ORGAN THING: Cultivate presents Intent (part one), an on-line art exhibition…

Intent (part one) – The Intent is for an art show to happen in two parts in two places, the Intent is to have an art show in two parts with both parts happening at the same time.  Intent (part one) follows our rather successful Cultivate on-line group show experiments of 2017, Intent (part two) will happen physically via the gallery walls and floors down in that underground basement gallery known as BSMT Space (over on the borders of Hackney in Dalston, London N16), part two will open two days after part one on January 18th 2018, part one is now open…

The intent then is for Cultivate to curate a show in two parts, this is part one, a carefully selected set of images, thirty artists and some intent for the new year, a combination of invitation and an open call, a show curated by Sean Worrall.  Here then are the selected pieces, the 140 images of the art, the artists, the colour, the installations, the paintings, the leaves, the dances and the circles, do please run it as a slide show and enjoy it all, find the pieces you like then go explore more from the artists via the links that take you to their websites.  You will find each piece numbered and that number corresponds with the notes at the foot of this page where you will find more about each artist as well as links.  Intent (part one) then, welcome to the show, art excites, do enjoy….  (Sean Worrall)

Please click on an image to enlarge or to run the slide show. (and do please view it on a decent sized monitor, not a silly little phone, get it up there on your desktop and see it properly please)


Full details, notes on the art, the artists as well as those vital links,,,, 

2, 3, 4, 5 – ALEXANDRA WILSON – The images are of a recent installation, 60 battery operated lightbulbs

Alexandra Wilson is currently living and working in Bournemouth, UK. “Possessing an investigative approach to practice, as a multi-disciplinary artist, I explore a variety of themes in which research is fundamental to my methodology. I focus on the documentation of filling time and understanding a material, object, process or place to my fullest potential and ability. Delving into the disregarded crevices of the everyday, appreciating concepts of ‘quiet’, ‘blandness’ and the ‘overlooked’, I set myself parameters – perhaps somewhat monotonous – that enable me to explore the ways in which one can escape the chaotic notion of “doing”, yet still fulfilling the hunger and expectation to feel productive”.-

6: AMY OLIVER – Day One of Seven – (2017) – 1/3 life size clay sculpture and digital manipulation – #pmdd #periodpain #hormones #period #crumbling #menorrhagia #menstruation #menstruationmatters #herperiod #lowerbackpain #rage #hate #anxiety #anger #pain #explosive #cramps #confusion #blood #bl…

7: AMY OLIVER – Passage of Time (2018) – mixed media mounted on 20x20x5cm board, varnished and distressed with fingernails, mod podge and tissue.
#mystory #passageoftime #ticktock #empathy #disconnected #khadipaper #20x20cm #mount #woodboard…

8: AMY OLIVER – Taking Its Toll (2017) – Mannequin and digital edit – #mentalhealth #mentalhealthawareness #mentalhealthart #ocd #thoughts #dontassume #selfexpression #moodcrash #stopthestigma #selfimage #selfhatred #bodyimage #negative #fear #perimenopause #hashimotos #pain #struggle #exhaus…

9: AMY OLIVER – Untitled (2017) – Mannequin and digital edit – #mentalhealth #mentalhealthawareness #mentalhealthart #pmdd #dontassume #selfexpression #darkday #moodcrash #stopthestigma #selfimage #selfhatred #bodyimage #negative #fear #perimenopause #hashimotos #pain #struggle #exhaus…

Amy Oliver website –

10: ANDREA ACKER – Fertility Goddess, 2017 – Collage and Acrylic on paper on wood, 91 x 61 cm

11: ANDREA ACKER – The Self-Pleasure Tribe, 2017 – Acrylic on canvas, 172 x 87 cm

12: ANDREA ACKER – Pink Butt Futuristic Goddess Figurine, 2017 – Plastic glove, water and play dough. Dimensions variable

13: ANDREA ACKER – In a Barbie World, 2017 – Barbie’s arms and legs and glass. Dimensions variable

Andréa Acker is “a visual artist from Rio de Janeiro, Brazil. She studied Fine Arts at Maharishi University of Management, where Transcendental Meditation is part of the curriculum. For her, making art is a spiritual practice. Andréa is inspired by the Surrealist Movement, the symbolism found in the Neolithic period artifacts and indigenous and tribal arts. Her artworks act as political, historical, socioeconomic and ecological commentaries, with the intention of calling attention to issues ignored by the status quo. 
Through her art, Andréa honors the Goddess worshiping societies from the Neolithic period, aiming to revive the ancient Matriarchal Societies ideals and reject the current patriarchal capitalist system”. Website

14 – 17: ANDREW HORNETT – The Black Square.  – The Black Square is 111cm2… Materials used in images: clear plastic bottles, old boots, orange plastic bag offcuts. “The Black Square is a space that I have cordoned off within my studio primarily for experimentation with materials collected through everyday living… The contents of the Black Square change, evolve regularly… My Intent with this project is to find a way of enabling the viewer to witness more of the processes involved in creating works of art, either accidental or anticipated… I am interested in the performance aspect of this way of exhibiting where the artist is often present, observing, tweaking or completely rebuilding the artworks on display…”Website:

