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

Look at me

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Early Days

By kirstin mackinnon

Oil on Canvas

h: 135 w: 101 d: 5 (cms).

This portrait offers a glimpse into the early days of motherhood and the associated loss of identity many women can feel. The sitters are surrounded by possessions collected throughout the early years of their relationship.

£3500

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Early Days

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Geranium in an Emma Bridgewater mug

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Trailing

By scarlett woodman BA(Hons)

Emulsion on corrugated iron with drawing scratched into surface

h: 50 w: 30 d: 4 (cms).

£575

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Trailing

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Elm Dryad

By victoria atkinson

jesmonite

h: 55 w: 15 d: 15 (cms).

According to an old English legend, the elm tree spirit is majestic and towering.

£850

£850 (Unframed)

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Elm Dryad

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Oak Dryad

By victoria atkinson

jesmonite

h: 49 w: 15 d: 15 (cms).

In old English folklore the Oak tree spirit is strong and sturdy.

£850

£850 (Unframed)

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Oak Dryad

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Cathy Knapp Evans

By Kaye Hodges SGFA

Oil

h: 110 w: 48 d: 1 (cms).

Wonderful lady who runs Mid Wales Art Centre, promoting all the arts.

£3000

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Cathy Knapp Evans

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Kitchen Table Arrangement

By yasmin french

Alcohol Ink, Newspaper, Tissue Paper

h: 59 w: 42 d: 1 (cms).

Kitchen Table Arrangement is a painting created to capture the simple joy of bright, beautiful flowers sitting on a white kitchen tablecloth. The painting is comprised of many layers, starting with a backdrop of newspaper articles softened with pink tissue paper. The tablecloth has been created out of tissue paper applied with acrylic medium to create a soft, hazy appearance, glued to the reverse of the glass for 3D effect. Various acrylic mediums were applied prior to painting, to create textures and embossed shapes of stalks and pistils. The bouquet still-life was painted using many layers of alcohol ink straight onto glass, to mimic the translucent delicacy of petals. Mark-making tools were used to manipulate the ink and etch into the negative spaces to create shapes. A lot of patience is required to allow the ink to settle and create natural, organic shapes. The overall 3D effect comes to life with the combined layers.

£450

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Kitchen Table Arrangement

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from my heart

By meme marey

mixed media on canvas

h: 150 w: 110 d: 2 (cms).

this painting is part of an ongoing series by Meme Marey depicting the female body in various ways , her pose and application of paint is central to her emotional appearance she stands alone facing away from the viewer because its too painful to look directly in front and engage eye contact Although she is standing ,a pose that can be seen as defiant , instead of reclining or sitting she is vulnerable. exposed naked and alone turning away from the truth , the pain like Eve in "The expulsion of Adam and Eve from Eden "by Massacio The viewer doesn't know her story in the way we know the story of Eve.The viewer can only see this vulnerable woman standing motionless and wonder why her body is painted with expressive gestures, bold and full of energy giving her form through shapes and blocks of colour overlaid with lines that crisscross her body over and over again forming her shape but also alluding to ropes or thread, tattered garments of what was or still is

£3600

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from my heart

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Duvet Day

By vanessa hocking-creek

Oil

h: 80 w: 60 d: 2 (cms).

Mental health is a big issue in modern society with anxiety, depression and suicide alarmingly all on the rise. More so since Covid, it would seem. It is still not talked about enough, and when I painted this portrait of my youngest daughter who was 15, I had no idea that she was suffering herself. Teenagers have the ability to cover their emotions so well! Heartbreakingly and ironically, my idea of asking my daughter to model for me to portray a young person needing time out from society and all the pressures it presented was actually her reality. From sitting it prompted discussions and led to help. Talking and, just as crucial, listening are essential, as well as being kind to yourself and each other. Duvet days are important!

£1995

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Duvet Day

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Childless Cat Ladies

By rebecca moss guyver RBA

egg tempera on panel

h: 20 w: 30 d: 1 (cms).

Sometimes an idea for a painting is brought to me from something read, overheard or said by someone; this time my idea came from a comment in the news. The odious remark, ‘Childless Cat Ladies’ became a curiosity for me. Who are these ‘Childless Cat Ladies’? Why has that awful man singled them out? Where do our prejudices come from? Are they born in fact? The only person I could think of who I knew well who might have been described as a ‘Childless Cat Lady’ was my great aunt Margaret. She lived in Orlando and it was always fun to visit – the cat the swans on the lake, the china. When I think of ‘Childless Cat Ladies’ I see grey, but as an optimist who sees the world through a multi-coloured lens; I would dispute this and offer you another version of these not odious at all people.

