Society of Women Artists : Non Members - 165th Annual Open Exhibition

Threads of Connection

By lily norgard

Oil

h: 51 w: 41 d: 1 (cms).

This piece reflects the quiet intimacy my fiancé and I found in an unexpected ritual, braiding his hair. When we moved to a new city, far from family and familiarity, the task of caring for his hair became something I learned out of love. What began as necessity grew into a tender space of connection. In the slow rhythm of parting and weaving each strand, we made room for conversations that daily life often pushes aside. Those hours became our sanctuary—moments where time softened, and we could speak freely about everything. The act of braiding became a language of its own, a way of holding each other through change, transition, and the quiet forming of a shared life. This work honors that intimacy—the touch, the trust, and the small rituals through which we build a home in one another.

£2000

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Threads of Connection

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Fortitude

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Drawing Out My LIfe

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Hope and Glory

By anna mazzotta

Charcoal on Paper

h: 130 w: 120 d: 1 (cms).

'Hope and Glory' depicts a group of eclectic characters watching a horse race on TV in a pub, each face revealing a different emotion, hope, tension, excitement, and despair. The scene captures the highs and lows of gambling, the shared thrill of chance, and the chaotic energy of people fully invested in the fleeting luck of the moment. As long as the red dice are in the air, the gambler has hope: 'And hope is a wonderful thing to be addicted to.' - Norm Macdonald,

£7000

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Hope and Glory

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Mother and Child 1

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Mother and Child 2

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Shuttered house, Havana

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Whispers between buildings 3, Havana

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Sticks and Stones

By helen higgins BA(Hons)

Ceramic, glaze, stones, paper

h: 60 w: 40 d: 40 (cms).

A childlike figure, dressed in a onesie, face mask, and animal ears, sits cross-legged atop a boulder. Their downcast gaze and posture suggest quiet sorrow. In their hands, they clutch stones wrapped in crumpled strips of paper, inscribed with accusatory phrases and Bible verses. Referencing the biblical act of stoning wrongdoers, the piece explores themes of judgment, shame, and the isolation of being cast aside. Through the innocence of the figure, the work asks us to consider how condemnation—religious or societal—affects the most vulnerable among us.

£1250

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Sticks and Stones

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“Coastal Arrangement “

By mairi stewart DA Edin

Acrylic on canvas

h: 60 w: 60 d: 2 (cms).

£1800

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“Coastal Arrangement “

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My Garden Studio

By jennifer court Jennifer Court Studio

Linocut

h: 30 w: 30 d: 1 (cms).

'My Garden Studio' is an idealized depiction of the art studio at the bottom of my garden. It is idealized as it is a wonderful sanctuary for me. A place to work, experiment and come up with new ideas. The studio appears hidden away and garden creatures are depicted subtly in the foliage. I have tried to play on the positive and negative values of the dark ink and light paper and add interest through carved textures, patterns and shapes. The artwork is professionally framed in a white frame and mount. The print is one of 10 limited edition prints.

£250

£150 (Unframed)

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My Garden Studio

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Pensive 1

By suzie edwards

Ceramic, acrylic, wax

h: 31 w: 30 d: 25 (cms).

Less than life size ceramic sculpture exploring how we hold our heads in our hands communicates different moods

£1100

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Pensive 1

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The Fiddler

By joanna powell

oil on canvas

h: 30 w: 30 d: 3 (cms).

painting of a musician friend

£525

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The Fiddler

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The Steps of Montmartre

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Rooftops of Montmartre

By lesley dabson

oil on panel

h: 20 w: 20 d: 1 (cms).

One of a series of paintings produced this year with the theme 'A Tale of Two Cities' A magical scene witnessed this January of Montmartre in the snow

£500

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Rooftops of Montmartre

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Folded Within

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The Waiting Vessel

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Rue Fontindelle

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Same Shape different Thing, Vase/Dress

By thérèse cooper BA(Hons)

silk screen, Lino cut and brush and ink drawing

h: 18 w: 18 d: 1 (cms).