18: SEAN WORRALL – Leaf Growth in a Carpark – Painted on a found board in a Liverpool carpark, during the 2015 Liverpool lefg of the Art Car Boot Fair (the mummified car belongs to Gavin Turk, the parking bay is number 43) –

19 – 22 BEATA BURDELEK – Artist statement “I am surrounded by materials and objects reconstructing themselves in a second-hand universe. Just as I migrated to England and adopted the language and cultural codes, the materials around me migrate from one medium to another. Their transformation is only disturbed or altered by potent creativity and natural destruction. My work is a way of mapping and connecting with my environment during each moment of its existence. I work with the objects and materials around me, incorporating my own language into the process of reconstruction to present them as something related to my immediate experience. There is something more to life than the material, which can only be sensed in its absence. But being aware of it, in its absence, has the potential to change our perception of reality”. –

23 – 25: CHELSIE DYSART – Artist statement “Contemporary artist working to push the boundaries of her practice through the exploration of collaborating different techniques, mediums and approaches together. Specifically focusing on the human form and exploring the space and movement of the form, Dysart’a work captures and focuses on a sense of life and energy through quick mark makings”.-

26 – 27: EMMA HARVEY – Untitled – The ongoing series of circle paintings, each one 55cm, oil on board –

28 – 29: SEAN WORRALL – Leaf growth in Leake Street Tunnel, South London –

30: ELINOR ROWLANDS – “Way to the Feathers (on grief)” – feathers, ink, glue (22x32cm)

31: ELINOR ROWLANDS– “The Dance To (on life)” – Ink on canvas (35x48cm)

Elinor Rowlands: Artist statement – “Disabled emerging artist/ filmmaker Elinor Rowlands makes art in light of her syneasthesia and impairments, her film was selected by the Whitechapel Gallery and her debut experimental play will be shown at Camden People’s Theatre, January 2018. She creates art to the space she hears and the language she processes through colour to make her paintings sing. She makes art to challenge and provoke notions that impairments should be overcome instead of turning the lens on how society is structured itself which is creating barriers to so many who don’t fit into the system but have so much to contribute” –

32 – 35: EMILY BARRATT – “Smoke and Mirrors” silkscreen prints 75 x 56cm. Artist statement: “I live and work in Sheffield, South Yorkshire. My work explores the notion of dreams and hallucinations, or scenarios that could represent either of these. This stems from a fascination I have with listening to people’s interpretations and recollections of their own dreams, and the bizarre inner workings of our subconscious. When we dream we have no control over what our minds choose to show us, and I like to play with this vulnerability”  Website –

36: ELINOR ROWLANDS – “Sarah Cordner Lawson” (Ink and watercolour on paper) 32x45cm

37: ELINOR ROWLANDS – “John Shields” (Ink and watercolour on paper) 32x45cm

38: EMMA HARVEY – Untitled [12] 2018 – oil on wood, circle, 55cm (detail)

39: EMMA HARVEY – Untitled [10] 2017 / Untitled [12] 2018 – oil on wood, circle, 55cm (detail)

40: EMMA HARVEY – Untitled [9] 2017 – Acrylic & stickers on wood, 55cm

41: EMMA HARVEY – Untitled [9] 2017 – Acrylic & stickers on wood, 55cm (detail)

42: EMMA HARVEY – Untitled [3] 2016 oil on wood, 55cm

43: EMMA HARVEY – Untitled [7] 2017 oil on wood, 55cm

The ongoing series of circle paintings from Emma Harvey –

44: SEAN WORRALL – A shot from a show at BSMT Space Gallery, London in early 2017 and the ongoing notion of a smaller painting brought to a conclusion on every day of 2017, view all 365 conclusions via

45 – 48: JAMIE COOPER – Installation shots from the MDA Show’ Artist statement – “Jamie Cooper creates immersive environments that mix sculptural art objects with radiant light. Working across a variety of mediums, Cooper aims to seduce the viewer into his art works using humour, language and wonder as a mechanism to provoke deeper critical engagement. Artificial lights are often used to create objects that can resemble cultural artifacts and objects from the real world, in doing so an uncanny other art reality is often created. Cooper uses creative writing to draw from a blend of source material such as Science Fiction films, Sociopolitical concerns, Philosophical ideas” –

49: JASMIN REiF – At the Cliffs, Photography/textiles, 45x60cm, 2017.

