh, mudflats, fenland; and the challenges of natural and man-made flood defences. Each postcard is a snapshot of the status of the shoreline at that time (1995 to 2024), some have recorded soundscapes. I would like to present these postcards as a ‘photo album/scrapbook’ together with a video compilation of the soundscapes (or with QR codes to connect to the video works). https://sophiemarritt.co.uk/ https://www.facebook.com/sophie.marritt https://www.instagram.com/sophiemarritt/

Postcard_01_Fantasy Island

Postcard of the view looking south to Fantasy Island and Butlins holiday resorts at Skegness, with Chapel main drain outfall, 23rd Feb 2020.

Postcard_06_Norfolk Horizon from Gibraltar Pt.

Postcard of the view from Gibraltar Pt nature reserve looking across The Wash to the North Norfolk coast, 20 March 2024.

Postcard_13_Snettisham at High Tide

Postcard of the view across The Wash from Snettisham at high tide during a 'whirling wader spectacular', 27 September 2019.

I am a printmaker based in Broadland in Norfolk. I love being outdoors observing the local nature and wildlife in the area and my work reflects this

Wren

Intaglio dry point print 90*148mm

Blackbird nest

Collagraph print 170*170mm

Avocet and chicks on the Marsh

Intaglio dry point print 90*140mm

I am interested in nature, and recently, inspired by new places and experiences. Something catches my eye and I respond with joy and honesty.

Ferns

Watercolour and fine line pen. A5 size

Up close

Acrylic on canvas 28x30cm

Red vase, blue flowers

Acrylic on paper. 19x 14 cm

I am a Norfolk based illustrator with a background in narrative and communication. Over the past year I have begun experimenting with painting as part of my illustration practice. The common thread through out my illustrations is bold line work and playful colour, and I am enjoying pushing this further in a new medium. My work is often informed by myths and folklore, particularly tales depicting nature and animals both real and imagined. I am inspired by the way these stories can blur the lines between the tangible and the otherworldly, and can connect us to our natural surroundings.

Shuck

Gouache on watercolour paper.Framed 31.5 x 23 cm.This work is inspired by tales of black shuck, the spectral black dog that is said to roam the countryside of East Anglia.

Taken on a walk around Sweet Briar Marsh, August 2024. Shook the phone samsung galaxy a25 to blur image.

Graffiti bridge

Taken on a walk around Sweet Briar Marsh, August 2024. Shook the phone to blur image.

My painting practise is inspired by personal encounters and memories. These tightly held or fleeting thoughts are interwoven with and supported by explorations of the landscape. Individual paintings go through many stages. I continually rework them, applying, sanding away, and then reapplying layers of paint, building up a rich surface that in some ways parallels the “reworked” nature of the environment itself. The result is a painting that functions both as a record of the physical landscape while maintaining its own formal coherence as a work of art.

‘It’s a long road but there’s no turning back’

acrylic on MDF, 29 x 25 x 2cm, 2024

‘Adjusting to the outside world’

oil on board, 23 x 30 cm, 2024

‘Alocasia Metallica’

Acrylic on wood, 23 x 14 cm, 2024.

Ref;ecting on conflict and disagreement.

Disturbance

Aluminium foil painted and then folded and inscribed. Mounted on canvas board and framed 24 x 17cm

Tim Reed is a painter and designer for opera and theatre and was a fellow of St Martin's College of Art in 1992. His work is primarily figurative but since moving his studio to Norfolk he has been exploring the medium of sky scape as a celebration of the beauty of the region. In 1996, to coincide with his design for the Gothenburg Opera production of Mozart’s "Don Giovanni", he created a festival of installations and events based on the number of Don Giovanni’s alleged lovers including an exhibition of 100 paintings of a woman, “……cento in francia” and culminating in a march of 1003 women through the city of Gothenburg, Sweden. “……..cento in Francia” was subsequently shown at Galleri Backlund, Gothenburg and Bedales Gallery in London, followed by “….to first base”. “……..anything that moves” was shown at Clink Wharf Gallery in 1997. "Kuoros" was shown in New York at the Agora Gallery 2005."In this hard rock" was shown in Barcelona in 2012. "The Book of Kings", an installation of twelve ink paintings on paper depicting moments from the life of the biblical King David, was shown at the Undercroft Gallery in Norwich alongside "Fall" and "Indigo", 2015.

Tim Reed / "Norfolk Skies 025" Dimensions 1060 x 0610 Framed

In a region of exceptional beauty and unique geographic character, the extraordinary low horizons of North Norfolk create an experience that is always dominated by sky. The maritime climate, where Nordic weather systems skim across the coast and collide with the edge of the Gulf Stream, creates an unending spectacle of the subtlest light and movement.Norfolk Skies is my homage to the joy and excitement of the Norfolk experience.

Tim Reed / "Northern Lights 01" 1060 x 0610 Framed

Inspired by many years working in Sweden and the recent sightings of the Northern Lights from Britain. This sky scape in a celebration of this strange and awesome phenomenon.

Tim Reed / "Pale 006" Dimensions 0760 x 1220

"Pale" is a series of highly gestural paintings in oil exploring the form and tones of the male form.

Blurring the lines between drawing, painting, sculpture and photograpy and the multidisciplinary nature of my work are essential facets of my practice. My ideas are inspired by my immediate environment and in the sounds , language and dynamics of everyday life. In my new work ‘Spring Fever’ I am inspired by colour, rhythm and shapes and textures found within my own garden.

Spring Fever 2

Acrylic on panel : 30cm x 30cm unframed : Framed size 40 cm x 40 cm

Spring Fever 1

Acrylic on panel: 30cm x 30cm unframed: Framed size 40cm x 40cm

I love painting and use colour and light to express my feelings of the subject. Colour is like a chord in music and sets an emotional atmosphere and tonal changes can help tocreate differing effects and feeelings.I have been unwell and not able to get out too far to paint, but have found visual interest in corners of our village, parts of my overgrown country garden are bursting with such rhythmic shape and patterns. Indoors , leaving objects in their regular places I am finding exciting still life from viewing from various angles and levels.People in pictures adds vitality and helps me experiment and expand my work.

Springtime Awakening

60 cms(h) x 80 cms (w)Oil on board

My Spring Garden

50 cms(h) x 70 cms (w)Oil on board

Sunflower Cycle

80 cms (h) x 60 cms (w)Oil on canvas

These paintings are from an ongoing series inspired by a collection of regional stories ‘East Anglian Tales’ by H. Mills West.Although each painting and its title refers to a specific character and scene in a story, the contemporaneous nature of the compositions are contra to the quaint depictions of life and the lives of foolish, wise, and witty people in rural East Anglia.

'Henry sat thinking, looking at his drawing long after the farmer had gone.'

Inspired by the tale 'The Village Artist' by H. Mills West.A figure wearing a yellow straw hat and paint-splattered clothes is sat on a box by a vivid hedge. One of the leaves is coloured purple and has had some of it cut-out of the canvas. On the box beside the artists is a large bottle and drawing that mimics the painting.Oil on canvas80cm x 60cm£400

"I were walkin hoom from wark (said Doobie Ward) an' blas' me that were owd Bob Coates a-lyin there inna hedge."

Inspired by an East Anglian Tale by H. Mills West.A wiry figure with wild hair, wearing a colourful patterned suit, stands, nearly in silhouette, by a vivid, almost abstract, hedge. A man's legs and feet can be seen, and form part of the hedge.Oil on canvas55cm x 45cm £200

"When they found ol' Poocher Mace, well, that were ever sew strange cos there wunt a mark upon him; his eyes were staring glassily, stiff an' cold he was."

Inspired by 'A Night to Forget', an East Anglian tale by H. Mills West.The ghostly, pale figure of Poacher Mace is spotted carrying the carcass of a poached rabbit while walking towards a clearing in a purplish-green and blue wood. The trees are composed through worked areas of the canvas. Leaves appear as white or yellow outlines floating in the foreground and sides.Oil on canvas55cm x 45cm£200

Its all about capturing the moment. My work seems to evoke a sense of time, place and memory - suggested through economy of colour and intuitive, gestural mark-making. My aim is to let the work reveal itself. I start with no intention of creating a subject - only to capture a flow of energy, with its own momentum. Working both large and small, drawing always comes first. Gestural mark-making leads to collage. I play with the language of art and adore using a bit of tape to mix things up! My art practice allows the freedom to explore the inner landscape in depth. Instagram: cheatherguthrie_art Fb: Heather Guthrie

Blue Mountain Grid, 2024

Collage Drawing 26.5 x 31.5cms

Mountain Grid, 2024

Collage Drawing 26.5 x 31.5cms

Red Flag, 2024

Collage Drawing 27.5 x 23cms

‘Crafting ways to listen, hearing all belongs’I begin in the natural world, becoming present to inner and outer landscapes. Creative adventures ensue, often with foraged and natural materials. Along the way inspiration is sought from other artists, poets, symbolism and myth. Often collage and mark making predominant, allowing a language to emerge that expresses hidden connections; instinctive energy and emotional integrity. Ever evolving explorations, but always seeking connection.

The joy of oak (diptych)

Homemade oak gall ink size: each piece is about 24cm (w) x 43 cm (l)Handmade mark making tools used for instinctual, open exploration and expression.

