Society of Women Artists : INVITED STUDENTS - 165th Annual Open Exhibition

Desert Playground

By Rosie Hodgson Smith

Oil, acrylic and digital printing on calico

h: 183 w: 128 d: 4 (cms).

I am a painter creating digitally and physically remediated works. Using contemporary techniques, I present speculative futures and possible pathways through digital landscapes and contemporary painting practices. Functioning as screens and palimpsests of the digital image age, the illusionary paintings are layered with internet archaeology utilising suggestions of image, infrastructure, and User Interfacing (UI). I experience my attention and engagement becoming an online currency. Content is fed to me algorithmically and nonconsensually as I lose the skill of searching. I feel disconnected both in the physical and digital realm, and want to question our relationship to these spaces and their symbology. In rebellion, my practice creates portals that destabilise perspectives and realise complex reflections on personal agency; imagining and occupying new spatial realities through image making. My digital footprint is layered and reconstructed in a self-consuming painting process.

£2490

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Desert Playground

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Untitled

By Rosie Hodgson Smith

Acrylic and Oil on Digitally printed Bamboo

h: 195 w: 140 d: 4 (cms).

I am a painter creating digitally and physically remediated works. Using contemporary techniques, I present speculative futures and possible pathways through digital landscapes and contemporary painting practices. Functioning as screens and palimpsests of the digital image age, the illusionary paintings are layered with internet archaeology utilising suggestions of image, infrastructure, and User Interfacing (UI). I experience my attention and engagement becoming an online currency. Content is fed to me algorithmically and nonconsensually as I lose the skill of searching. I feel disconnected both in the physical and digital realm, and want to question our relationship to these spaces and their symbology. In rebellion, my practice creates portals that destabilise perspectives and realise complex reflections on personal agency; imagining and occupying new spatial realities through image making. My digital footprint is layered and reconstructed in a self-consuming painting process.

£2300

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Untitled

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Schedule One

By Rosie Hodgson Smith

Acrylic and Oil on Digitally printed bamboo

h: 185 w: 140 d: 4 (cms).

I am a painter creating digitally and physically remediated works. Using contemporary techniques, I present speculative futures and possible pathways through digital landscapes and contemporary painting practices. Functioning as screens and palimpsests of the digital image age, the illusionary paintings are layered with internet archaeology utilising suggestions of image, infrastructure, and User Interfacing (UI). I experience my attention and engagement becoming an online currency. Content is fed to me algorithmically and nonconsensually as I lose the skill of searching. I feel disconnected both in the physical and digital realm, and want to question our relationship to these spaces and their symbology. In rebellion, my practice creates portals that destabilise perspectives and realise complex reflections on personal agency; imagining and occupying new spatial realities through image making. My digital footprint is layered and reconstructed in a self-consuming painting process.

£2100

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Schedule One

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In The Belly of the Meadow

By Hattie Quigley

Oil on canvas

h: 190 w: 210 d: 3 (cms).

My artistic practice is interested in extremes. Large-scale paintings act as containers for emotion—feminine desire, hunger, grief, euphoria. Beginning with abstract pours, strokes and smears, figures emerge and dissolve within turbulent scenes of intimacy and excess, their bodies caught between celebration and collapse. These are places where pleasure is not tamed, where women and other bodies push against the narrow confines of acceptability, claiming the right to feel, want, gorge, and live without apology. The buttery, deliciousness of paint, flesh and food are bound together in emotional, pulsing marks that dance around the histories and language of painting - from the Baroque to Abstract Expressionism to pop culture. This painting in particular takes influence from Victorian fairy paintings, embracing the mischievous revelry of a mythical feast gone too far. I explore what it means to be a hungry woman in contemporary society.

£8500

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In The Belly of the Meadow

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I Am Hungry I Have Been Hungry I was Born Hungry

By Hattie Quigley

Oil on canvas

h: 185 w: 150 d: 3 (cms).

Exploring the relationship between femininity, food and female desire, my work poses the question of what it means to be a hungry woman in contemporary society. Revelling in the deliciousness of being ‘too much’, I explore gluttony, excess and indulgence. It is political to talk about women who are unashamedly insatiable. I immerse the viewer in the visceral pleasure of my painted world; one where women gorge and feast, lose inhibition, and reject the notion that physical attractiveness should be a baseline before you can start to live. The buttery, deliciousness of paint, flesh and food are bound together in emotional, pulsing marks that dance around the histories and language of painting. Drawing inspiration from anything between mythical feasts and the baroque period to pop culture and binge drinking; a hedonistic bacchanal takes place within the paint. I want to explore women’s individual experience and the political and social meanings of body, of food, of thinness.