This is a varied edition the drawn elements differ

£250.00

£190.00 (Unframed)

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Same Shape different Thing, Vase/Dress

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Self portrait

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Same Shape different Thing, Dress/Coffin

By thérèse cooper BA(Hons)

Silk screen, lino print and brush and ink drawing on archival paper

h: 18 w: 18 d: 1 (cms).

this is a varied edition the drawn elements differ

£250.00

£190.00 (Unframed)

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Same Shape different Thing, Dress/Coffin

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Missing Person

By sarah hurn

Acrylic, collage, dry media

h: 50 w: 40 d: 1 (cms).

Having lost my mum in 2024, I found empty chairs became a recurring theme in my work and it was only recently I actually realised why. It's the empty space she has left behind in our lives, the missing person.

£200

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Missing Person

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RUSH HOUR IN THE CITY

By Debbie Ayles

ACRYLIC

h: 46 w: 57 d: 1 (cms).

A MOMENT OF THE RUSH HOUR CAUGHT WHILST WAITING TO CROSS THE ROAD

£1025

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RUSH HOUR IN THE CITY

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Searching for Cookies in the Galeria München Marienplatz

By carmen havens

Oil on canvas

h: 53 w: 41 d: 2 (cms).

When visiting Munich two summers ago, I spotted an elderly man in a sweets shop in the Galerie Munchen off Marienplatz. His movements were slow but there was a determination in his eyes that intrigued me. A few minutes later, I spotted him with his wife, presumably, both searching for their desired item together. They reminded me of my beloved grandparents, the “dance” they had together after 70 years of marriage. A few moments later, I saw him scrambling to the register, arms loaded with packages of Walkers biscuits, mission accomplished. Made me miss my grandparents. This painting honours their memory as much as the couple in the scene.

£2200

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Searching for Cookies in the Galeria München Marienplatz

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Man in Bowler Hat Viewing Art in the Galleries of Scotland

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Five

By Sarah A Sherlock

Oil on Wooden Board

h: 30 w: 30 d: 2 (cms).

£395

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Five

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Jack

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Uni-Wheel Dog

By andrea mcveigh MA , BA(Hons)

Bronze

h: 54 w: 15 d: 34 (cms).

Uni-Wheel Dog continues my exploration of suspended time, a moment of implied movement held indefinitely in bronze. Borrowing from the language of antique clockwork toys, with exposed seams and articulated joints, the sculpture references an object designed for motion. Here, however, the mechanism remains visible while the action is arrested. Balanced on a single wheel, its foreleg lifted mid-step, the Uni-wheel dog occupies the precise point between propulsion and stillness, precariousness and control. The equilibrium will never resolve; tension is sustained in perpetuity. Echoing early memory, a small, handled form is recast in bronze, a material traditionally associated with monument and legacy. What was once intimate and temporary assumes weight and permanence, leaving a lasting impression that invites viewers to consider their own legacy.

£19000.0

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Uni-Wheel Dog

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Clockwork Bath Duck

By andrea mcveigh MA , BA(Hons)

Bronze

h: 25 w: 33 d: 31 (cms).

Clockwork Bath Duck transforms a fleeting childhood object into something enduring. Inspired by antique wind-up toys, its segmented body and exposed rivets suggest construction laid bare, an interior logic made visible. A form usually associated with buoyancy, play and impermanence is recast in bronze, a material long linked to commemoration and cultural memory. What would ordinarily drift, bob or be discarded is given weight and gravity. The everyday becomes resolute. Cast with a very light patina, the surface retains warmth while asserting permanence. By elevating a modest, domestic object to the status of sculpture, the work reconsiders what is worthy of preservation, allowing a small, familiar form to claim lasting presence.

£8500.0

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Clockwork Bath Duck

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Ice Cream on South Quay, Padstow

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Hellebores

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Red flower

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Rough haired Dachshund

By amelia saint george

Bronze

h: 30 w: 52 d: 16 (cms).