Cast all your votes for dancing (Hafiz) diptych

Cyanotype and eco print paper collage, charcoal, rust water Size: roughly 60 cm(w) x 80 (l)Collage and mark making are my way to ‘squeeze drops of the Sun’ while trying to live the adage ‘nothing wasted.’

These walks of mine (triptych)

Mixed media: including akua ink, ecoprints and oak gall inkSize: as a group about 42 cm (w) x 120cm (l)Maps of mind and place - collages of reaction and emotion

I live and work on the East London-edge of Epping Forest, making complex abstract paintings, either inmy studio or in the forest itself. I take inspiration from this environment – a place where urban terrain merges messily into nature. I apply multiple layers of oil and acrylic paint over a period of weeks and months, creating dense blocks ofimagery and material, which is subsequently removed using belt sanders and a pressure washer. This destructive reversal of the process (‘unpainting’) creates new connections and relationships, as each stage of the making reveals itself - back to the very first mark.

Runway

Oil and acrylic paint on plywood panel, 54 cm x 54 cm x 3 cm. Completed 2023

Sideways (5-24)

Oil and acrylic paint on plywood panel, 28 cm x 28 cm x 2 cm. Completed 2024

Shadow (3-24)

Oil and acrylic paint on plywood panel, 39 cm x 39 cm x 2 cm. Completed 2024

Having grown up in Manchester and then moving to East Anglia as an adult, I was immediately struck by the beauty of the East Anglian coastline. I love that traditional skills and ways of life still cling the our coast while towns and cities become increasing fast paced. Using watercolours enables me to capture the tranquility of the light and the textures that these beautiful subjects possess. Through my paintings I try to capture what it is that I see and enjoy about East Anglia, and enable others to enjoy the coastline in the same way plus be reminded why this area is so attractive.

Southwold Harbour

A view of boat repairs at Southwold harbour. 38x26cm watercolour on 300gsm Fabriano NOT

Blakeney Quay

A view of boats tied-up at Blakeney Quay. 38x26cm watercolour on 300gsm Fabriano NOT

Brancaster Staithe

A view of boats moored at Brancaster Staithe harbour. 38x26cm watercolour on 300gsm Fabriano NOT

I have long been fascinated by the concrete blocks on the beach at Minsmere in Suffolk. They were placed there as a defence during the second world war “to make possible landing places as inhospitable as possible.” (RSPB website.) Eighty years on they are still there, nestling in the sand dunes all higgledy-piggledy. In this work I have taken them out of context, to appreciate their imposing shapes from strange angles.

"Inhospitable Landing" diptych

The work is a diptych comprising two canvasses, both 50cm square. It is essentially one work, but I will upload it as two images.

As above

As above

I strive to capture the essence of movement of the environment & time. Inspired by street art, its energy and colour, as well as its non-conformity to Fine Art principles. I try to capture both urbanism and landscape as a genre in my work. The paintings are established over many layers and the work is continually made, destroyed and recreated, leaving a remnant of each layer. The painting carries visual metaphors, words & motifs to develop a narrative of time and change. The composition is never fully realised until the end of the piece.

High & Dry

Acrylic, spray paint on canvas 30cm x 30cm

The Untouchable Horizon

Acrylic, spray paint on canvas 90cm x 60cm

LOL: Labour of Love

Acrylic, spray paint on canvas 61cm x 61cm

I am a mixed media artist. My work is semi abstract and abstract and is inspired by the North Norfolk landscape where I live and walk each day. My current cliff paintings focus on the area from Cromer towards East Runton.I build up my paintings in layers, usually starting and ending with collage and applying acrylic paint with cards; the physical hard, scraping feel of them providing an intimate connection with the surface that feels almost elemental and psychologically links me to the cliffs themselves.The surface collage often uses prints created from previous paintings. This is important to my process, providing continuity, stability and connection.

Ancient Sea

Ancient Sea is an abstracted image of the history of the layers laid down since ancient times to create fascinating layers, colours and textures. I have used acrylics and collage.

Rock Face

This is the second piece of work where I am abstracting the cliff images and sea between Cromer and East Runton. Again I have used acrylics and collage.

I paint with watercolours, usually from photos I have taken while out walking along the cliff paths and beaches of Norfolk. After an initial colour wash, I use various techniques including the application of masking fluid, salt and sand, and scraping with sticks or card to add texture, depth and movement to my paintings. My aim is to capture the timeless yet changeable nature of the Norfolk coast in an impressionistic yet recognisable image.

Cromer Cliff

This work, painted in watercolours, and using masking fluid and scraping with a plastic card, shows the precarious state of the unstable sand and earth of the cliff where the wooden fence has broken away and fallen onto the grassy area below. Size 32cm x 24 cm on watercolour paper

I paint things I see when out walking. I always have a camera with me and enjoy photographing whatever comes along.

Resting

While walking along the beach near Cromer I came across a young seal resting at low tide. I took a photo from a good distance, and then I decided to do this painting because I like his attitude.

l recently learnt about a disaster on the River Thames when Princess Alice, a pleasure paddle steamer, sank on September 3rd, 1878. Nearly 700 people died, mostly women and children, who couldn't swim and were hindered by layers of clothing. I was astounded to discover that my great, great Aunt, Emily Jobling and her 5 year old son Thomas both died that day, although my family had never spoken about it. This work is in memory of them. The petticoat is ripped and dirty reflecting their struggle; and the images incorporated into the fabric tell their story.

Emily and Thomas

The Victorian style petticoat is made from vintage fabric and dyed with different rusty objects, including their initials. It was weathered with tea and soil, then ripped. I printed images from 1878 newspapers and family heirlooms onto various stained materials. Some can only be glimpsed through torn holes, others are handsewn like patches. It is suspended from a piece of driftwood.

‘Nature holds the key to our aesthetic, intellectual, cognitive and even spiritual satisfaction’ E O WilsonUsing the medium of photography, drawing, walking and installation, Kelly Hill investigates how our interactions with the natural world have shifted - metaphorically, politically, and climatically. Her work explores how we are all a part of nature. From the particles we are made of, to the air we breathe, to our place in the world and our relationships with the more than human. Our urban environment may have alienated us from nature but our affinity with it is innate.

56/26 Fe (Castle Rising / Ling Common iron-rich mud), printed 2024 / Photography, Fine Art Giclee print on Hahnemühle Photo Rag (545mm x 420mm framed)

Iron is made from the fusion of elements in stars. It arrived on Earth millions of years ago in the form of meteorite showers after a powerful luminous stellar explosion or supernova, when the lifetime of a star is exhausted.Iron is an essential element for life as it participates in a wide variety of metabolic processes, including oxygen transport, deoxyribonucleic acid (DNA) synthesis, and electron transport. Every living thing: plant, animal, bacteria, even cancer cells rely on iron to flourish. The movement of iron through the biosphere is mainly controlled by plants and is an essential trace element required for the production of chlorophyll.

Umi, printed 2024 / Photography, Fine Art Giclee print on Hahnemühle Photo Rag (445mm x 445mm framed)

From the series 'When the Child', a body of work inspired by the Wim Wenders film Wing’s of Desire and the poem 'Song of Childhood' by Peter Handke. The film is an atmospheric and reflective mood piece that relates more to music and poetry than the structure of a conventional film or novel. In the film Wenders would have his audience savor the details of a pedestrian existence and the inherent beauty of everyday experiences. The opening sequence resonated with my own project – the children in the city can see the angels who gently observe the community, the poem ‘When the child’ touches on the elements I wanted to communicate – the lightness of being a child, imaginative play, fantasy inspired by the everyday, inhibition, daydream, curiosity, intelligence and a sense of the ‘envelope of time’. When the child was a childIt walked with its arms swinging,It wanted the stream to be a river,the river to be a torrent,and this puddle to be the sea.When the child was a child,it didn’t know that it was a child,everything was was full of lifeand all life was one.When the child was a child,it had no opinion about anything,had no habits,it often sat cross-legged,took off running,had a cowlick in its hair,and made no faces when photographed.When the child was a child,It was the time for these questions:Why am I me, and why not you?Why am I here, and why not there?When did time begin, and where does space end?Isn't life under the sun just a dream?Isn't what I see and hear and smellJust a mirage of the world before the world?Song of Childhood, By Peter Handkeextract from Wings of Desire / Wim Wenders

Gilda, printed 2024 / Photography, Fine Art Giclee print on Hahnemühle Photo Rag (560mm x 400mm framed)

From the series, In the CitiesMy project is a game. I arrive at an unfamiliar home at dusk and ask what worlds the children would like to create. They select their own props and I withdraw to observe them from the outside. I believe there is a connection between the way we learn to read the world as a child and the way we absorb information intuitively as adults. Part of my own nature as a child was to get lost in the way things felt, to become absorbed in the game to the point where imagination and reality become one and the same. Thresholds, windows and membranes that divide the interior from the exterior are important in the work as they explore the separation between the internal (psyche) and the external (culture), and the boundary between the personal and the shared. The series developed out of a documentary practice that observed the city as a stage and has culminated in a series of unnerving mini-narratives that appear to have been drawn from the everyday. By repeating the game and creating a series the work takes on a strange mythical quality that delves into the imaginative world of childhood, suggesting both a light and a dark realm, and a transition from the known into the unknown.