£490

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Childless Cat Ladies

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Washing Day. kerala II

By raina goran

Acrylic and Collage on paper

h: 30 w: 20 d: 1 (cms).

My work is inspired by the city and urban landscapes —places where energy, movement, and rhythm shape my response to the world around me. I work in acrylic and collage, using torn sheets of hand-painted paper to build patterns of intense coloured shapes. These elements help me distil what I see into something more abstract—more about feeling and essence than representation. This piece was inspired by my recent travels in Kerala in India.

£495

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Washing Day. kerala II

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Harvest

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Provence Street market

By raina goran

Acrylic and Collage on paper

h: 29 w: 19 d: 1 (cms).

My work is inspired by the city and urban landscapes —places where energy, movement, and rhythm shape my response to the world around me. I work in acrylic and collage, using torn sheets of hand-painted paper to build patterns of intense coloured shapes. These elements help me distil what I see into something more abstract—more about feeling and essence than representation. This piece was inspired by my recent travels in France.

£495

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Provence Street market

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Spritz a Go Go

By imogen hawgood

Oil on canvas

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

‘Spritz a Go Go’ depicts a snacks and drinks stall along the Riva degli Schiavoni waterfront in Venice, Italy. I took the photo this painting is based on hours before a rainstorm, which you can see building in the clouds. The oncoming weather, however, did not dampen the spirits of tourists and locals alike promenading along the waterfront, stopping for a ‘Spritz’ along the way. Within my broader work there is a foundation in realism, however I am most interested in capturing a moment in time, highlighting the quiet beauty of the scenes which I depict. I frequently find myself drawn to evening scenes which allow me to paint lights in the gathering darkness. Whether that is the glow of a neon sign, a lone streetlamp, or a lit shop front, I continually return to contrasts in light and dark and enjoy exploring this with oil paints.

£550

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Spritz a Go Go

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Passive Reading

By rebecca moss guyver RBA

egg tempera

h: 20 w: 31 d: 1 (cms).

I have been reading more. I used to be a great reader of fiction but spent years wanting to ‘learn’ things and read more non-fiction. I am glad reading stories is back for me. When I taught English at a UK comprehensive to high school students, my goal was to get them to read. The passive figures of the bookends remind me of my students. They were each great kids with so much potential who wanted, above everything, to be cool and accepted. I think they were eager readers while pretending not to care. We know reading fiction changes your brain and makes you more empathic. In this painting, I wanted to create the reading mood so you could read the painting , find your own story associations and then get back to your book!

£490

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Passive Reading

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Hierophany - Cherry Blossom

By beverley matchette-downes

Waterless Lithograph

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

This work is a multiplate waterless lithograph and is part of a series of 16 lithographs responding to and in collaboration with the psycho-geographical poetry of Alison K Jones.

£400

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Hierophany - Cherry Blossom

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How to find Foxgloves

By beverley matchette-downes

Waterless Lithograph

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

This work is a multiplate waterless lithograph and is part of a series of 16 lithographs responding to and in collaboration with the psycho-geographical poetry of Alison K Jones.

£400

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How to find Foxgloves

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Genevieve and her Parrot

By maureen mace

Oil with Copper leaf

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

Like most of my paintings, this one changed over time. It started as a painting of a pear tree with a shining crescent moon. But I felt it looked empty. Looking through my sketchbooks of medieval art made at the Parker Library in Cambridge; I found a well-to-do lady next to her new husband. I adapted the lady, gave her a red dress with flowing veil and placed her under the tree. But there was still more space to fill so I added the parrot who had escaped the castle and various other creatures including four rabbits who were always up to mischief in olden times and an owl who knows everything. My paintings are a joy to make as I build them up of many layers.

£1400

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Genevieve and her Parrot

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Rule the Roost

By maureen mace

Oil on canvas

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

An apple tree, a crescent moon, ten birds, three rabbits (one of whom is playing with a yo-yo), three sheep and a lizard occupy this painting. I loved painting the animals in the styles seen in medieval manuscripts and there is so much to look at. My paintings take many weeks to do and while painting I listen to endless stories on Radio 4. The bird at the top of the tree rules the roost and makes sure the tree is safe from invaders. The painting is in oil with copper leaf placed over the red trunk giving it a lovely texture. I use tiny brushes and get carried away with the detail so there is always something new to find.