Just trotting along

£5800.00

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Rough haired Dachshund

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BALANCE

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Still life with Orla Vase

By rosie copeland

Oil on board

h: 51 w: 38 d: 2 (cms).

Painting of flowers agains patterned back drop and Orla Kiely Vase

£1250

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Still life with Orla Vase

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The Depth of Love

By sue pickering

Mixed Media on paper

h: 36 w: 36 d: 1 (cms).

This piece is a response to the profound sense of love that the artist was feeling for her mother as she became ill with dementia and could no longer communicate with words.

£750

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The Depth of Love

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Depart Series-Bound to Friends

By jessica cheung

Oil on linen

h: 60 w: 80 d: 3 (cms).

Since 2019, Hong Kong has experienced a big wave of immigration, it has been driven by political and social factors. Encountering tough and difficult decisions making, lots of pressures, hesitates and uncertainties about their future, all of them are struggle with leaving behind their homes and families. As one of hundreds of thousands, I would like to capture and record these moments and complex feelings. Therefore, this is how the idea of the «Depart Series» be started.

£2500

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Depart Series-Bound to Friends

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Detour Divas

By yollande posthumus

Ink and acrylic paint

h: 60 w: 42 d: 1 (cms).

Sometimes a scene makes you want to laugh and cry at the same time. This illustration was inspired by (and is an ode) to the two divas and the tatty old banner I unexpectedly stumbled across when visiting Brighton. I remember having conflicting emotions. A sudden burst of laughter at the absurdity and irony of these two women sitting underneath that sign quickly turned into a myriad of questions…’did they have any connection to the banner?’ ‘Were they even aware of it or just stopping for a quick drink and escaping the blazing sun?’ ‘Were they perhaps homeless?…and that banner…’Which charity benefited from the event?’ ‘Were the women willing participants and was it in jest and lighthearted?’ or ‘Was it an event exploiting vulnerable and desperate women?’ The deliberate distortion of their bodies and the limited palette was used to shock and build empathy to address social trauma and abuse of power. Symbolism can be found in the graffiti and tattoos. I hope I did them justice.

£650

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Detour Divas

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Suffer The Little Children

By Penny Hardy

Mild steel

h: 114 w: 160 d: 55 (cms).

A piece made from recycled mild steel, depicting and highlighting the tragic outcomes of conflict and climate change on children of the world. Their lives and futures are being blown way and wiped out or altered forever. We need peace in the world for children to survive and thrive, let this not be their final image, as we all have the power to change outcomes through our own voices and artworks. If item sold 50% of artist’s income from sculpture will be donated to UNICEF.

£4500

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Suffer The Little Children

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ALLOTMENT IN BLOOM

By deborah kreczmer

ACRYLIC

h: 30 w: 40 d: 1 (cms).

A painting on board, the allotment was in full bloom, glorious colour everywhere.

£375

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ALLOTMENT IN BLOOM

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THE HAPPY PLOT

By deborah kreczmer

ACRYLIC

h: 30 w: 40 d: 1 (cms).

Continuing with the allotment garden theme, another piece on board . The heightened colour pallet is deliberate and the mark making allows the viewer to wander through the artwork.

£375

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THE HAPPY PLOT

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Tickel my tummy

By amelia saint george

Bronze

h: 12 w: 20 d: 30 (cms).

Happy rolling dog excepting a tickled tummy for the game to continue.

£5200.00

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Tickel my tummy

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Peaking Through

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Masked

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Purple chair

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Something Dreadful This Way Comes

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Breath

By beryl miles BA(Hons) Fine Art (Painting)

Oil and Cold Wax on Board

h: 40 w: 40 d: 4 (cms).

I found this subject leant itself to my interest in achieving a balance between suggestive and abstract qualities, clarity and ambiguity, observation and abstraction.

£650

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Breath

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Enfold

By angela reilly

Oil on Canvas

h: 101 w: 101 d: 10 (cms).