My starting point is often observations of routine daily life and everyday objects, using ‘immediate’ methods such as sketchbooks, photography or speed drawings with ink and charcoal, to create direct responses. From there I let the process of drawing take over, by making drawings of the drawings, or from my mind’s eye. I often add chance into the process – starting with accidental marks, dropped brushes or random strokes, letting things ‘just happen’, so the drawings appear out of the chaos, almost of their own accord.

Dominic's Kitchen: Mixing bowls and chopping board, ink on paper, 39 x 49cm framed

This is one of a series of drawings and paintings of my partner's kitchen. It's a small, warm, messy, chaotic space and there’s always cooking going on. The same pans, cutlery, chopping boards and equipment move around, creating an ever-shifting, unstable, un-still life.

Dominic's Kitchen: Dirty mugs, ink on paper, 35 x 43cm framed

This is one of a series of drawings and paintings of my partner's kitchen. It's a small, warm, messy, chaotic space and there’s always cooking going on. The same pans, cutlery, chopping boards and equipment move around, creating an ever-shifting, unstable, un-still life.

Dominic's Kitchen: Pan and colander, ink on paper, 35 x 43cm framed

This is one of a series of drawings and paintings of my partner's kitchen. It's a small, warm, messy, chaotic space and there’s always cooking going on. The same pans, cutlery, chopping boards and equipment move around, creating an ever-shifting, unstable, un-still life.

The disappearing coastline of East Anglia and the remaining traces of peoples lives joins my fascination for derelict houses which were once homes. The fragments and memories left behind are what interest me. Recently I have been experimenting with alternative sustainable print processes, connecting place with the materials used.

Coastguard's Edge

20 x 14 cmsolar etchingThe edge of the garden of the coastguard's cottages (once home to Roger Ackling) at Weybourne.

Emergency Hanky (Happisburgh)

37 x 37 cmRust print on upcycled handkerchief, created using found metal.

Hotel Splendide

Toned cyanotype27 x 19 cm

I enjoy the physicality of the printmaking process and exploring the variety of marks that can be made with a few simple tools. This has enabled me to develop my own unique visual language to capture the spirit of the Norfolk countryside.I enjoy pushing the printmaking process beyond what is usually done, often using several processes together to create unique pieces of art as well as small limited editions. Currently I am focused on using lino and by both cutting and etching with caustic, create multiple plates in the construction of the final image.

Towards Net Zero III

Multi plate lino print etched and cut40x40 cm

Twilight Pond

Linoprint on hand marbled paper40x40cm

Two of the pieces submitted are recent forays into using wax as a medium to enhance and create a slightly macabre or though-provoking atmosphere. The third is a continuation of the mystery of identity but is a mono print. All three have in common a masking from reality.

Waxen

Wax, oil paint, collage 40 x 28cm Framed size 52 x 40 £225.00

The Scarf

Oil paint & wax on linen 29 x 24 Framed size 34 x 29 £250.0

The Mask

Monotype unique print 30 x 21 Framed size 51 x 43 £155.00

My practice is primarily screen printing and photographic, often combining the two. The work submitted for consideration is Norfolk based, centring as it does on the North Norfolk coastal path. I am currently studying for an MA in Fine Art and as a result my practice is becoming more experimental.

Chronology in Twenty Eight Parts

A multi-layered photographic work, of the coastal coal barn at Thornham. Printed on UV Dibond. 100cm x 136.5 cm Edition of 5 Price £1995.00

One Path, Many Layers (seven)

Part of my North Norfolk Coastal Path series. Holkham Beach. Screenprint on paper. Framed 64.5cm x 83.5cm. Price £525 Unframed 56cm x 76cm. Price £350 Edition of 12

One Path, Many Layers (six)

Part of my North Norfolk Coastal Path series. Wells-next-the-sea beach. Screenprint on paper. Framed 83.5 x 64.5cm. Price £525 Unframed 76 x 56cm. Price £350 Edition of 8

My work draws inspiration from the natural world, navigating and understanding key issues such as sustainability and our understanding of the environment that we inhabit. Through the careful balance between material and construction, I enjoy exploring ideas of change and impermanence and creating works that try to encourage viewers to reflect on their own personal relationships with nature. Much like the materials I use, over the past year, my work has been developing organically, responding to new experiences whilst exploring the potential and limitations of soil, grasses and leaves as a creative medium.

The Nature of Circles

Recycled paper and natural materials on wood.

Bronzed

Bronze leaf, recycled paper and natural materials on glass.

I make paintings and photographs. For me the two are quite different, both in the way they are produced and how they represent the world. Photographs start with and frame the pre-existing world. Paintings start with a blank surface and conjure up their own world. My paintings start with photographic imagery, then paint is used to reinterpret what is presented photographically. The three pieces I am submitting are from a series where photography and painting are literally combined. They consist of photographs that have been torn from books and painted on. Instagram - @stephenh_c

Modulation I

Acrylic paint over a photograph torn from the book Last Best Hope by Juan Abelle, 23.5 x 18 cm.

Modulation II

Acrylic paint over a photograph torn from the book Last Best Hope by Juan Abelle, 23.5 x 18 cm.

Modulation III

Acrylic paint over a photograph torn from the book Last Best Hope by Juan Abelle, 23.5 x 18 cm.

Local landscapes which resonate with me when I am

Round the Curve

Seen on a Coastal walk from Cart Gap to Sea Palling.Oil on canvas board Size 16”x 12” (41cms x 31cms)

Steps leading to Eccles

Looking up from the beach leading over the dunes to Eccles.Oil on canvas board.12”x16” (31cms x 41cms)

The Jetty

Painting from sketches drawn at Thornham North NorfolkOil in canvas 14” x 10” (36cms x 26cms)

This mixed media piece was inspired by finding a treasure trove of artifacts that I'd thrown into a box on leaving a place I'd loved some years before. The tactile quality of the key, the rusty nails & screws & the frame, all salvaged from the building, evoked a rush of pictorial memories which I strove to recreate.

Leaving The Old House

Mixed media on board. Framed 500mmx 410mm. Unglazed.

Painting one. Autumn Cottage, is acrylic ink and acrylic. Nicely mounted and framed in a substantial white frame.Painting two. Reflections 2. Is acrylic ink on stretched canvas. 60cm x 60cm.Painting 3. Unicorn in the Forest. Acrylic on stretched canvas. 41cm x 41cm. A whimsical Painting.Both of the canvas paintings are neatly edged.

Autumn Cottage. Acrylic ink and acrylic. Visible painting 46cm x 34cm. Frame size 67cm x 56cm

Imaginary idealised cottages.

Reflections 2. 60cm x 60cm

Acrylic ink. Reflections in river.

Unicorn in the Forest. 41cm x 41cm

Acrylic. Whimsical painting for those with a mystical leaning.

My paintings involve different processes and materials, I often work on the floor so that paint can make its own way into canvas or paper as if making a giant watercolour. Studio walls are covered with small paintings and drawings, forming a huge sketch book. These images creep into my paintings through peripheral vision. This method allows for unpredictable forms to enter the work .

Deadly Nightshade

Acrylic on Somerset Satin paper 76x112 cm

August

Acrylic and collage on Somerset Satin paper 70x100 cm

I am a Lino print artist who is inspired by the buildings and landscapes of Norfolk. I enjoy finding unusual views and angles to create bold prints.My instagram is @jodiestarkings and my website address is jodiestarkingsprints.co.uk

Cromer Steps

A striking black and white lino print of the handrail for the steps leading down to the beach at Cromer. Printed using oil based black ink on Shoji paper and measuring 30x42cm unframed. Will be displayed in an A3 black frame.

Granary Gantry (sunset edition)

A view of the Granary Gantry at Well Next The Sea with a vivid orange background. Printed using oil based inks on Mitsumata paper and measuring 25x33cm unframed. Will be displayed in an A3 size frame.

I graduated from Chelsea College of Art in 1998 having gained an MA in Fine Art. I have continued my painting practice and currently make small scale works on paper and canvas.My painterly language has evolved through experiences and influences, the landscape has often been my starting point. Now my visual language is an abstract syntax that draws on horizon lines, grids, roads, circles, and trapeziums. A painterly abstract geometry.North Norfolk is a familiar landscape to me having spent a lot of my childhood there, the vast open space has always influenced my work.

Orange road

Acrylic and spray paint on canvas.30 x 40 cm

Blue road

Acrylic and spray paint on canvas 30 x 40 cm

Untitled

Acrylic paint on canvas30 x 40 cm

Although for many years the numerous points of intersection, overlap and exchange between land and sea have been important subjects for my visual work, moving to Norfolk in 2017 encouraged a more concentrated interest in the North Sea and its intriguing geography, climate and multiple forms of life. What fascinates me is not merely the sensuous, complex ebb and flow of the tides but what the waters hide, and yet also reveal to the dedicated observer of this constantly-changing “drama” or scene.

Ebbs and Flow

I have made this small book to hold a series of paintings about both the vastness and force of the ocean but also the tiny creatures, objects and “incidents” encountered along its shore. The issues of scale, surface and depth, distance and proximity, and the passing of time are all part of what attracts me to this restless panorama. Chance encounters with people or animals on the shore feel like moments of mythological importance, despite – or perhaps because of – their ordinary, fleeting nature. In my paintings the sea becomes a richly-suggestive backdrop against which these narratives are placed in sharp relief.