£1400

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Rule the Roost

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Hydrangea Stripe

By judith askey-brown BA(Hons)

oil on board

h: 61 w: 51 d: 1 (cms).

£850

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Hydrangea Stripe

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Deep in the border

By judith askey-brown BA(Hons)

oil on board

h: 61 w: 51 d: 1 (cms).

£850

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Deep in the border

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Last day of summer

By paulina kwietniewska

oil on canvas

h: 30 w: 30 d: 4 (cms).

‘Last day of summer’ is an emotional portrait of all things changing, summer turning into autumn, childhood changing into adolescence. I wanted to focus on this moment, freeze it in time and show not only the beauty of the moment, but also the vibrant quality of the moment just before something shifts.

£1300

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Last day of summer

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Glimpse FPS017

By louisa crispin

Graphite

h: 24 w: 24 d: 4 (cms).

£450

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Glimpse FPS017

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Glimpse FPS024

By louisa crispin

Graphite

h: 24 w: 24 d: 4 (cms).

£450

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Glimpse FPS024

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Disasters of War 2

By sally baldwin

Stitched, embroidered, deconstructed paper

h: 90 w: 130 d: 10 (cms).

2 stitched, embroidered and deconstructed child sized coats are displayed with hoods hanging forwards in crucifixion like poses. Suffering, loss and disintegration are implied. Whereas Goya's prints of the same name were about the Spanish wars against Napoleon this piece is about the fate of children in all wars.

£900

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Disasters of War 2

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Kavinya

By olivia arts

Oil on Linen

h: 50 w: 40 d: 5 (cms).

This portrait of a friend was painted entirely from life, over four sessions, and to scale of life. I aimed to capture her vibrant personality through the bold pink background, a colour echoed in her lips. The swinging earring, almost dancing with movement, was a deliberate choice a nod to her profession as a singer, where rhythm and motion are everything.

£2000

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Kavinya

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Alinah Azadeh "The Four Directions”

By lucinda wait

Oil on canvas

h: 65 w: 81 d: 2 (cms).

I approached Alinah to create both a portrait from life and a conversation of portrait & words. Starting on a custom sized oil gesso canvas with charcoal I worked out the composition to include her ring and a "Choose Love" badge from an interactive art piece of hers. After getting a oil colour blocking of the portrait I went back to the studio and painted the chalk striation background adding thick strips with a palette knife for texture. I paint building up oil layers working from transparent darks to opaque lights with impasto, reminiscent of the laying down of the chalk sediment that form the Downs and also the inspiration behind her comissioned poem "The Four Directions” (now carved into seating around a dewpond near Beachy Head). I painted her words disappearing and appearing into a white chalky background. Red represents both a color dear to her and a warning "To the South", describing “rising heat of seas transforming the coast, chalk dissolving into tidal sweep”.

£2800

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Alinah Azadeh "The Four Directions”

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Lamorna Cove

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Witch Hazel

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"Marmite" - Love or Hate it

By lucinda wait

oil on board

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

It's like Marmite! This spread has entered into our lexicon of descriptions. Painted in the classical manner of small paintings of everyday objects. Thin layers of oily paint in the darks and thick impastos in the light. I love it thinly spread with with salted butter on toast.

£250

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"Marmite" - Love or Hate it

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Vintage Window of Prosperity

By yanqing huang

Watercolour on Paper

h: 31 w: 28 d: 1 (cms).

"Vintage Window of Prosperity" delicately captures the nostalgic essence of an aging urban facade. Rendered in watercolour, this piece masterfully explores the intricate textures of peeling wall paint, rusted wire mesh, and weathered wooden window frames. The inclusion of faded, traditional Chinese signs adds a profound sense of history and human presence to the composition. Through subtle shifts in warm, earthy tones and precise attention to architectural decay, the painting transforms a forgotten everyday street corner into a poignant reflection on the passage of time and the enduring, quiet charm of city life.

£1950

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Vintage Window of Prosperity

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Spring Sentinel I

By jane human

Oil based lithographic ink on paper

h: 86 w: 64 d: 1 (cms).

My practice centres around my desire to chronicle the ever changing natural world around me. This is one of an ongoing series of tree portraits; the often deformed and battered ivy-clad sentinel oaks which punctuate the field margins and are particularly characteristic to the rural landscape of Suffolk where I am based.

£2850.00

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Spring Sentinel I

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Babcia and me, Poland 1979

By Olivia Adamczyk O'Sullivan RWS

Acrylic

h: 25 w: 35 d: 1 (cms).