£4000

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I Am Hungry I Have Been Hungry I was Born Hungry

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Goddess Mother

By pranavi agarwal

Oil on canvas

h: 120 w: 90 d: 2 (cms).

This painting is a self-portrait alongside two versions of my mother: on the left, her on her wedding day, and on the right, her as she is today. I draw deep inspiration from fellow South Asian diasporic artist Amrita Sher-Gil, the Indian Hungarian painter who once declared: “Europe belongs to Picasso, Matisse, Braque and many others. India belongs only to me". Her paintings 'Three Girls' and ‘Mother India’ (both kept at the National Gallery of Modern Art in Delhi, which I visited last summer) were huge inspirations behind this work. Given the heavy times we live in, I have increasingly found myself looking back at my Indian heritage and early childhood in India, remembering a previous version of my family - all the things we left behind, but also the memories and traditions we inherit and carry with us today.

£8500

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Goddess Mother

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HERE I AM, in the White Cube

By pranavi agarwal

Oil on canvas

h: 120 w: 100 d: 4 (cms).

The art world remains predominantly white and Western, and there continues to be a love for Whiteness in the East: for example, skin whitening creams such as Unilever’s Fair & Lovely are still sold in South Asia. But things are changing: the British Museum hosted its first Indian-inspired Pink Ball, South Asian artworks are selling for record amounts, and in politics, the election of New York’s first South Asian mayor. All this is occurring in the emergence of my own artistic practice. The lines between East and West are blurring, and I, being from the diaspora, AM this blur. As the Venn diagram of cultures, ideas, and identities expands, those from the diaspora are best placed to navigate. After years of feeling like a citizen of a no-man’s land – from many and no places at the same time – I finally feel like this is my time: HERE I AM.

£8500

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HERE I AM, in the White Cube

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Reflections

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Purple Rain

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Souks

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Disco Mania

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Retched

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Gorgon

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Shroud

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Head of the Prophet Ezekiel after Michelangelo Buonarroti Copy by Rosana 2022

By rosana petrova aveiro

charcoal

h: 35 w: 27 d: 1 (cms).

This drawing is a faithful yet personal study of the head of the Prophet Ezekiel from Michelangelo's Sistine Chapel ceiling fresco (c. 1510), one of the High Renaissance master's most commanding prophetic figures. In profile, the aged prophet turns dynamically as if startled by divine revelation, his intense gaze fixed upward. Michelangelo captured Ezekiel's wisdom and urgency through deep-set eyes beneath a furrowed brow, a flowing beard, prominent ear, and turban-like headdress—elements rendered here with rich tonal contrasts, velvety blacks, and subtle smudging that evoke the sculptural depth and emotional power of the original fresco. Created in 2022 as an homage, this work translates the monumental fresco into intimate monochrome, highlighting Michelangelo's mastery of anatomy, expression, and dramatic lighting while allowing the viewer to appreciate the prophet's timeless intensity up close.

£200

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Head of the Prophet Ezekiel after Michelangelo Buonarroti Copy by Rosana 2022

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Janice

By kristina haritonova BA Hons

Porcelain, crystal plate, willow plate, film negatives, amber, pearls, wool sock, rocks

h: 17 w: 41 d: 21 (cms).

Being an immigrant means living in between. I no longer feel fully at home where I come from, yet I am not entirely at home where I live now. I exist between languages, landscapes, and ideas of belonging. In this work, I return to the image of the snail, carrying its home wherever it goes. Like the snail, I carry home within me, in memories, objects, and rituals. I remember my grandmother’s glass cabinet with a pristine tea set, saved for a “special occasion” that never came. Collecting and protecting beautiful things was an inheritance from the Soviet past, shaped by scarcity. For me, objects hold emotion. Finding the same tea set in charity shops transports me back to childhood, to warmth, sunlight, and my grandmother’s kitchen. Since leaving my home country at 18 and moving across five UK cities, I’ve searched for that feeling of home. This work reflects on memory, repair, and belonging, a home not fixed in place, but assembled piece by piece.