Another view of the book

seeing both sides of the book

Adam is an award-winning architect and artist based in London and North Norfolk. He is primarily a painter of abstract landscapes whose work represents his relationship with his environment, and more specifically the hinterland between the sea and land. He works primarily in Acrylic on canvas and plywood. Adam’s work acknowledges the legacy of both the West Penwith painters of the 1950-60's and mid-century expressionism.

Half Life

40x40cmacrylic on canvas white painter timber flat frame

Brancaster

50x60cmacrylic on canvas white painter timber flat frame

East Runton

115x37.5cmacrylic on plywoodwhite painter timber flat frame

Cromer-based magazine and award-winning wildlife photographer Tim James has always painted, but since moving back to North Norfolk has stepped away from more commercial work to concentrate solely on painting. Inspired by the landscape and with a strong desire to tread lightly, recycle and reuse, his latest work utilises canvases, boards, mounts and frames found in local charity shops. Enchanted by Norfolk’s coastline and surrounding woodland – which he describes as nourishment for the soul – Tim works in oils and acrylics and aims to produce work both abstract and figurative that he hopes evokes a sense of time and place.

Favourite Spot

I enjoy finding natural beauty even in urban settings. This work began as an exercise in capturing light. It is where I have sat with my dog a hundred times and I love how, on a crisp blue day, the sunlight filters through the trees and creates a mosaic of tones on the footpath below.Acrylic on canvas board

To the Horizon (abstract landscape)

This landscape was inspired by early morning walks on the beach as summer became autumn and I became quietly aware of the coming change in the seasons. Whimsical and a little nostalgic, but with a contemporary feel, the work focuses not on detail but on the abstract shapes and gentle shifts in tone that form a view in our memory.Oil on board

Nearly There

Each time I turn to leave Happy Valley in Cromer my spirit is lifted by the view of verdant ferns, the sea in the distance and an ever-changing sky. This work attempts to capture the optimism and joy of the place, a perspective that immediately takes me back to seemingly endless childhood summers and walks to the beach. Oil on board

Oil painting on board, illustrating our favourite swimming hole, used by generations of locals to cool off on hot harvest days and fishing for American crayfish to feast on when the swimming has given everybody an appetite.

Bathing Party 2

A multi-generation birthday party, held in the river so you have to get wet to get a slice of cake. No exceptions, unless you can persuade a swimmer to bring you a piece.Oil painting on board. 58cm x 50cm. (With frame 72 x 64)

I am a multimedia artist focussing on audiovisual work. I like to visit different places and photograph or video what I see. Later I reinterpret the scenes and explore the sounds, sometimes manipulating the audio, occasionally adding music and commentary.I also write flash fiction. By looking at things from a slightly different angle I enjoy taking the reader into a speculative world.

Revetment

Filmed during a visit to Cromer on August 5th 2024. People stood and watched, fascinated, as a herd of excavators crawled their way along the beach. NOTEI can send a link to the full film - duration 5 min

Void

Workers on Cromer beach discover a void.

Using painting, drawing, and printmaking, my art invites interaction, contextual debate and recounts others’ personal stories; using art as a narrative. I explore memory and emotion and consider the relationship between the narrative of portraits, the memories they represent and how they evoke a sense of identity.

Hands Where You Can See Them

A painting of hands ‘hands where you can see them’, creating a statement of identity, and engaging the viewer in creating their own narrative about the image. 26 x 26 cm Acrylic on board

Cherubs

Study in acrylic of a couple of cherubs, reflecting each other, almost too embarrassed to engage with each other - maybe fearing what others might think? 14 x 22 cm Acrylic on board

I previously ran a successful online business for 8 years selling realistic pet and animal portraiture. However, the style dear to my heart is figurative, where I can enjoy freedom of subject and representation, balancing form and tone to create a sense of rhythm. Other interests include reading, gardening, cooking and walking. I live in Cromer.

Yellow Mandolin 3

Acrylic on canvas board, 9" x 11". Black frame.

Woman With Bird

Acrylic on canvas board, 7.5" x 7.5". White frame.

Interior With Bird

Acrylic on canvas board, 9" x 11". Silver and green/grey frame.

My work is currently focusing on personal objects and the many combinations in which these are displayed within a domestic space. In doing so I have come to realise how poignant and important objects and ornaments can be, their emotional value far outweighing their monetary worth. My still life photographs are composed using items that have had a home and are often no longer perfect. I aim to re-evaluate our possessions and to create images of beauty and fond humour, with a narrative open to interpretation by the viewer.

Noughts and Crosses

Ht. 35cm x W. 30cm. C-type photographic print, mounted on board with u.v.l. protection.Ed. 1/5Price £160

In a Darkened Room

Ht. 30cm x W. 30cm. C-type photographic print, mounted on board with u.v.l. protection.Ed. 1/5Price £150

Curious

Ht. 32cm x W. 29cm. C-type photographic print, mounted on board with u.v.l. protection.Ed. 1/5Price £160

The expressive and progressive abstraction, merging landscape and figurative studies. Saturated observations and emotions, conscious and subconscious intertwined moving in, around and through the woods at Whitlingham Country Park. Paintings inspired by walking, running, contemplating, observing every direction, as the landscape transforms with each transitional seasonal change. Changing light, its direction and height, shadows formed, changing from one day to the next. Movement from calm to wind blown, running past and catching a glance as sun spots dance for a place in the shadows. Simple moments that trigger attention and echo in life’s love within nature. Instagram@evennettrosamund & linkedIn/rosamund-evennett

Whitlingham Green Run, 1 of 6

Acrylic on canvas (20 x 20 in / 50.8 x 50.8 cm). January 2024. The first of 6 paintings culminating from the figure immersed within the early winter landscape of the woods at Whitlingham Country Park.

Whitlingham Green Run, 2 of 6

Acrylic on canvas (20 x 20 in/ 50.8 x 50.8 cm), January-February 2023

Whitlingham Green Run no.7. Up, spun dizzy.

Acrylic on canvas (24 x 24 in/ 61 x 61 cm) September- October 2023A momentary glance upwards, on the move, running, head spun into dizziness.

Abstracted, layered, sensory explorations of both external and internal landscapes, using intuitive gestural marks, collage and layers of coded messages to recreate the emotions of key moments in my life.

Inland Coastal Walk

A lively, rich interpretation of a brisk coastal walk in late spring. Acrylic, oil pastel on cradled board. 25cm x 25cm.

Don’t Look Back In Anger

A moment in my life expressed, interrogated and turned into something positive. Acrylic, oil pastel on cradled board. 20cm x 20cm.

I am inspired by the Suffolk landscape around my home; the worked farmland and the trees that frame the patchwork of fields. As the seasons change the farmed land, I am fascinated by the way our activity over this ancient landscape changes the way light behaves. The process of my work involves immersing myself in the landscape, to know it intimately, to live in it, to know every tree. I make charcoal from local trees and collecting chalk to work with.

High Copse

Ash charcoal and collaged charcoal paper.

Stiffkey Marshes, High Tide.

Charcoal and collaged charcoal paper.

Three Hawthorns.

Hawthorn charcoal and collaged charcoal paper.

In these works from “This Broken World”, the new series from Caroline Chouler-Tissier, the narrative interrogates the visceral nature of trauma and its impact, both personal and social. She explores place, through the emotional energy of loss and the solace of close contact with rural landscape and addresses the academic conversation around wall-based 3D work.Through further investigation of raw, hand-cut extrusion plates and mixed clay extrusions, Chouler-Tissier’s practice interrogates the materiality of clay, capturing the dynamics of a disrupted making process; of thrown, hand-built or slip-cast elements, including shards and salvaged pieces from land and sea. Layered discordant glaze processes with an emotionally fuelled, gestural application, build intensity and complete each work.

This Broken World - wall series Conduit 2

"Conduit 2" has geological connections to the soil profiles and influencing bedrock which lay below us and the complexity of the ground from which we are formed. My practice speaks to regeneration, resilience and self-reflection; the commonality of the human condition. To the potential, through a greater connection with our landscape as a supportive presence in life, and for a closer relationship with one another.

This Broken World - wall series. "Conduit"

"Conduit" explores a forced combination of discordant clays and the academic conversation of wall based 3D work, addressing the complexity in acceptance of damage and sharing of trauma. My practice speaks to regeneration, resilience and self-reflection; the commonality of the human condition. To the potential, through a greater connection with our landscape as a supportive presence in life, and for a closer relationship with one another.

This Broken World - wall series. Eruption

"Eruption" is an experimental capturing of outwardly expressed emotional energy and an exploration of the process and understanding of regaining control within the academic conversation of wall-based 3D work.My practice speaks to regeneration, resilience and self-reflection; the commonality of the human condition. To the potential, through a greater connection with our landscape as a supportive presence in life, and for a closer relationship with one another.