My Polish granny was 'lost' during the second world war. My father was separated from her as a young child. 25 years later she was traced and I was the first person from the family to visit her. It wasn't an easy relationship as my Polish wasn't very good, and she tried to keep me on a tight rein during my visits to her. In the photo I was rather cross because she had sent away a young man I had met on a previous visit, who had called to see if I had arrived from England.

£500

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Babcia and me, Poland 1979

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The Oreads

By dara annett

Etching and aquatint on somerset

h: 30 w: 23 d: 1 (cms).

£560

£350 (Unframed)

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The Oreads

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Held

By naomi arbuthnot-barwise

Screenprint

h: 65 w: 44 d: 1 (cms).

Held is a three-layer screenprint developed from an original linocut. The work captures a quiet moment of stillness during a breastfeeding contact nap, where the physical closeness between mother and child becomes both ordinary and profound. Through a restrained palette and bold mark-making, the piece reflects on intimacy, care, and the often unseen pauses within early motherhood.

£400

£275 (Unframed)

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Held

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Spring

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Overflow

By michelle heron

Acrylic on cradled panel

h: 30 w: 40 d: 2 (cms).

I’m drawn to the overlooked corners of our built environment - those small, timeworn spaces that hold more memory and meaning than we often realise. Rooted in observation, my practice is driven by a desire to record what is disappearing: the independent shops and idiosyncratic signs of community that once defined neighbourhoods. There is both affection and melancholy in these images - each painting quietly documents not just architecture, but the emotional textures. I came across this bathroom and plumbing business on a recent visit around South Ealing in West London. I was immediately drawn to this part of the long building with a room full of bathroom packaging and boxes, perhaps used as a store room for their other business. It also looked like nature was taking over and felt strange as it wasn’t abandoned, yet looked it. The interior was a treat to paint with all the different colours and shapes, using acrylic in layers to give depth to the interior.

£950

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Overflow

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The way back through what we know

By louise ventris

Oil on panel

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

The way back through what we know explores the quiet moments that unfold within familiar places, revealing how returning to what we know can illuminate what has changed. In this rain-lit urban scene, repetition and the everyday become something newly charged, as light, movement, and atmosphere transform the ordinary into a space of reflection. My work draws inspiration from moments of “dead time” — being stuck in traffic, waiting, or moving slowly through gridlocked streets. These fleeting pauses become opportunities to observe the world with heightened sensitivity, capturing the solitude, tension, and complexity of our relationship with time.

£800

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The way back through what we know

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Secret Bay

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I Still See Your Colour

By beverley wilson

Acrylic paint, biro

h: 38 w: 24 d: 1 (cms).

This piece centres on my youngest son drawing around my mum’s hand - a simple act of touch and play that traces her presence directly. I drew and coloured my son in blue biro, placing him firmly in the present. My mum is represented using the first drawing my son ever made of her, created before dementia had fully taken hold. In his world she remains bright and colourful. He plays with her easily, without noticing the changes taking place. There is a quiet tension beneath this. My mum once worked as a nursery nurse assistant, where play and imagination came naturally. Now these moments can feel difficult for her to inhabit. The work reflects on touch, memory and perception, and on how children often hold onto connection even as understanding shifts.

£2000

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I Still See Your Colour

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Where The Light Falls

By daisy clayton

Acrylic

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

Where The Light Falls explores the quiet atmosphere of domestic interior where light becomes the central subject. Through soft transitions, expressive marks and areas left deliberately unresolved, the painting allows light and atmosphere to carry the image. The work reflects my ongoing interest in the subtle poetry of interior spaces and the way a room can briefly hold a sense of stillness and presence.

£795

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Where The Light Falls

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This Woman's Work

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The Quiet Hour

By daisy clayton

Acrylic

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

The Quiet Hour draws on my interest in the atmosphere of interiors and the subtle drama created by light. Through restrained colour, soft edges and dissolving marks I aimed for light and shadow to carry the painting, creating a feeling of stillness and contemplation within the domestic space.

£795

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The Quiet Hour

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Winnie’s First Snow

By Ruth Pike

Oil

h: 30 w: 23 d: 1 (cms).

Oil on linen board, depicting one of Winnie’s woodland walks. Fresh snow and low winter light transform the familiar path, turning an everyday walk into something that feels like a new adventure.