Through composition, close cropping, and simplifying space, I am trying to find balance, drawing attention to weight to create a landscape of flesh. I am interested in how light, colour, and edge describe both solidity and softness, allowing the body to exist as form as much as figure.

£4000

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Enfold

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Blanket Buddy

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Pippa

By Victoria Sills

Oil on paper

h: 13 w: 13 d: 1 (cms).

The works in the Masking series are set in a non-specific 1970s/80s era where many neurodivergent conditions went undiagnosed. The paintings explore themes of masking as a female. Girls in particular often face pressure to hide or change their natural traits in order to fit in socially. Masking can help avoid bullying or judgement short-term, but has been shown to cause long-term harm to mental health. The painted masks and hats overtly symbolise this, with the lone central figure separate from the party, isolated in their own mind.

£1350

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Pippa

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Secret visitors

By judit matthews

pen and wash with collage

h: 40 w: 30 d: 1 (cms).

I am passionate about wildlife and nature. I love depicting them in my work. I used a dip pen with Indian ink, watercolour and added some gelli plate printed paper as collage.

£375

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Secret visitors

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Absorbed in the forest

By claire wiltsher

Acrylic and mixed media

h: 60 w: 60 d: 8 (cms).

£1150

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Absorbed in the forest

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Hidden Away

By judit matthews

pen and wash with collage

h: 40 w: 30 d: 1 (cms).

I am passionate about wildlife and nature. I love depicting them in my work. I use a dip pen and Indian ink with watercolour and collage. I love including some (Hungarian) folk style elements in my pieces too.

£375

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Hidden Away

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Assessing the impact

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Sitting-room alcove

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Harpies

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ebb

By kate henderson SSA

stained glass in wooden sleeper

h: 28 w: 28 d: 1 (cms).

stained glass can sit on a plinth or against a window

£1100

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ebb

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flow

By kate henderson SSA

stained glass in wooden sleeper

h: 30 w: 30 d: 1 (cms).

stained glass fitted into frame and can be exhibited on a plinth or against a window

£1100

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flow

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Double Act

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Urban Amphora

By mary mcfadden

Earthenware Ceramics

h: 30 w: 24 d: 8 (cms).

I've used slab-building techniques in earthenware clay to make this Jug. Then a abstract design mix of, ancient fresco and modern graffiti blend, and finally finished with a gold lustre handle and highlights for that previous feel.

£285

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Urban Amphora

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Byzantine Blast

By mary mcfadden

Earthenware Ceramics

h: 33 w: 24 d: 8 (cms).

I've used slab-building techniques in earthenware clay to make this Jug. Then a abstract design mix of, ancient fresco and modern graffiti blend, and finally finished with a gold lustre handle and highlights for that previous feel.

£285

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Byzantine Blast

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Flowers in a Love Mug

By rosie copeland

Oil on board

h: 38 w: 38 d: 2 (cms).

Painting of flowers in a Love Mug

£895

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Flowers in a Love Mug

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I Still Have a Deep Fascination with Crows

By rachel toll

Watercolour

h: 21 w: 30 d: 1 (cms).

Crows are fascinating, curious and intelligent, I wanted to show this by describing the crow concentrating . I want my painting to be free and loose and use colours to emphasise the crows beautiful plumage

£395

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I Still Have a Deep Fascination with Crows

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Self Portrait. Setting Out

By JANE KELLY

Oil on Board

h: 30 w: 25 d: 2 (cms).

Self-portrait from photo and life, about increasing anxiety about driving. An unwelcome new element in my life.

£500

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Self Portrait. Setting Out

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‘Shared Silence’

By miche watkins

Acrylic on deep canvas

h: 60 w: 60 d: 4 (cms).

I am a PopArtist drawn to sparseness and isolation in my figurative work. I use bright and vibrant colour to draw the viewer in. This particular piece has only 2 people sitting at a poolside bar sharing a companionable silence as they sit quietly having a drink

£750

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‘Shared Silence’

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MEUSE

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Lime Kiln vessel

By elizabeth brickell MA,BA(Hons)

fired clay (stoneware)

h: 31 w: 36 d: 17 (cms).