A painting on board in acrylic, water colour and bronze powder with incised mark making of sailing boats

Sea Chasing

Painting of sail boats at sea on board size: 28cm x 15.5 cm £175

I am a textile artist with a degree from Winchester School of Art and a mother of two daughters. Recently, I’ve rekindled my lifelong passion for creating. My latest work intertwines my love for textiles with spirituality, reflecting my inner journey. Ink marks on cloth have transformed into spiritual messengers—divine codes reawakening my original blueprint. These creations, embodiments of love, serve as reminders that our true home resides within.Each piece invites a deeper connection, reflecting the sacred, ever-present journey of returning to oneself, embracing the divine within.

Divine Codes - 3

In numerology, the 3-6-9 pattern is often referred to as the divine code, representing the energy of inspiration and creative expression.3 is often associated with creativity, self-expression, and the principle of growth. It represents the idea of divine trinity and the expression of ideas into the world.Size: 49 cm x 66 cmMedium: Linen Fabric, ink and thread.

Divine Codes - 6

6 is linked to balance, harmony, and nurturing. It is seen as a number of love and protection, often symbolising responsibility and the nurturing aspects of life.Size: 47 cm x 70 cmMedium: Linen Fabric, ink and thread.

Divine Codes - 9

9 is regarded as the number of completion, spiritual enlightenment, and the culmination of cycles. It represents wisdom, compassion, and the universal principles of love and service to humanity.When these numbers are combined, as in the sequence 3-6-9, they form a powerful pattern that is thought to unlock deep universal truths and inner knowledge. These wall hangings are here to helping individuals align with their higher purpose and tap into a deep remembrance of their divine nature.Size: 47 cm x 72 cm Medium: Linen Fabric, ink and thread.

I am a figurative artist who focuses on the use of colour and encapsulating texture and emotional throughout all my pieces. I always want my paintings to represent a time in my life and I want the message to be ambiguous, some of my works I painted in a time of confusion and distress but yet I use vibrant paints and rough sketches to convey this idea of joy and serenity.

Metamorphosis

84cm x 59cm Wooden board - Acrylic paint and Oil pastel

Painting became my refuge during a difficult life transition—my divorce. Art was a therapeutic tool, helping me heal. I began to dream and have visions that I needed to paint, with each brushstroke guiding me toward self-discovery. Turning these dreams into paintings allowed me to connect with my inner world, giving form to emotions that words couldn’t express. Creativity has always been part of who I am, and my home reflects this, filled with antiques and curiosities that I love. Art has been my way of transforming pain into something meaningful.

The Mother Thread

The mother thread represents the enduring bond between mother and child, a connection that remains strong even as they grow up.

Heartbreak to Self Love

“Heartbreak to self-love” describes the journey of healing a broken heart through the power of self-love.

Silence and I see

Visions of my dreams reveal deception, serving as warnings in my waking life.

Amateur hobby artist. I’ve lived near the North Norfolk coast for the past 11 years and have always loved and been inspired by the sea. Pastels is a new medium to me, having only been using them for the past 2 years.

Into the Azure

Soft pastels seascape on Sennelier la Carte paper. 14x12” framed.

Crest of a Wave

Soft pastels seascape on Sennelier La Carte paper18x14” approx framed

Sand Dunes

Coastal scene. Soft pastel on Sennelier La Carte paper18x14” framed

Abstract, found landscapes, excavated from random prints or mark making. Unreal places.

Ice

Impression of cold, ice, mountains

Under

Inspired by earthworks and archaeology

Estuary

Aerial view, imagined perspective

many recurring themes in my work include nature nurture and urban vs rural. Since returning to Norfolk from studying in London, i am exploring the idea of nature vs man made in greater depth. the similarities and differences between them, the unpredictability of both. growing up on the border of Norfolk/ Suffolk and moving straight to a city such as London has taken its toll. Many think rural and urban land is in contrast of each other, but I have learnt to experience and realise these overlapping sensations and I ask what the difference is between, for example, seeing trees and seeing a jpeg of trees.

offering (1)

mixed media 51cmx 90cm

offering (2)

mixed media 50cmx 78cm

My work rejoices in the beauty of nature. One of my favourite subjects is country lanes, often shrouded in overhanging trees and hedges, creating mysterious sculptural forms and dramatic lighting effects. I often discover these places when I am exploring the ancient roads of Norfolk by bicycle.

Scarrow Beck Lane, Erpingham

This small drawing measuring 14cm x 18.5cm (29 x 33cm framed) is of Scarrow Beck Lane near Calthorpe church, a few miles north of Aylsham. The main feature is an ancient oak tree overhanging the sunken lane. Drawn in back pen on paper.

My small sculptures are about recycling found materials. Each is one is unique with individual personalities and lives. The little buildings reflect isolation, desertion and loneliness. I wanted to show how vulnerable our lives our. Buildings are usually full of things and people that tell stories. Sometimes we lose these, they fall off the edge and they fall into disrepair. Relationships can be damaged.I am a Hertfordshire artist. I travel to North Norfolk on a frequent basis drawing and paintings the area. After lockdown I decided to change my art to make small sculptures from recycled materials found in my garden. I wanted to explore the ideas around home, loss, inheriting things and telling a story about a life.annmariewhitton.co.ukinstagram.com/annmariewhittonartist

On The Edge

Recycled copper, wood, stone and stringSize; 19 cm x 22cm x 34cmThis small sculpture is about living on the edge. It may be a physical edge or a mental edge. It's a feeling of being dragged down with a weight.

Houses of Keys

Plaster, recycled keys and reclaimed woodSize; 19cm x 9cm x 19cmThis plaster and wood sculpture is about home. The many things we inherit. When I inherited a house from my father in law we found hundreds of keys. It begs the question; what did they unlock?

Copper Shed No 3

Recycled copper and woodSize; 27cm x 11cm x 11cmThe little shed on a lump of wood reflects the loss and derelict building standing alone.

I have painting for thirty years and choose to create images of conjunctions, juxtapositions and sometimes comic sometimes tragic imagery with a focus on the figure.

The Mallard

A semi autobiographical reinvention of memories or imaginings.

Dutch interior

Oil on canvas. A reinvented fictitious interior with thanks to Vermeer and Rubens.

My work explores my relationship to memory and landscape and features both the rural and built environment. For me the landscape is filled with evocations of the near and distant past and the process of making these drawings takes me on a journey of reflection and contemplation. "Wild River" is from a series of small cropped drawings which act like snapshots, or fragmented memories; the format reminiscent of a time when photographs were printed and treasured, the cropped aspect giving the images a sense of 'otherness' - and intimate, familiar scenes become tinged with a sense of longing and a subtle tension.@alisongriffinartist

Wild River

Image size: 11 x 8.8cmPaper size: 24 x 20cmOil carbon pencil on paper 300g2024

I am an associate member of the Royal Watercolour Society and work mostly in watercolour but I have increasingly been experimenting with printing and would like to how some of this work. I find a close relationship between the two mediums working in layers.

Rain Cloud

I like shape and tone and working with intaglio printing methods this allows me to focus on these aspect. The piece is created using acrylic sheet working the image up using a mixture of acrylic medium and carborundum. It is printed on Somerset paper.

South Downs

I don't believe that I could go looking for views but sometimes I am struck by something that I see. I've used cardboard coated with shellac as a base for this work, then building the image with a mix acrylic medium and carborundum. If there is such a thing as abstract realism then I suppose the question is, how far to take it?

My practice deals with interior and exterior worlds constructed from personal memory, dreams and the patterns of nature and technology. Recurrent themes include journeys of becoming, historical layering and portals to other worlds. Walking, photography, sketching and painting contribute to my experience of nature and sense of place. I use aerial viewpoints, close-up fragments and architectural forms to look through layers of light and colour. Ongoing research includes experimentation with ambiguity, semi-abstraction, and process investigation using mixed media and photographic techniques. I studied photography at Central Saint Martin’s before completing MA Fine Art at The Cambridge School of Art.

Swoosh

40cmHx40cmW, acrylic on stretched canvas

Cracked

64cmHx52cmW, multimedia on paper

Tidal Surge

30cmHx45cmW, C-type on aluminium

I’m a linocut printmaker and arts educator working out of my studio at Anteros Arts in Norwich. I create limited edition linocuts inspired by nature, poetry and folklore. I print using a wooden spoon and small Slama Press and teach printmaking around Norfolk.

Beside The Stream

This is a limited variable edition linocut print, carved into Japanese Vinyl and printed on Japanese HoSho paper. It is A4 in size.

My focus on the attraction of materiality has led me currently to working with clay. Here I can develop subsequent themes exploring surface, texture and form. I use vessels as a start point to hold the explorations of adding other materials to the clay including sculptural elements that are often around the rims . My work reflects interests in the natural world and the past world, archaeology, human behaviour and the potentially explosive nature of the earth. I love to contrast raw rough textured forms and evidence of residue with more sensuous and considered line to emphasis both opposition and co creation between natural and manmade elements. Social Media details: natashadayart1 InstagramContact details as above.

Artefact Plate

Small ceramic plate with Cromer sand inclusions.H18cm x W18cm x D3cm. £60.00

Volcanic Vessel

Small ceramic functional vase vessel with added aggregate.H10cm x W9cm x D8cm.£60.00

My pots seek to capture the timelessness sensed when at one with nature: by water, amongst trees or on a mountain path. They are made from coils of clay, the surface marks are made by smoke. Having controlled the shape: the sense of uplift and poise, I love the unpredictability of the emerging markings. When touched, the bare, unglazed vessels feel somehow ancient, weathered, eroded and raw.