£395

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Winnie’s First Snow

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Blue Skies

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The long lost book of poems

By Katherine Kingdon MA

Glazed Stoneware

h: 18 w: 24 d: 17 (cms).

In my work I combine the functional and the playful. The surface of this piece hints at narrative, exploring ideas of support and contentment and inviting the user rise above the hubbub.

£410

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The long lost book of poems

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Let Me Take A Photo First

By Emilia Symis BA(Hons)

Acrylic on canvas

h: 100 w: 70 d: 4 (cms).

This painting is inspired by the modern-day habit of photographing meals. Whether at a fine-dining restaurant or enjoying a homemade spread, many feel compelled to capture the moment before the first bite. For food lovers, these images serve as more than just visual records; they preserve the feeling of a particularly delicious or meaningful meal. While some may roll their eyes at those who photograph their food in restaurants, this piece serves as a reminder of the value in appreciating life’s small pleasures, such as a well-prepared meal, and doing so unapologetically. The reference photo was staged with the help of friends, following a visit to M&S and time spent preparing the food. Fittingly, everyone waited until the photo was taken before sitting down to enjoy the meal, mirroring the moment captured in the painting.

£3500

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Let Me Take A Photo First

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A practiced eye

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Gran's Singer

By helen tarr

Oils

h: 24 w: 30 d: 1 (cms).

I inherited this beautiful machine from my grandmother and painting it felt like spending time with her for a while.

£870.00

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Gran's Singer

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Starry Night

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Table for one

By ashton pelham

Oil stick and acrylic

h: 80 w: 80 d: 2 (cms).

This still life, painted in acrylic and oil stick, transforms an everyday table setting into a bold, playful composition of colour and shape. Simplified forms, saturated colours, and visible mark-making create a lively balance between flatness and texture, capturing a quiet domestic moment while celebrating the beauty of ordinary objects.

£600

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Table for one

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Reading the News

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Milena

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Solitude No.1

By yi yuan MA

Paper-cut artwork. Acid free paper and Chines ink

h: 35 w: 30 d: 1 (cms).

A paper-cut artwork depicting a winter landscape: a solitary figure walks through the snow toward higher ground, leaving a trail of footprints behind.

£680

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Solitude No.1

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ß1 Capricorni Ab2a in E.S.6

By wai yi chung MA, BSSc(Hons)

Etching, aquatint, dry-point, spit bite, sugar-lift

h: 19 w: 26 d: 1 (cms).

Description Inspired by Star Wars, Three Body Problem and the other sci-fi classics, this etching depicts a space colony on planet ß1 Capricorni Ab2a in E.S.6 (E.S. for exo saigei). The system has five stars in total but they are in smaller groups of 3 and 2. The planet is smaller than its moon but much denser and very strong magnetic field. Because of this core of the planet, transports and vehicles easily rely on magnetic levitation, making them seem like flying cars and trains. Also due to the multiple suns and the big moon, the colony can harness the solar and tidal energy for electricity. There is no fossil fuels in everyday life because almost all lives were brought here except the indigenous plants and micro-organisms. The technical aspect: 1. Hard ground etching; 2. Soft ground etching; 3. sugar lifting + box aquatint fine rosin + spit bite (with real spit!); 4-9. box aquatint in 6 parts (at least); 10. hand shaken aquatint rosin + spit bite 11. dry point burnishing touch-ups

£273

£182 (Unframed)

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ß1 Capricorni Ab2a in E.S.6

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Flip

By Ana Carey BA(Hons)

Bronze

h: 10 w: 30 d: 6 (cms).

Flip is a highly polished bronze sculpture by Ana Carey that captures the tension and vitality of the contemporary moment. The figure is intentionally androgynous, presenting both an Adam’s apple and breasts, subtly challenging fixed definitions of gender while acknowledging identities that shape modern society,he, she, they. Central to the composition is a bold hand gesture: the raised middle finger. Rather than functioning purely as provocation, within Carey’s work the gesture becomes a symbol of defiance, autonomy, and cultural commentary. The reflective surface of the polished bronze draws the viewer the surrounding environment into the work itself, allowing the city and its inhabitants to become part of the sculpture’s visual language. In this way, Flip operates both as a physical object and as a reflection of the social atmosphere from which it emerges. Poised between confrontation and elegance, the sculpture embodies the energy, friction, and shifting identitie.

£4400

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Flip

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Chillie and Lime

By anjana cawdell

Watercolour

h: 28 w: 20 d: 1 (cms).