My clay pieces are hand-built using slabs and coils. They are non-functional vessels reflective of place and past. I work with the clay in methods I use to draw with paper which results in the clay being cut, torn, beaten and layered. The process becomes hypnotic at times and there is a point where the clay becomes like a sheet of fabric that can be wrapped and embossed. I use oxides and stoneware glazes and each piece is fired several times to obtain the raw visual effect I seek. Lime Kiln vessel makes reference to the historic lime kilns of South West Wales.

£600

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Lime Kiln vessel

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Sleeping Mimi

By anne moses

oil on canvas

h: 36 w: 25 d: 2 (cms).

'Sleeping Mimi' was inspired by a young Chinese artist who I met whilst on a residency in Paris. Although very hard working and dedicated I wanted to capture the very tranquil, peaceful quality she had whilst she was sleeping. Working from my original source material the painting was scaled up and executed in many layers of transparent oil colour glazes on canvas.

£1800

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Sleeping Mimi

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Suspended Landscape on Yellow

By alex ayliffe PS

Oil on board

h: 51 w: 70 d: 3 (cms).

Suspended Landscape on Yellow is an abstract artwork and part of my series exploring our connection to the landscape.

£975

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Suspended Landscape on Yellow

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Landscape Study

By alex ayliffe PS

Mixed media with oil on linen

h: 42 w: 42 d: 1 (cms).

Landscape Study.

£750

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Landscape Study

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Evening Light, December - Cornwall

By caroline griffin

oil on canvas

h: 50 w: 60 d: 2 (cms).

This painting was inspired by a trip down to Cornwall in December - beautiful cold light, short days. My intention was to create atmosphere and feeling through tone and quiet colour, the focus being on mood rather than detail.

£1700

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Evening Light, December - Cornwall

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Studio Interior with Shaft of Light

By caroline griffin

Oil on board

h: 41 w: 31 d: 1 (cms).

I endeavour in my work to capture the fleeting moment, the atmosphere that draws me initially, that feeling of connection to a place. In this painting I wanted to convey the intimacy I have with my own working space - keeping the interior tones low in order to create the feeling of an intimate interior in contrast to the bright Spring day outside the window, the shaft of light quietly connecting the two.

£650

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Studio Interior with Shaft of Light

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Walking Woman

By maxine farmer

Cold cast bronze - matt anthracite finish

h: 84 w: 58 d: 35 (cms).

Walking Woman embodies feminine energy, determination and grace. She is a testimony to strong female-identifying people around the world.

£2800

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Walking Woman

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Adrian in Profile (Out of the Blue)

By omma moon

Pastel and charcoal on paper

h: 65 w: 48 d: 1 (cms).

Painting and drawing a portrait from life is analogous to discovering a person over time, rather than apprehending them all at once. The image unfolds through stages of recognition, just as a relationship does, beginning with provisional marks and slowly moving toward clarity. In this way, the portrait reflects the lived experience of encounter. As with meeting a person, understanding emerges gradually, shaped by duration and sustained looking. The visible process of making becomes inseparable from the act of knowing, suggesting that to paint from life is not reducible to producing a likeness, but to participate in an ongoing act of discovery. ‘The impulse to paint,’ wrote John Berger, ‘comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model.’ This portrait recounts the story of this encounter, made visible.

£650

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Adrian in Profile (Out of the Blue)

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Plum III

By Sara Edison BA(Hons)

Oil on canvas

h: 60 w: 45 d: 3 (cms).

My paintings explore the connection between beauty and frailty. A recurring theme in Art History. Using fashion imagery as my subject, aligns with this way of thinking. The models emerge from abstract marks, giving a feeling of a moment caught in time. Like glimpsing a beautiful face in a crowd. Their direct gaze conveys confidence and sensuality.

£1500

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Plum III

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Where We Live III

By rebecca barnard MA

Oil and charcoal on canvas

h: 80 w: 80 d: 4 (cms).