Gjalfmarr / Steed of the Sea.

33 x 17 x 13cms. Ceramic form with a lace impression of the prow of a Viking boat. The Old Norse word Gjalfmarr, meaning Steed of the Sea is carved into the vessel. It has been burnished and smoke fired.I have been collaborating with contemporary lace maker Beth Walsh, impressing Beth’s bobbin and needle lace into clay. Recently, we have been influenced by the ship graffiti in North Norfolk churches and by Viking boats. They explore the connections which we have with those at sea; wayfarers present and past and the ways we remind ourselves of them. Each piece quietly says “safe passage”.

I am a contemporary, abstract artist from North Norfolk. I enjoy working in many different mediums, trying various techniques in my art practice, and I’m particularly drawn to abstraction, finding inspiration in nature, and the sea. I love bold colours, and my favourite artists are, Yayoi Kusama, Wassily Kandinsky, Bridget Riley, and Piet Mondrian.

I am not a bunny rabbit!

Acrylic, ink, and resin, on MDF board.21cm x 30cm

Neurographic Tree

Watercolour and ink, on watercolour paper, mounted in a white aluminium frame. 42cm x 52cm

Dragonfly

Acrylic, ink, and resin, on square wooden box panel.30cm x 30cm

My work is about the textures and mood of the landscape around me – focusing sometimes on the details of vegetation and sometimes on evoking a sense of the season, of space, light and weather. I draw and use digital photography in combination with stitch, drawing on and referencing domestic sewing skills and traditions.

Evening Glow

Evening Glow is part of a series of Floodland pieces inspired by the landscape of the Waveney Valley - the borderland between Norfolk and Suffolk. Painstakingly pieced together from delicate tissue paper images and transformed through stitch, they aim to evoke the texture and space of this landscape in its peaceful fragile beauty.

After the Rain

After the Rain is part of a series of Floodland pieces inspired by the landscape of the Waveney Valley - the borderland between Norfolk and Suffolk. Painstakingly pieced together from delicate tissue paper images and transformed through stitch, they aim to evoke the texture and space of this landscape in its peaceful fragile beauty.

My sculpture work starts off as a wax model which is then cast at the foundry using the lost-wax process.Designs are often based on older and/or medieval illustrations. They often refer to an old story or legend which has a pictorial theme.

Our Saviour Christ and His Ladye

The title comes from the old carol, I saw Three Ships Come Sailing In. The model is a bronze cast of my wax original. There is a small sail and rigging made of painted fabric and some ornamental painting in acrylic; also the main sail has some inserted pieces of glass. 26cmH x 27cmW

The Mermaid

A bronze cast of my original wax model. The Mermaid was a medieval symbol of Vanity; here she sits on a wave, combs her hair and admires herself in a mirror,36cmH x 2cmW on a plinth 18cm. square

Fishing on the Sea of Galilee

Bronze cast of my original wax model The Fishermen throw their nets into the Sea of Galilee hoping for a good catch. The waves mount around them.21cmH x 15cmD, on a wooden base (the sea) 42cmL x 15cmD

I work with a variety of media, painting and sculpture, whatever will work best with what I am communicating visually.Looking at a richness in decay, of past experiences, with a belief in the possibility of restoration.Creating new forms to prepare for a different journey.We may be caught by the current, of what we might call destiny.Attempting to steer our way with an inherent desire for some control.The ability to be still can be a struggle, to appreciate the colours and forms that surround us.Allowing ourselves to be absorbed into the moment. Into our environment.

Afternoon at Pin Mill

Size: 61.05cm x 51. cm Medium: Oil on Canvas

Early Evening at Pin Mill

Size: 76cm x 51cmMedium: Oil on Canvas

Remember Me

Size: 48.05cm x 38.05Medium: Framed. Oil on Canvas

I am a textile designer and embroiderer and work on paper with a free machine embroidery technique. I am a collector of vintage ephemera and this plays a huge part in all of my current work. My particular interest is in what I term as 'lost' photographs - family group snaps from the past. I am very sentimental and always feel sorry for them and wonder where they came from.

Yesterdays Seaside

Collaged and stitched imagery from past times of families at the seaside. Free machine embroidery and images from vintage photographs of seaside holidays.

Abstract expressionism has always appealed to me after a work life of order and control. I like to create paintings that are spontaneous, with gestural brushstrokes and subconscious mark-making, allowing the viewer to react to the colours and forms without being distracted by recognizable imagery. I use various mediums in my work, including acrylic paint, collage, oil pastels, pencil, gel pens, and various mark-making tools. All supply their own interesting aspects to the work, drawing the viewer closer to discover new things in the piece

Elements

Acrylic paint, collage and pen15" x 12" x 1.25"300gsm paper in frameAbstract

Openness

Acrylic paint and pen15" x 12" x 1.25"300gsm paper in frameAbstract

What do you wish for?

Acrylic paint, collage and pen15" x 12" x 1.25"300gsm paper in frameAbstract

My art explores the modern world. From the philosophy and practice of making hand made sculptures, to using photographic, interactive and digital technology, I enjoy visually communicating ideas and experiences to the world about me. The photographs I present are from a wide collection that hope to encourage the viewer, in a humourous way, to consider the theme of 'energy' and our own energy consuming lifestyles. I also make traditional sculptures and meditative objects that are creative gestures or 'antidotes', to the surrounding noise and dynamics of modern life. All my creative works encourage us to retune. My contact details are [1] And my online presence social media option being [2] www.newworldarts.co.uk

"Great Day At Sizewell"

A recent photo taken on Sizewell beach carefully captures an unfolding situation. The title of the photograph helps to bring into focus for the viewer, the strange normality of modern life!

"Protection"

This photograph poses a moment for the viewer to contemplate: Will we be safe behind the shield?

"Rocket Fuel"

This photograph poses a question to the viewer about energy: How much energy do we use or need?

I work from my Suffolk Studio and specialise in Mixed Media Printmaking and painting. My main subject is abstract Landscape. I love experimenting with different materials and share my discoveries with my growing YouTube channel of almost 8000 subscribers.I have recently been selected to exhibit with The Royal Society of Painter-Printmakers at Banskide Gallery in London, London Southbank Gallery as well as Ironbridge Fine Arts Printmaking Competition 2024, all coming up this September. I am a member of 12PM Printmakers and frequently exhibit with the group, as well as Colchester Art Society.My Social Media Links:YT: youtube.com/@collagraphprintingIG: instagram.com/marta_ds_artW: collagraphprinting.comPIN: pinterest.co.uk/CollagraphPrintingTT: tiktok.com/marta_ds_art

Suffolk Gold 1

Mixed media on panel 50 x 50 cm

Suffolk Gold 2

Mixed media on panel 50 x 70 cm

I have recently moved back to Norfolk after almost thirty years away, in part to create time and space for painting, and the inspiration provided by the local terrain and landscapes. I am a non-professional painter, working in acrylics, oils and watercolours, mostly in a very small studio space (part of the attic in my current house) but also some plein air work. Impressionistic, mostly landscapes and some still life work. In need of learning, tuition and guidance. Other work at robertwelfarepainting on Instagram.

Blakeney Boat

Acrylics on canvas. 91cm x 91cm. 2024A studio piece based on my photographs and sketches of a gradually disintegrating boat located close to Blakeney harbour. It has been decaying into the marsh for at least thirty years.

Pot and pears

Oil on canvas. 30cm x 30cm. 2023A studio still life arrangement.

Over Morston marshes

Acrylics on canvas. 91cm x 91cm. 2023Plein air and studio piece seeking to capture the quiet dynamism, on a turbulent day, of what is sometime regarded as a static and inactive landscape.

My portrait work is mainly in pencil sometimes with added charcoal, sepia, pastel and chalk. The prefer to portray the emotion and personality in a face without placing too much importance on the surrounding area. My three choices depict three diffrent styles of my work.

Melancholia

An A4 pencil on white paper.

Re: pose

A4 sepia charcoal on white paper.

Blurred Lines

A4 pencil and charcoal on white paper.

Inspired by natural landscapes, primarily water, foliage and large open skies, my working methods are intuitive and emotive, subconsciously reacting to my experiences out in our natural world.I like to work mainly on sealed and primed wood before adding layers of acrylic paint and semi-transparent glazes to give depth, contrast and texture.My work is about being immersed in these places but I hope you, the viewer, will be inspired by my work and find your own connection.Instagram - https://www.instagram.com/adelewalpoleart

Summer Rain

Summer Rain - Delicate pinks and greens, together with Wedgwood blue, neutrals and texture.Size including frame 54 x 65 x 3cm on cradled wood panel.Acrylic Framed in a white wood tray frame.£295

Reflections

Reflections -Gestural marks and brushstrokes in greens and blues60 x 60 x 2 cm Acrylics on wooden cradle boardThis piece is unframed. I have painted the sides in the same green as in the painting, with the idea that it can be put up in your home as is.£295

A Quiet Moment

Bold magenta, greens and neutrals mounted in a white wooden frame.Size -40 x 40 ( 54 x 54 x 2cm including frame) Acrylics on slim canvas panel.£250

Liv Nightingale (B. 2002 Chelmsford, Essex) received her BA in Fine Art from Norwich University of the Arts and currently resides and works in Norwich. Nightingales’ practicefrequently deploys a sense of humour that contemplates the awkward real-world dilemmas experienced in day-to-day life. Through printmaking and sculpture, Nightingale reinterprets the function and appearance of common images, presenting them in ways that are at times poetic, comedic, or whimsically silly to create new truths.