£1400

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Janice

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Medeni

By kristina haritonova BA Hons

Porcelain, crystal plate, vintage plate, film negatives, amber, pearls, wool sock, rocks

h: 17 w: 42 d: 21 (cms).

Being an immigrant means living in between. I no longer feel fully at home where I come from, yet I am not entirely at home where I live now. I exist between languages, landscapes, and ideas of belonging. In this work, I return to the image of the snail, carrying its home wherever it goes. Like the snail, I carry home within me, in memories, objects, and rituals. I remember my grandmother’s glass cabinet with a pristine tea set, saved for a “special occasion” that never came. Collecting and protecting beautiful things was an inheritance from the Soviet past, shaped by scarcity. For me, objects hold emotion. Finding the same tea set in charity shops transports me back to childhood, to warmth, sunlight, and my grandmother’s kitchen. Since leaving my home country at 18 and moving across five UK cities, I’ve searched for that feeling of home. This work reflects on memory, repair, and belonging, a home not fixed in place, but assembled piece by piece.

£1400

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Medeni

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Prusha

By kristina haritonova BA Hons

Porcelain, crystal plate, vintage plate, film negatives, amber, pearls, wool sock, rocks

h: 29 w: 43 d: 27 (cms).

Being an immigrant means living in between. I no longer feel fully at home where I come from, yet I am not entirely at home where I live now. I exist between languages, landscapes, and ideas of belonging. In this work, I return to the image of the snail, carrying its home wherever it goes. Like the snail, I carry home within me, in memories, objects, and rituals. I remember my grandmother’s glass cabinet with a pristine tea set, saved for a “special occasion” that never came. Collecting and protecting beautiful things was an inheritance from the Soviet past, shaped by scarcity. For me, objects hold emotion. Finding the same tea set in charity shops transports me back to childhood, to warmth, sunlight, and my grandmother’s kitchen. Since leaving my home country at 18 and moving across five UK cities, I’ve searched for that feeling of home. This work reflects on memory, repair, and belonging, a home not fixed in place, but assembled piece by piece.

£1400

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Prusha

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Blood, Sweat and Tears

By catherine mccolgan

Oil on Canvas

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

'Blood, Sweat and Tears' is a triptych painting depicting the artist's blood, sweat and tears under a microscope. Referring to the idiom, the paintings provide a visual metaphor for the sacrifice and dedication that artworks can entail. McColgan's interpretation of the phrase is unique, leaning into the microbial perspective she utilises in her practice. By recontextualising the otherwise plain-looking samples, she abstracts them into extraterrestrial paintings that capture her bodily fluids. Sourcing the samples was a unique and peculiar experience. McColgan scraped her sweat from her brow at a gym, subjected herself to emotional distress by forcibly watching the saddest videos online and pricked her finger repeatedly with a sewing needle to collect her blood. The triptych examines aspects of modern-day dedication to an artistic practice: public embarrassment, emotional turmoil, and, at times, painful discomfort, all carried out in awkward ways.

£1000

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Blood, Sweat and Tears

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Emotions and Manifestations

By chloe miles

Fine liner and alcohol markers

h: 30 w: 42 d: 1 (cms).

This piece was inspired by research and personal experience of anxiety and depression. I wanted to depict manifestations of these mental disorders in order to show how hidden illnesses can be some of the scariest. I designed each character based on the feelings and physical reactions you can experience with anxiety or depression.

£230

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Emotions and Manifestations

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Trace collection

By matilde pinto

Tonal shading and collage

h: 77 w: 47 d: 1 (cms).

This collection explores the continuous imprint of identity. As someone who has experienced migration, I aimed to show the marks of my culture which follow me, through the use of collage. This piece is a reminder that the culture a person is born from doesn’t go away when exposed to a new one, it adapts.

£300

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Trace collection

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Manhattan Bridge

By chloe miles

Acrylic paint

h: 19 w: 19 d: 1 (cms).

This painting explores an unusual, fish eye perspective focusing on the subject: the Manhattan Bridge. Following the unusual perspective, I used an uncommon colour palette. Through the art, I wanted to emphasise how perspective can affect how you view a piece of artwork.

£200

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Manhattan Bridge

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Table Setting

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Lay the Table

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SEM 2

By catherine mccolgan

Ink on Paper

h: 11 w: 15 d: 1 (cms).