The first five paintings entered are part of an ongoing series which explores off-kilter cityscapes and imagined terrains, informed by influences ranging from classical and Renaissance explorations of perspective to contemporary design. I use form, colour, and spatial tension not only as structural tools but as carriers of mood and memory. Architectural elements are reduced, shifted, and re-weighted, blurring the line between place and feeling.

£2750

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Where We Live III

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Indigo I

By Sara Edison BA(Hons)

Oil on canvas

h: 120 w: 90 d: 3 (cms).

My paintings explore the connection between beauty and human frailty, a recurring theme in Art History. Using fashion images as my subject aligns with this way of thinking. The models emerge from abstract marks giving the feeling of a moment caught in time. Like glimpsing a beautiful face in a crowd. Their direct gaze conveys confidence and sensuality.

£2800

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Indigo I

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Structural Tension

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Amoretti's Knot

By margo schultz

Oil on canvas

h: 91 w: 152 d: 3 (cms).

This piece was inspired by Hans Makart's triptych "Modern Amoretti." His original painting was so expressive and ornamental, it’s incredibly beautiful, but its detachment from reality is also unrelatable. “Amoretti’s Knot” was created as a sort of contemporary response-- depicting women in drab attire, in a drab setting, posed romantically and adorned in flowers-- as a way of emphasizing the disconnect between the ideal and reality that is often found in paintings depicting women as subjects.

£15000

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Amoretti's Knot

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Intermission

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Stalks, Shadows

By virginia crompton

Acrylic on stone paper

h: 21 w: 29 d: 1 (cms).

My practice is immediate, a direct connection with time, space, place and people. I paint from life, as it is experienced. Representing experience means navigating tensions: between past and present, emotions and interpretations. Clashing vivid grounds both disrupt and give coherence. I expose brushstrokes and grounds, acknowledging the shared illusion of representation. I found the dried stems for Stalks, Shadows by a frozen waterfall in Iceland in early December—monumental in scale, giant versions of familiar plants, dead but not withered. I brought them back and painted them from observation that same day. I began with cerulean ground on stone paper, a cold colour to offset the browns of the dried shoots. Thick paint evokes the texture of the plants themselves, creating an almost tactile quality, the surface mirroring the physical presence of the oversized stems. The cold blue ground remains visible, anchoring the composition and reinforcing the frozen landscape where I found them.

£400

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Stalks, Shadows

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Woods, Snow

By virginia crompton

Acrylic on stone paper

h: 21 w: 29 d: 1 (cms).

My practice is immediate and spontaneous — a direct connection with time, space, place and people. I paint from life, inside all four dimensions, as it is experienced. Representing experience means navigating tensions: between past and present, emotions and interpretations. Clashing vivid grounds both disrupt and give coherence. I expose brushstrokes and grounds, acknowledging the shared illusion of representation. Woods, Snow was an immediate response to a walk through a Canadian woodland landscape. It was far too cold to paint outside, so I painted indoors as soon as we got back — painting fast to keep the connection alive. I think if you are still cold, that counts. I didn't want the beauty of the woodland to seem ordinary. The colours kept some tension and it was one of those times when fast-energy worked.

£400

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Woods, Snow

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The Wildside

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Black Dog

By daisy potter

Acrylic

h: 100 w: 100 d: 2 (cms).

A woman folds into herself on a thin layer of pink florals the only softness between her and the cold, jagged ground beneath. A looming black dog presses into her space, heavy and inescapable, while a crow tangles itself in her hair, thoughts pecking and pulling. The comfort from the blanket is threatened to be tugged away by clenched hands representing tension, threatening to leave her exposed on gravel. Her cardigan, knitted from the words of her deepest traumas, clings to her like both armor and burden. Black Dog explores the suffocation of feeling too much in a world that calls sensitivity a flaw. It asks when someone carries this weight, why is their pain mistaken for weakness?

£1400

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Black Dog

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The tapestry of her heart (124x99)

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Wonky Vessel

By sarah hurn

Acrylic, collage, dry media

h: 60 w: 40 d: 1 (cms).