Chilli and lime are not only a staple combination in Indian cuisine, but are also strung into garlands which are hung above doors to ward off evil spirits. I wanted to present the compatibility of the hot and sour flavours of these fruits through my painting, showcasing the various shades of green to be as visually appealing as they are delicious!

£600

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Chillie and Lime

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The knitted Crown

By maria russell

Pastel on Pastelmat

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

This piece reflects on the experience of breast cancer and the loss of hair that often follows treatment. Rather than portraying the devastation of illness, the work focuses on empowerment: the ingenuity, resilience, and determination of women who reclaim their identity in the face of it. Here, vulnerability is transformed into something intentional, powerful, and ultimately beautiful. Within the narrative of the painting, the hummingbirds (spiritual meaning for resilience and overcoming adversity), echo this spirit of resourcefulness. In nature it is the female hummingbird who constructs the nest and raises her young, embodying resilience, independence, and quiet strength, qualities that mirror the subject’s own act of reclaiming herself.

£2200

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The knitted Crown

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A still morning

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After Matisse

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Lazy days

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Lover did you bring me silver, lover did you bring some gold

By renee spierdijk

Oil and black ink on canvas

h: 125 w: 125 d: 2 (cms).

This painting is inspired by the haunting rendition of the song the Gallow's pole by Willie Watson about true love and redemption

£3850

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Lover did you bring me silver, lover did you bring some gold

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Country Sitting Room

By helen norman

Paper Collage

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

A vibrant depiction of a country sitting room completed using only eco friendly torn discarded magazines

£750

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Country Sitting Room

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Pathways IV

By bina shah

Assemblage of Collage with print and paint

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

This print and paint collage is part of a series based on reflection of the current wars, and mostly on the migration of people worldwide trying to find 'pathways' as means of escape. Certain bold shapes and lines began to emerge subconsciously as I began working on them. I stained Japanese washi paper with my homemade inks to stain and print and used stitching in some areas to contrast and ‘to draw’ the slightly broken fragile line formed by the repetitive, uniform machine stitches in order to represent the projectile of bullets from machine guns that impacts on lives and the loss or displacement of women and their craft as they escape from war zones.

£625

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Pathways IV

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Tomorrow's Game

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A moor is not a mountain I

By paula dunn

Oil, cold wax and silver leaf

h: 11 w: 16 d: 2 (cms).

In this collection of smaller works, Paula explores oils and cold wax with embedded materials such as pigments and silver leaf to create richly layered surfaces. Her process is intuitive and responsive, guided by colour, texture and mark-making rather than a predetermined outcome. Paint drips, solvent marks and incidental textures become starting points for each composition. The layered surfaces reflect the landscape that inspires the work, particularly the North York Moors. Just as the land bears the marks of centuries of human activity and natural forces, these paintings hold traces of change and chance. Ancient pathways, burn-back scars, patchworked fields and river-carved valleys find abstract echoes within the work, celebrating the patterns that shape the moorland landscape.

£350

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A moor is not a mountain I

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Life in Crimson Flame

By arina gordienko

Oil Painting on Belgian Linen

h: 91 w: 122 d: 4 (cms).

£10000

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Life in Crimson Flame

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The Weight of the Weather

By sri nambiar

Charcoal

h: 12 w: 38 d: 1 (cms).

This imagined landscape captures the quiet tension of a sky on the verge of change. Through soft textures and shifting tones, the work explores atmosphere, memory, and the emotional resonance of weather, reflecting not only the external landscape but also an internal human landscape. Rather than depicting a specific place, the image becomes a psychological space, one that evokes anticipation, stillness, and the subtle emotional charge carried by weather. The work will be framed in a hand stained wooden frame.

£510

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The Weight of the Weather

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A moor is not a mountain III

By paula dunn

Oil, cold wax and silver leaf

h: 16 w: 11 d: 2 (cms).

In this collection of smaller works, Paula explores oils and cold wax with embedded materials such as pigments and silver leaf to create richly layered surfaces. Her process is intuitive and responsive, guided by colour, texture and mark-making rather than a predetermined outcome. Paint drips, solvent marks and incidental textures become starting points for each composition. The layered surfaces reflect the landscape that inspires the work, particularly the North York Moors. Just as the land bears the marks of centuries of human activity and natural forces, these paintings hold traces of change and chance. Ancient pathways, burn-back scars, patchworked fields and river-carved valleys find abstract echoes within the work, celebrating the patterns that shape the moorland landscape.