SEM 2 is a drawing depicting the microbial form of a human cell. Through perspective, this artwork recontextualises the human form, how we recognise ourselves, and makes us conscious of the constrictions of our own senses. Through fine liner drawing, each pixel is captured, and the pointillism technique is comparable to how our own bodies function, with many small cells working in unison to create us.

£350

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SEM 2

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Slumper

By amy bradnock BA (Hons)

Stoneware ceramics, Glaze

h: 57 w: 35 d: 30 (cms).

In my work, I embrace the mutability of clay, allowing it to slump, fold, and collapse, capturing moments where movement is suspended in time. The forms I create embody a perceivable flux, a fluid knot where past, present, and future intertwine. Slumpers softened, inward contours suggest a bodily presence without resolving into figuration, blurring boundaries between interior and exterior, self and other. Thick, layered glazes in bold, saturated tones heighten this ambiguity, situating the sculpture in a surreal, tentative space. Colour and texture act as active agents, engaging perception and subtly destabilising the work’s identity. Through this piece, I explore material agency as an ongoing process rather than a fixed outcome, challenging static notions of form and identity. Slumper invites viewers into a transformative space where familiar boundaries dissolve, and objects exist in a constant state of becoming.

£2225

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Slumper

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Knotted Self

By amy bradnock BA (Hons)

Stoneware Ceramics and glaze

h: 62 w: 35 d: 32 (cms).

Knotted Self emerges from a material-led dialogue with clay, where the form develops through processes of folding, compression, and tension. The sculpture appears as a twisted, knotted mass, capturing a moment where movement has been suspended. Similar to previous works 'Slumper' Its form suggests a bodily presence without resolving into figuration, evoking a sense of interiority and containment. Through thick, layered glazes and shifting surfaces, the work resists stable definition. Instead, it embodies a state of becoming, where identity is continually formed and reconfigured through the interactions of material, form, and perception.

£1950

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Knotted Self

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Convergence of Two

By amy bradnock BA (Hons)

Stoneware ceramics, glaze

h: 45 w: 56 d: 25 (cms).

Convergence of Two emerges from a material-led dialogue with clay, where the form develops through processes of interaction. The sculpture suggests two bodies meeting and intertwining, captured in a moment where their forms begin to merge. Rather than presenting distinct entities, the work explores the unstable space between the two and the precious form they become. Through this convergence, the sculpture reflects on material agency as a relational process, where meaning and form arise through the interaction and entanglement of material bodies.

£1950

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Convergence of Two

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Portrait of poppy

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The Last Family Holiday 2025

By amy roberts

Oil and Charcoal on Linen

h: 110 w: 160 d: 3 (cms).

£8000

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The Last Family Holiday 2025

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Figure in Shadows

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Never no more, will I ever see him (Triptych)

By Lotte Johnson

Oil on canvas and mesh, with lumen print of organic materials

h: 40 w: 90 d: 4 (cms).

£2000

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Never no more, will I ever see him (Triptych)

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Linger

By Lotte Johnson

Oil on silk and mesh

h: 45 w: 50 d: 5 (cms).

£1400

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Linger

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Susie - anatomy study

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Alex, Four colours

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Self-portrait with mirror

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Reefscape

By emma goring MA

Glass

h: 100 w: 100 d: 15 (cms).

Reefscape is?a macro view of a coral reef as seen when floating on the surface of the water. The colours, pattern and texture span all 9 panels; from a distance each panel makes up a section of a larger landscape design. Upon closer inspection each panel is made up of hundreds of pieces of murrine, each piece is incredibly detailed, emulating the textures, colours and beauty of individual corals on the reef. The work allows the audience to imagine themselves there, transported to a place to marvel at the vibrance of coral reefs, and a moment of retrospection on their fragility. My work is an attempt, as an artist, to offer the audience the of experience being amongst a coral reef and the unique beauty and life found there through my usage of colour and pattern. Each murrine in Reefscape was made in the hot shop by first pulling cane, then assembling these into a pattern before heating them and stretching?them?again. The panels are created through kiln forming and slumping.

£17075

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Reefscape

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Tidal edge

By bbblob (jacelyn zhen)

Acrylic on woodcut and shaped canvas

h: 60 w: 50 d: 5 (cms).

£2250

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Tidal edge

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Pitch wave

By bbblob (jacelyn zhen)

Acrylic on woodcut and shaped canvas

h: 100 w: 88 d: 4 (cms).