‘Night watch’

Monotype on Fabriano paper29.7 x 21cm

‘Pull’

Monotype on Fabriano paper29.7 x 21cm

‘Eye beam’

Monotype on Fabriano paper29.7 x 21cm

I started artworking 25 years ago. I am basically self taught but have picked up a lot from on line courses. I used Painters Online and have many goo and useful reviews. Acrylic is my preferred medium and I like abstract landscape and character studies.

Springtime in Broadlands

The first burst of Spring sees budding wild growth amongst the woods and hedgerows with the portent of a summer season

Summertime in Broadlands

Summertime in all its glory. Foliage, sun twinkling through the trees and insects buzzing over the steam

Autumn in Broadlands

The changing colours of autumn soften the light , the last hurrah of colours before the coming inter

These small abstract paintings are about value contrast and design.The series is influenced by ideas drawn from the urban environment; architectural elements hint at paradox.

Heavy Manouvre

Mixed media on birch panel30cm x 30cm

Rolled Steel Joist

Mixed media on birch panel30cm x 30cm

Lime and Gypsum

Mixed media on birch panel30cm x 30cm

I am interested in light and distortion and the way nature can be revealed or hidden through these elements. I drawn to natural forms and the outside and where possible work from real life.

Breath

Acrylic 40 x 30 cm Distortion created by water and the play of light. A sense of the hidden and the reaching up and out.

Reflection

Acrylic 40 x 30 cms The hidden reflection of the sky and elements outside the frame draw your eye deeper into the image.

Summer

Acrylic 52 x 63cm The refraction of the water distorts that which is below

DAY BOWMAN – ARTIST STATEMENT Full Flood SeriesGrowing up in a holiday destination, small seaside town it is not surprising that much of my work has referenced the sea, the beach and the littoral.This series of small works entitled Full Flood makes reference to the tides when they are in full flood and the rock and tide pools brim over and for a brief moment there is ‘a parenthesis cut out of the world of flux’.**Ref: Life Between The Tides by Adam Nicolson.BIOGRAPHYRecent exhibitions include the R.A. Summer Exhibition, Wells Art Contemporary and BEEP 2024 along with solo shows at Bermondsey Project Space (2021), Daile Gallery Berlin (2021) and Carey Blyth Gallery (2023). Her work has gained numerous first prizes and her work held in private and public collections worldwide. Day is a member of Contemporary British Painting. August 2024

Full Flood 1

Full Flood SeriesGrowing up in a holiday destination, small seaside town it is not surprising that much of my work has referenced the sea, the beach and the littoral.This series of small works entitled Full Flood makes reference to the tides when they are in full flood and the rock and tide pools brim over and for a brief moment there is ‘a parenthesis cut out of the world of flux’.**Ref: Life Between The Tides by Adam Nicolson.Oil and charcoal on canvas. 26 x 30 x 4 cm. 2023

Full Flood 2

Full Flood SeriesGrowing up in a holiday destination, small seaside town it is not surprising that much of my work has referenced the sea, the beach and the littoral.This series of small works entitled Full Flood makes reference to the tides when they are in full flood and the rock and tide pools brim over and for a brief moment there is ‘a parenthesis cut out of the world of flux’.**Ref: Life Between The Tides by Adam Nicolson.Oil and charcoal on canvas. 26 x 30 x 4 cm. 2023

Full Flood 3

Full Flood SeriesGrowing up in a holiday destination, small seaside town it is not surprising that much of my work has referenced the sea, the beach and the littoral.This series of small works entitled Full Flood makes reference to the tides when they are in full flood and the rock and tide pools brim over and for a brief moment there is ‘a parenthesis cut out of the world of flux’.**Ref: Life Between The Tides by Adam Nicolson.Oil and charcoal on canvas. 26 x 30 x 4 cm. 2023

Originally a therapeutic outlet from the stress of modern day life, the latest series of works reflect the recent transition from working in marketing in Britian’s second city - Birmingham; to relocation and retirement to North Norfolk. Inspiration has come from Abstract Impressionism, predominantly American and German, together with the British Impressionists. The choice of media comes from a responsibility to recycle and reuse. This has resulted in unmixed colours from salvaged old paint tins, sampler pots and old art sets, that provide a stark yet fluid boundaries in which each painting evolves.

Global Storm

Size: 40cm x 100cmMedium: Acrylic, vinyl and poster paint on canvasIt is more than just rain waters (the blue tones) that is falling on us. Running down the window pane are the pollution and chemicals poisoning our water systems; together with the wars around the world and conflicts at home that plaque a peaceful society (reds).

Earth 1

Size: 100cm x 80cmMedium: Acrylic, vinyl paint on canvas An organic composition within a complementary painted frame. The pairs of colours representing the close and wider harmonies in a basic ecosystem to evoke a holistic ecosystem depiction.

Earth 2

Size: 100cm x 80cmMedium: Acrylic, vinyl paint on canvas The influence of man on the planet represented by the relation and arrangement of straight lines and juxtaposition of colours that reflect a common whilst dissonant relationship between groups and segments across the work.

In 2020, I embarked on my photography journey, initially exploring the world through my smartphone lens. Driven by a growing passion, I completed a mobile photography course and soon after, advanced to a comprehensive photo camera course. To refine my skills, I participated in several photography workshops, which helped me develop a deeper understanding of the art. Through relentless practice and dedication, my passion for photography blossomed. My efforts were recognised when I achieved a top 4% ranking in the prestigious 35awards photo contest, marking a significant milestone in my evolving photography career. My artworks have been selected for a few expos previously:- Sussex Contemporary 2023 Brighton theme Metamorphosis 7/10/2023 - 21/10/2023📷Suspended Identity - Open23 at WTM (Worthing Town Museum) 2/12/2023-14/04/2024📷Unspoken Fears: The Chair as Refuge - Summer Contemporary Art Exhibition 2024 in Crawley 4/07/2024-08/07/2024📷Duality of Nature Natalja Poplavskamobile +447850576733email https://www.instagram.com/poplavskaya_photo_art?igsh=dDU5Mm40cjM4eG1w

Piece by Piece Episode 1

"Piece by Piece" ( series of photos) is a profound exploration of the theme of connections and contact, blurring the lines between the individual and the environment. Through layered imagery, the artwork delves into the intimate relationship between the self and the natural world, illustrating how they resonate with and reflect one another.The use of double exposure in this project creates a visual dialogue between human elements—such as skin and hair—and natural textures like leaves and light. This interplay symbolizes the interconnectedness of our inner experiences and the external world. It suggests that our identities are not isolated but are shaped and mirrored by our surroundings.The project invites viewers to contemplate the subtle yet powerful ways in which we are in constant contact with our environment. It evokes a sense of unity, where the self is not separate from nature but is an extension of it, resonating with its rhythms and cycles. By highlighting these connections, "Piece by Piece" encourages a deeper awareness of how our surroundings influence us and, in turn, how we impact the world around us.Glicee print 813*457mm

Piece by Piece Episode 2

"Piece by Piece" ( series of photos) is a profound exploration of the theme of connections and contact, blurring the lines between the individual and the environment. Through layered imagery, the artwork delves into the intimate relationship between the self and the natural world, illustrating how they resonate with and reflect one another.The use of double exposure in this project creates a visual dialogue between human elements—such as skin and hair—and natural textures like leaves and light. This interplay symbolizes the interconnectedness of our inner experiences and the external world. It suggests that our identities are not isolated but are shaped and mirrored by our surroundings.The project invites viewers to contemplate the subtle yet powerful ways in which we are in constant contact with our environment. It evokes a sense of unity, where the self is not separate from nature but is an extension of it, resonating with its rhythms and cycles. By highlighting these connections, "Piece by Piece" encourages a deeper awareness of how our surroundings influence us and, in turn, how we impact the world around us.Glicee print 813*457mm

Piece by Piece Episode 3

"Piece by Piece" ( series of photos) is a profound exploration of the theme of connections and contact, blurring the lines between the individual and the environment. Through layered imagery, the artwork delves into the intimate relationship between the self and the natural world, illustrating how they resonate with and reflect one another.The use of double exposure in this project creates a visual dialogue between human elements—such as skin and hair—and natural textures like leaves and light. This interplay symbolizes the interconnectedness of our inner experiences and the external world. It suggests that our identities are not isolated but are shaped and mirrored by our surroundings.The project invites viewers to contemplate the subtle yet powerful ways in which we are in constant contact with our environment. It evokes a sense of unity, where the self is not separate from nature but is an extension of it, resonating with its rhythms and cycles. By highlighting these connections, "Piece by Piece" encourages a deeper awareness of how our surroundings influence us and, in turn, how we impact the world around us.Glicee print 813*457mm

I'm a painter from Norfolk, UK whose paintings centre around nature’s dynamism and a tight colour palette. My paintings reveal a shadow self in a play between veneration and a sense of unease. Recent subjects tackled are the monumental issue of climate change and the vastness of the sea and its mystery.