£350

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A moor is not a mountain III

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A Gift of Bur-clover

By Gail E Hurst

Paper with old Braille script

h: 84 w: 40 d: 60 (cms).

A Gift of Bur-clover in the language of flowers means 'You are blind see me now'.

£1800

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A Gift of Bur-clover

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Flesh

By sarah baumgartner BA(Hons)

Arm-knitting using cotton fabric and gauze dyed with natural dyes: avocado stones, birch bark, walnut husks, cutch; fishing wire.

h: 100 w: 120 d: 20 (cms).

These pieces reflect on what the human material is, considering flesh and skin, asking if it would be possible to emulate flesh using vegetable fibre. Are humans that different from plants? Every living being is made out of small particles, cells, interwoven together. These pieces reflect on the fact that there is no definite line between living beings, whether human, animal, or vegetable. The pieces act as a reminder that humans are not that different from more silent beings, questioning the current relationship we, as humans, have towards materials and nonhuman entities. The pieces propose a new consciousness of care towards the nonhuman, understanding that humans are not above other entities, but on the same plane amongst them.

£4900

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Flesh

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Poise

By oleksandra korolenko

Oil

h: 61 w: 46 d: 4 (cms).

A fleeting pause during a journey, capturing the tension between motion, anticipation, and unspoken emotion.

£20000

£500 (Unframed)

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Poise

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Object Relations

By carrie-ann stein

Transfer prints and acrylic paint on wood panel

h: 25 w: 20 d: 2 (cms).

This work is constructed through layers of transfer prints, collage and acrylic paint on wood panel. Fragments are digitally reworked, cut and reassembled before being transferred into wet paint. With a rubbing technique, parts of the image disintegrate, leaving behind scattered traces that are subsequently repainted, repaired and reassembled. The composition moves between landscape and figuration. Bands of colour suggest earth, sky and horizon, while broken lines and fragments hint at bodies that are partially present yet continually dissolving. The surface records the physical labour of its making with areas of abrasion, lifted edges, and small pieces that have been carefully reattached. Disturbance and reconstruction are central to the image’s formation. The transfer process wounds the surface, and paint is then applied sparingly with the hand, almost like an ointment, calming the abrasions and allowing the fractured image to settle into a fragile but coherent whole.

£400

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Object Relations

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Meet Me There

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Castle On The Hill

By alison stafford

Acrylic

h: 30 w: 30 d: 4 (cms).

This abstract landscape evokes the atmosphere of the Tuscan countryside, where medieval structures rise above distant hills and the warmth of the day lingers in the valley below. Inspired by the intense heat and light experienced during a holiday in Tuscany, the painting draws on a restrained palette to convey both the physical sensation of temperature and the distinctive colours of the region. The distant silhouette of a hillside, crowned by the outline of a fortified castle, reflects a landscape shaped by centuries of history and architecture. The limited colour palette flows throughout the composition, reinforcing a sense of warmth and stillness while subtly alluding to broader environmental concerns, including the increasing impact of global climate change. Titled Castle on the Hill, the work references the many elevated fortified towns characteristic of the Tuscan landscape, inviting viewers to discover new forms and interpretations with each viewing.

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Castle On The Hill

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Here Comes The Rain (Again)

By alison stafford

Acrylic and Pastel

h: 50 w: 50 d: 4 (cms).

Created following the prolonged periods of rainfall experienced during the winter and spring of 2024, this abstract landscape reflects a season defined by water and shifting skies. A palette dominated by blues suggests expansive areas of water, while a flowing passage of colour connects sky and earth, blurring the boundary between atmosphere and landscape. Soft, rounded forms introduce a feminine quality to the composition, alluding to the generative strength and presence of Mother Nature. Although the work is grounded in cool tones, its mood remains optimistic. Vibrant turquoise accents bring a sense of energy and renewal, suggesting movement, resilience, and the promise of change. The painting therefore operates on two levels: it acknowledges the growing impact of climate change and increasingly volatile weather patterns, while also expressing hope and the enduring capacity of nature to regenerate and inspire optimism for the future.

£725

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Here Comes The Rain (Again)

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‘Stitch’

By bella emson

Oil on canvas

h: 46 w: 46 d: 2 (cms).

This is my daughter in her favourite hat. She also refuses to smile for the camera. I wanted to catch the humour and insouciance of youth!

£1800

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‘Stitch’

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Continuum

By vanessa lawrence

Wire and Steel

h: 120 w: 150 d: 20 (cms).