£2950

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Pitch wave

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Pile around

By bbblob (jacelyn zhen)

Acrylic on woodcut and shaped canvas

h: 80 w: 70 d: 5 (cms).

£2500

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Pile around

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Swirl

By bbblob (jacelyn zhen)

Acrylic on woodcut and shaped canvas

h: 82 w: 75 d: 3 (cms).

£2500

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Swirl

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Hold Me like a Melted Candle

By jun shya BA (Hons)

Oil, sand, soft pastel and wax on canvas

h: 150 w: 90 d: 3 (cms).

“Hold Me Like a Melted Candle” reflects a moment of quiet collapse and transformation into womanhood. An acceptance of change and the realisation that ultimately, all must come from within. The masked figure above leans toward the more vulnerable body, offering the horse as a protector which later reveals itself as another of its own persona. What once felt like salvation from outside is in fact, another part of the self reaching inward.

£6200

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Hold Me like a Melted Candle

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Head to Head

By jun shya BA (Hons)

Oil and sand on canvas

h: 100 w: 70 d: 3 (cms).

“Head to Head” depicts two masked faces confronting one another, representing a dialogue between my past and present self.

£4250

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Head to Head

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And the light shifts

By Aoife Hogan

Monoprint

h: 46 w: 35 d: 1 (cms).

A work made in response to the continually changing light across short winter days, while on a residency at Dumfries House in Ayrshire.

£495

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And the light shifts

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Wave Composition No.1

By Aoife Hogan

Painted stained glass and wood shelf.

h: 15 w: 12 d: 10 (cms).

Painted stained glass panel whose colours and mark-making capture an impression of looking at the waves; becoming a 'portal' between imagination of the viewer and the distant shoreline.

£395

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Wave Composition No.1

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I remember

By Ngai Ning Yu BA (Hons) First Class

Oil on linen

h: 200 w: 150 d: 3 (cms).

Featured in Royal Academy of Arts x Plaster Magazine as ‘The best of London Degree Shows’. I explore the notion of ‘home’, not as a fixed location but as an emotional space of belonging, where memory can be revisited through shadow. 'I Remember' depicts my bygone family home, residing in the transitional period of the blue hour to elicit the promised instability of light, and allowing the shadows and fragmented layers of space to embody a sense of loss. Working from photographs and memories of my former home, my mother’s figure is not presented directly but is painted through obstructed layers of space. I see her only from outside the balcony window, looking in at the kitchen through a translucent curtain while the exterior scene is reflected on the glass. Informed by how one can feel alienated even within the interiors they reside in, the figures in my work becomes a vehicle for a lonely state of mind, existing only as an echo to reflect on my sense of nostalgia and loss.

£9000

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I remember

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And it goes

By Ngai Ning Yu BA (Hons) First Class

Oil on cradled wood panel

h: 36 w: 28 d: 2 (cms).

Featured in Royal Academy of Arts x Plaster Magazine as ‘The best of London degree shows’. ‘And it goes’ explores an emotional space of belonging, where memory can be revisited through shadow, and I wanted to capture its sensitivity in physical form. Philosopher Martin Heidegger highlighted memory as an integral part of the interior mind that can be oriented and embedded in the materiality of physical place, and I am fascinated by the mundane carriers of recollection, from the smell of a room to the shadow on a textured surface. While making this work, I was considering the origins of memory, and how a moment becomes a memory instantaneously, the same way light is barely realised before it dissipates. The figures of my partner and I cast silhouettes on the wall which will fade as soon as the light departs. I think about the poetics of the same beam of light returning years later to illuminate a space now abandoned, its original occupants long gone.

£1450

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And it goes

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Interior Landscape

By Ngai Ning Yu BA (Hons) First Class

Oil on canvas (framed)

h: 30 w: 42 d: 2 (cms).

In my most recent painting, I wanted to investigate the curtain as a middle space, something that conceals and reveals conversations between the interior and exterior world. I was organically informed by the imagery of warm lit homes that I would come across during my route back home, and one particular apartment resonated from my continual exposure to it. Perhaps it was the dramatic shades of orange reminiscent of the walls of my childhood living room, or the way the sheer curtain seemed to reveal a barren scene behind it, a living room with the lamps always turned on but nobody seemed to be home. The painting frame becomes the architectural window frame of a home illuminated in the night.