Closer to the Golden Dawn

A painting of my view while floating in the North Sea. Using oils I painted in thin layers in order to capture the luminosity of a blinding sun hitting the water and my skin. Starting with a photo taken while swimming, I sketch out the facets of the waves and general composition, before discarding the source material and letting the paint and my instinct take over.30 x 40cm, oil on wood, 2024.

North Sea I

A colour study of the sea at dawn, with its greenness enhanced in contrast with the violet and yellows of the sky. Swimming at dawn offers unique skies like these, often warmer in colour with strips of pale light. A typical passing tanker sits on the horizon.30 x 40cm, oil on wood, 2023.

North Sea II

A second study of green the North Sea - which joins to fit North Sea I (also submitted) in an accidental diptych. When swimming with my waterproof camera I am always trying to capture the impending wave about to pass, which I have used to study the complex facets of moving water, alongside interpreting colour and shifts in light.30 x 40cm, oil on wood, 2023.

Based in Ely, east Cambridgeshire, I work in mixed paint media on cut and shaped board, to produce low relief images that have a strong design element and a tangible, physical presence. Influenced by mid century modernism and constructivism (among many others),I strive to create new images out of the abstract shapes and forms found in maps, modern architecture and our surrounding environment.My intent is for these images to have a sense of balance and harmony aswell as visual interest, energy and dynamism.

Untitled (low relief in grey)

Mixed paint media on boardW:122cm x h:61cm x d:4cm

Diptych (low relief in green)

Mixed paint media on cork and plyboard.Each panel: h:91cm x w:44 cm x d:2cmAssembled piece including gap:h:91cm x w:92cm

Alan MacKenzie started investigating techniques and media of artistic production after retirement. After producing a variety of paintings, in oils and acrylics, he also experimented with various modes of printmaking, including etching, woodcuts and linocuts. Eventually this led him to focus on the techniques and possibilities inherent in screenprinting.His artistic objective is to present personages, images or buildings in ways that generate interesting colour and quirky design twists. A solo exhibition of his artworks was held in North London in spring 2022, as a fundraiser for the Disasters Emergency Committee.

Dance of the Valkyries

Screenprint, image size 41cm x 41cm

Gairloch sunset

Screenprint, image size 42cm x 59cm

Riverbed I

Screenprint, image size 29cm x 29cm

I am a sculptor working predominantly with clay, a natural material found abundantly in Norfolk that has a unique versatility and infinite potential in its substance.Casting Norfolk is part of an ongoing project to capture, catalogue and examine random elements of my direct surroundings. The casting process preserves these snapshots revealing the extraordinary within everyday, momentary spaces and events. In this way transient and often very ordinary moments of life, growth and decay become concrete, lasting and celebrated. These particular pieces combine pieces of broken wood collected during the repair of my woodshed roof and fragments of china found whilst digging my garden. Fragments from both above the ground and below the ground unite!I have exhibited extensively both nationally and internationally and have work in a number of collections including the Chinese Artists Association. Commissions taken.

Fragments 1

Cast ceramic, with china fragments, 42x13x5cm, wallhanging

Fragments 2

Cast ceramic with china fragments, 42x13x5cm, wallhanging

Generally, my work floats from figurative to abstraction and all areas between. But I’ve always enjoyed the ‘chance’ aspects of any. Those small ‘happy accidents’. In this series, I have completely given myself over, becoming a conduit for these to happen. A haphazard way of working, but ultimately less random as a final selective process always remains. Does it have enough impact to go out into the world? Working wet on wet, striations of colours blend into unplanned hues, and ridges build into meandering lines. Joy? The surprise discoveries of new colours. Chance itself creating imaginary landscapes, new geographies.

Westerly Migration

The accident of paint flow suggests something microbial and living.

Western Sky

Again the accidents of a wet on wet technique has created something that puts an evening light and its colours to mind.

Tiger

I doubt an explanation is required here!

My work explores dance as an interactive state of play in which we are all participants.Through a neurodivergent lense I see movement/dance as a universal language.

Temporality

Temporality 2023Medium-Photograph A2 PrintPerformance Photography-"Creative play with found objects" A work exploring Bodies /Circulating of Materials

Natalie hand draws in pen, producing detailed and expressive art and illustrations. This series is inspired by the wild North Norfolk coast, where she grew up.

It Takes Everything To Fly

A spectral winged spirit rises from a rough sea. Low clouds and rocks add to a brooding atmosphere. This illustration is inspired by the wild North Sea on a stormy day.

The Whelk Coppers

A drawing of the flintwork around the back gate of The Whelk Coppers. Natalie lived very close by to The Whelk Coppers when she was a little girl and loves the shape of the building.

Brown Crab

A detailed pen drawing of a brown crab. Natalie's dad was a Sheringham fisherman and this is a reminder of her childhood.

I am self taught and use art to tackle addiction recovery. As a theatre maker my art attempts to find drama and human connections. I’m learning all the time, and seek progress and understanding.

The Watcher

Face your fears, in the light, all is seen. (Pastel & Chalk)

Now Sleeps The Crimson Petal

A Palestinian woman tends her olive groves. (Pastel and chalk)

Nosferatu

Pencil copy of a film still

I am a young artist born in Holt and now living in Norwich, studying at Norwich University of the Arts. My work documents my life using any mediums I need to. I enjoy taking full autonomy over myself and playing with my identity and the world around me in pursuit of a story to tell. I find inspiration in everything around me and love to find ways to twist and turn things to my will.

North Norfolk Polaroid

My polaroid is of the breathtaking North Norfolk landscape as depicted in the North Norfolk District Council logo. Using a combination of Photoshop and Artificial Intelligence I have taken the recognisable design of the NNDC logo and transformed it into a picturesque reality. This is a single small polaroid photo and when viewed from a distance depicts the NNDC bird and when viewed closer the artificial landscape. I think it is a funny but also unassuming piece and would enjoy exhibiting in Cromer as the work has a seaside special feel to it.

An interest in textiles ,a love of pattern, a response to nature and the landscape, exploring shapes and rhythms , experimenting with processes and materials in order to create an image.

Dolly’s Dress

A relic from my children’s childhood which can transport me to innocent days.White monoprint on black detail paper .108cmx90cm 18”x 15”

Freya Willis is a mixed media artist who reflects upon her childhood. She explores how a seemingly happier time in her life carries underlying feelings of danger, anxiety and trauma. The artist revisits archived protégé and uses this to make re-enactments that serve as source imagery. Her work is uncanny in a sense that it comments on the discombobulation between adult and child identities. Willis draws inspiration from gothic literature and German expressionist cinema through characterisation. By masking her identity and staging herself as Bertha, the ‘madwoman’ from Jane Eyre, she explores how mental health impacts coming of age.

Scream

Scream. 2024. Oil on canvas. 59.4 x 84.1 cm.This painting tampers with an old family photograph, as the child self is cut out and swapped for the adult, resulting in a central out of place figure. Willis was inspired by Edvard Munch's famous 'The Scream', as well as the distortion of the figure in works like Paula Rego's.

Teatime

Teatime. 2024. Pencil and coloured pencil on paper. 29.7 x 42cm, (40 x 50 cm framed)In this drawing, the masked figure in 'Scream' is implemented into a childs setting, sitting down to a childs meal at the dinner table.

Not My Shoes

Not My Shoes. 2024. Oil on canvas. 29.7 x 42cmIn this painting the artist re-enacts an old home video, in which they were a child putting on adults shoes.

Jane Colling’s work playfully explores word and image. Her printing work is almost entirely screen printed in a garden shed except for occasional detours into digital. Nature and word play are usually involved.

Resolved image 36 x 51 cm on A2 paper = 42 x 59.4 cm / edition number 1/25

Resolved refers back to a work made in the 1980’s which I always felt was unfinished. The newly completed edition of 25 screen prints is finally available

My practice explores the ordinary and ubiquitous realm of our current landscape, in both urban and rural environments. By amalgamating traditional painting techniques and mixed media sculpture, I produce installations that aim to push boundaries of representation and re-presentation, Sourcing primary imagery from an expanding archive of my own landscape photographs.

Cromer (2024)

this work is inspired by an image I took whilst staying on the Norfolk coast, picking out the iconic and ordinary elements found on the great British coastline and transforming the landscape into a multi-media installation. (this work will be accompanied by the original photograph)1mx1m approx mixed media

Through drawing, printmaking and photography, I explore isolating the simple shapes found in architecture and use these to create my own imagined structures and cityscapes. I have a playful notion of architecture mirrors that of using childhood building blocks returning to the process of play and discovery. In a world that is fast paced, I intentionally opt for slowed down processes, revelling in the time to think through making. The discovery of the cyanotype process has been a pivotal development in my practice in recent years embracing the imperfection and the time spent labouring over creating an image.

Decode

Decode is a cyanotype print created from a digital image negative that has been cut and rearranged; mirroring that of a code. Isolating the pattern and form highlights the beauty in every square inch of this piece of the brutalist architecture. The print is 21cmx30cm

moved to print call