'Continuum' has no beginning or end and through subtle changes which may not be obvious, over time are transformative, allowing for continual growth.

£3500

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Continuum

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Dance To The Music Of Time 2

By wendy elia RWA

Oil on Canvas

h: 180 w: 210 d: 4 (cms).

Inspired by a line in the play ; ‘A Man for All Seasons’ by RobertBolt -"when a man takes an oath Meg, he's holding his own self in his own hands. Like water, and if he opens his fingers then - he needn't hope to find himself again." A painting depicting siblings Alexi and Madeleine, (the artist's children), engaged in introspective acts of movement and music-making in a tilting room with dream-like vistas. Despite their calm demeanour, chaos threatens and surveillance cameras watch us as we look in. Like Poussin’s 'Dance..." , another meditation on time and fortune, Elia’s oeuvre is replete with symbols and narrative mystery, alluding to myriad other artworks. Part psychological portraits, part exploration of the nature of creativity, part interior landscapes, part histories of London then and now, this painting invites us to consider the fate of our own childhood aspirations.

£15850

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Dance To The Music Of Time 2

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Kith and Kin

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Dredger at Southampton Port

By evangelia hamilton phD MRTPI

Zinc Etching, Engraving, and Drypoint

h: 18 w: 25 d: 1 (cms).

This scene depicts a dredger at work in the Port of Southampton. It was drawn from real life.

£800

£500 (Unframed)

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Dredger at Southampton Port

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Walking Wolfie

By corinne thompson

Resin and air dried clay

h: 26 w: 21 d: 17 (cms).

This piece illustrates the relationship between human and nature. The connection, the relationship, the trust.

£600

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Walking Wolfie

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Venice

By helen norman

Paper Collage

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

A torn paper collage of Venice using only the Financial Times in its creation.

£750

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Venice

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Searching

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'Hmm...'

By ming lee

Acrylic on Canvas panel

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

This woman is sitting with her arms crossed. Her gaze is fixed on something, with a small sense of disagreement in her mind. She is not fully convinced by what is in front of her.

£850

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'Hmm...'

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When the trumpets have faded

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Paint the Town Red

By Amy Powell

oil paint, marble dust and pumice on panel, painted frame

h: 131 w: 101 d: 7 (cms).

The haptic qualities come to the forefront in "Paint the Town Red" as the pumice grains not only replicate the illusion of pixelation on the flat surface, whilst the marble dust replicates a face mask, but the textures also infuse the artwork with a tactile quality. An intriguing meta quality arose in the act of painting a depiction of a woman painting another woman’s face. The intrigue lies in the layered reflexivity and self-awareness inherent in the artistic act of painting. The subject of the painting within the painting, in turn, is portrayed as painting the face of yet another woman. This meta quality introduces a multi-dimensional narrative that creates an intricate interplay between the roles of creator, subject, and the act of creation. The recursive loop of representation invites a self-reflexive dialogue, where I, as the artist, am not merely an external observer but an active participant implicated in the very process of image-making.

£9000

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Paint the Town Red

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Withheld

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Le Coup at the Spiegeltent

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Keats Wand’rings I (Writers and Wanderers Series)

By paula baldwin

Acrylic on wooden panel, wax finish

h: 20 w: 15 d: 2 (cms).

Inspired by the idea that art lays bare hidden questions, my work blends what’s seen and sensed, evoking shifting states of belonging, tradition and time, I explore how moments shape us. My landscapes are layered recollections, shaped as much by emotion and memory as by setting. Drawing on feelings and fragments of a place, inviting viewers to find their own stories within the work.

£480

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Keats Wand’rings I (Writers and Wanderers Series)

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Night Shift

By lena ibrahim

Oil

h: 61 w: 81 d: 2 (cms).

This self-portrait was made in response to a season of physical and emotional exhaustion, due to the grief of losing my mother, during a block of night shifts as an NHS resident doctor. Doctors are often depicted as resilient and tireless; this work challenges that narrative by presenting the doctor as a vulnerable human subject. The idea was first inspired by a photograph taken of myself sleeping in the doctors’ mess by a colleague. I began with a pencil drawing to establish the composition and correct proportions. Early layers were deliberately muted to reflect the temperature and stillness of the room during the early hours of the morning. Subsequent layers embrace the richness of colour, allowing gravity and softness to emerge. This piece aims to capture a transient, often unseen moment, offering an insider’s perspective on medical life and reframing public perceptions of doctors through vulnerability rather than heroism.

£10000

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Night Shift

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Vermillion

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