£1500

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Interior Landscape

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Untitled, (White Painting), No.40, "Mansell St"

By gigi tsim BA (Hons)

Oil and Ink on Linen

h: 81 w: 67 d: 4 (cms).

This painting is the final work in a small sub-series exploring the balance between human presence and absence within sites of public protest. While earlier works focused on locations in Hong Kong, this piece shifts attention to London, where demonstrations have gathered around a contested diplomatic development over the past year. Rendered in a low-saturation, low-contrast palette, large areas of exposed raw linen act as a mid-ground from which forms emerge and recede, echoing the instability of memory and collective attention. Ghostly drips across the roadway suggest assembling figures, while translucent white marks indicate where banners and flags might be held. In the foreground, twisting winter trees stand leafless, their strained form counterpointing the activity implied beyond them.

£850

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Untitled, (White Painting), No.40, "Mansell St"

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All The Pink Purity in the World Couldn't Possibly Save Her

By melissa magg

Oil on Linen

h: 120 w: 200 d: 5 (cms).

Magg's paintings investigate the aestheticized and romanticised figure of the vulnerable woman, rendered in soft, uncanny dreamscapes where fear and pleasure intertwine. She subverts the male gaze on a woman’s vulnerability, which is typically presented as a voiceless, passive, and sexualised one, and renders it from her own female gaze, where she believes a woman can be powerful, erotic, and find agency in her own vulnerability. Her recent work explores the transformation from “girlhood to monstress,” a trope in horror where passive femininity turns predatory—its monstrousness often standing in for patriarchal anxieties around female autonomy and rage. Drawing on imagery from personal photography and cinema, her work materialises emotional states through layered, blurred compositions and sensual colour palettes. She paints women as strong, glowing, and resilient. She reframes vulnerability as both erotic and empowered, exploring its entanglement with fetish, fantasy and liberation.

£6000

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All The Pink Purity in the World Couldn't Possibly Save Her

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Seething

By melissa magg

Oil on Linen

h: 90 w: 60 d: 3 (cms).

Magg's paintings investigate the aestheticized and romanticised figure of the vulnerable woman, rendered in soft, uncanny dreamscapes where fear and pleasure intertwine. She subverts the male gaze on a woman’s vulnerability, which is typically presented as a voiceless, passive, and sexualised one, and renders it from her own female gaze, where she believes a woman can be powerful, erotic, and find agency in her own vulnerability. Her recent work explores the transformation from “girlhood to monstress,” a trope in horror where passive femininity turns predatory—its monstrousness often standing in for patriarchal anxieties around female autonomy and rage. Drawing on imagery from personal photography and cinema, her work materialises emotional states through layered, blurred compositions and sensual colour palettes. She paints women as strong, glowing, and resilient. She reframes vulnerability as both erotic and empowered, exploring its entanglement with fetish, fantasy and liberation.

£4500

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Seething

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Untitled, (White Painting), No. 29, "Tank Rd in Yellow"

By gigi tsim BA (Hons)

Oil and Yellow Chalk Ground on canvas

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

This painting is based on an older Google Maps satellite view of a neighbourhood my cousin recently moved to—a place I cannot access after leaving Hong Kong. The image becomes a way of tracing proximity from a distance, reconstructing a site that holds personal significance despite my physical absence. The work is painted on a yellow-tinted chalk ground, treated as a warm mid-value “white,” similar to how I often use raw linen. The palette is deliberately restrained: indigo and king’s blue articulate the deepest contrasts and focal structures, while muted grey tones occupy the spaces between. The blue-on-yellow relationship was partly inspired by encountering Lee Ufan’s From Line works during a recent research trip to South Korea. Through this limited palette and mediated source imagery, the painting reflects on distance, longing, and the fractured ways I now access the city and the people connected to it.

£200

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Untitled, (White Painting), No. 29, "Tank Rd in Yellow"

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Never been more glad

By nohana sayama

Gansai watercolour on paper

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

You and I, we haven’t seen each other in a while. By the way, did you know, that the toy museum that we visited together closed? It said short of funds. I’m shocked too. (In memory of the Suomenlinna Toy Museum)

£1700

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Never been more glad

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Illegal carbonara

By nohana sayama

Gansai watercolour on paper

h: 140 w: 80 d: 3 (cms).

£1750

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Illegal carbonara

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