This painting explores form through layering, abrasion and restraint. A red vessel sits centrally, partially obscured by veils of muted blue-grey paint and distressed collage. The pot is both present and disrupted, its solidity challenged by marks, scratches and areas of concealment. I build the surface through adding and sanding back, allowing earlier layers to remain visible. Fragments of aged paper and worn texture suggest history without illustrating it directly. The black linear element introduces contrast and tension, countering the weight of the vessel. I am interested in the balance between object and surface. The painting holds both structure and erosion, solidity and fragility.

£350

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Wonky Vessel

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HELLEBORES AND LEMONS

By Shani Wray-Jenkins

Acrylic, oil pastel, pencil

h: 25 w: 25 d: 2 (cms).

£350

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HELLEBORES AND LEMONS

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Kinship

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Cyclamen pot

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We Found Parking

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Jade

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Illness

By jitrachote white

Oil on linen board

h: 50 w: 40 d: 1 (cms).

I painted this during the period when my father was living with metastatic cancer. He passed away at the beginning of February this year. I painted this as a way of sitting with his illness and process the way it has affected him. There was a part of me that wondered if I was strange to want to look and paint and image that deeply saddens me. However, I figured out that it was an important process for me to come to realisation and acceptance.

£4000

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Illness

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A Somerset Church in Winter

By kate westcott

Black iron and fine black copper wire

h: 48 w: 72 d: 24 (cms).

This wall sculpture casts intricate shadows when light shines on it. The piece may show areas of rust if in damp conditions.

£1775

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A Somerset Church in Winter

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The Opposition

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Sometimes crowns are invisible

By lizzie coles

Acrylic ink and coloured pencil

h: 120 w: 80 d: 1 (cms).

This portrait of Fazila was drawn over a few sittings in my studio. It celebrates her force and strength which shines out of her. She has a powerful outlook through adversity and a passionate lust for life. Watercolour paper is adhered to birch panel and washes of acrylic ink form a gentle background for the vibrant drawing to pop. Her jewellery and fashion adds layers of detail and interest.

£5500

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Sometimes crowns are invisible

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Castaway I

By louise giblin MRSS

Cold cast bronze on granite base

h: 78 w: 44 d: 24 (cms).

A sculpture of a strong woman who has survived life's great storms. She is weathered like driftwood, which suggests surviving rough seas and being washed onto a new shore. This sculpture is weather resistant and can be situated indoors or for garden display.

£6900

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Castaway I

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Palimpsest (Glasgow, Paris, London)

By Rosmond Kinsey Milner

Pastel, acrylic on heritage paper.

h: 56 w: 67 d: 1 (cms).

£2000

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Palimpsest (Glasgow, Paris, London)

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Woman Of A Certain Age

By sara gregory

Oil Paint on Cradled Panel

h: 40 w: 20 d: 2 (cms).

This painting challenges the stereotypes surrounding ageing and the language used to contain it. What does it really mean to be described as a “Woman of a Certain Age”? The phrase carries a quiet subtext — one that implies decline, invisibility, or diminished value. Men are rarely confined by similar labels. This work calls for a shift in perspective. Instead of softening or disguising age, it asks us to recognise and celebrate the experience, resilience, wisdom, and strength that older women embody. Age is not something to be apologised for, but a testament to a life lived.

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Woman Of A Certain Age

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Watching

By sara gregory

Oil Paint on Cradled Panel

h: 36 w: 36 d: 2 (cms).

My series ‘Witch Women’ reflects on the persecution of women who were often healers, herbalists, midwives, or independent thinkers — women whose knowledge and autonomy threatened male authority. The crow appears as a symbol. Once believed to be a messenger of the devil, it also represents women’s connection to nature.

£650

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Watching

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Parlay

By stephanie hess

Bronze

h: 33 w: 15 d: 44 (cms).

The sculpture is comprised of two pieces - a horse and a fox

£4800

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Parlay

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