50: JASMIN REIF – A Clown`s Opinion, Photography/textiles, 45x60cm, 2017

51: JASMIN REIF – Teadrawing no. 1, Tea and Watercolour on Paper, 15x24cm, 2016

Statement: “Jasmin Reif`s work explores the transformation of human identities, generated in and by modern society. She cre­ates grotesque masks made of soft yarn and wearable sculptures of re-cycled materials she either collects or comes across. Methods she uses are photography, knitting, sewing, embroidering and drawing. Jasmin`s current sculptural work interrogates the prevalence of “beau ideals” via a series of wool masks and re-cycled-leather garments influenced by “body horror” movies and Francis Bacon`s paintings of the figure. All pieces are created by hand and photographed as an exploration of human mutation and distorted identity and depicting a nightmarish interpretation of modern culture” –

52 – 57: JO EVANS – Artist statement “My practice explores creative processes and the psychology of the artist: time, space, money and mindset are recurring themes. Materials and their embedded meanings provide my starting points. In coming to understand their properties and how they can be manipulated I develop my own particular and precise ways of working. Through a process of accretion my pieces grow into intricate, multi-layered objects”. –

58 – 61: JOE BUSSELL – “Another After” – The images I sent are from a series titled Another After. The paintings are mixed medium and the dimensions are 11″x 14″ and are on cradled board. Artist statement: “The crux of this work is the political lean toward fascism many are experiencing”.Website –

62 – 65: KATARINA BALUNOVA – “The main themes in my work are city, urbanism and architecture, conflict between nature and civilization, searching for a home. I am often inspired by the city and the urban environment, which I see not only as a defined physical space, but also as a psychological projection. The city is a man-made object that goes beyond the individuals’ experience of a building, street, or district. I try to find a new perception to invisible layers of nowadays cities. It is possible to read various stories inside; I try not to represent reality, but to give the city structure a symbolic form that bears different meanings in its simplicity. The buildings are not just objects, but artefacts with meaning, or signs dispersed across some larger social text. The architecture has the capacity to articulate in a very specific way the contradictions and ambiguities that modern life confronts us with. In my artworks I use it in a symbolic way to express our existential situation. The structure of cities of nowadays is subject to a strict geometry and it is in perennial expansion. We can see the constant changes in the urban form, pattern and structure. The geometric pattern is a typical feature presents in industrial society. Geometry is a key element to understand social and industrial development in the modern landscape. The use of geometric shapes and structures is becoming the testimony of the industrial society marked by an existential crisis. We can also see the internal and external conflicts between nature and civilization, the fragile balance of survival. Quickly expanding cities absorb the surrounding countryside, creating a new environment not only for people but also for plants and animals that try to adapt. It is a continuous search for home, the place to live. House is a typical feature in my works as a symbol of dwelling. The feeling of being protected and of seeking a protective casing is fundamental in human being, so dwelling becomes on one hand a shelter giving peace, while on the other hand it is something that can stop movement, a kind of sentimental cage. So the house can represent a city-house, a family house and a cage-house”.-

66 – 68: KRISTY CAMPBELL – Artist statement “Artist and Writer based in Norwich, UK. This practice and research conveys a visual language that demonstrates the fluid ambiguity of meaning, and reading. Challenging linguistic traditions, and methods of curation, prompts the study of meaning, letter, and line”.
Website –

69 – 72: LAURA SCULL – Artist statement “I am interested in how an experience can translate through subconscious mark making through to the choice of medium which is then displayed by the process of making and the outcome. Website –

73: LOU BAKER – Nobody 1, 2014, leather, imitation leather, used clothing, hair, velvet, zips; stitch, print (190 x 70 x 70 cm, 5.5kg approx) – Nobody 1 is part of a series of three soft sculptures, Nobodies, hanging from meat hooks and chains, which explore ways that cloth and stitch can evoke the abject in art. The abject is the instinctive feeling of horror ‘to a threatened breakdown in meaning caused by the loss of the distinction between self and other’. Using a series of photo cut-outs from a photo montage book Lou Baker made her son for his 18th birthday, the idea of ‘body, no body, nobody’ was born. Each photo has a distinctive cut-out shape, framed with a memory of a place or time. Baker’s work examines her responses to her only child leaving home and explores ways to communicate the mixture of emotions involved in this transition, in terms of identity and purpose, loss and absence, through the visual language of abjection. What is left behind when someone leaves?

74 – 75: LOU BAKER – Part of me , 2017, felted hand knitted wool 21 x 20 x 20cm – Lou Baker makes public things that are normally private. Parts of me is a new series in progress of smaller, hand knitted soft sculptures. Hours of slow, meditative work culminate in a relatively short, unpredictable process of alchemy which dictates the outcome. Felting produces a disquieting change in control, transforming the familiar, comforting, recognisable knitted fabric into something ‘other’, body-like and strange. Here Part of me I is suspended with strands of red yarn in a locked glass cabinet in a hospital setting…..

“Lou Baker is intent on her art; she’s obsessive, compulsive. Her processes are labour intensive and repetitive and as important as the product. When she’s making, she very quickly enters a state of meditative timelessness which creates a profound sense of well-being. The psychologist, Csikszentmihalyi, calls this the state of flow; it’s caused by deep concentration, where levels of skill match levels of challenge. It’s also linked to creativity and, ultimately to happiness. Baker makes public things that are normally private. Exploring personal themes, her work becomes a form of therapy, and then a provocation as it resonates with others” Lou Baker, Bristol, UK –

76 – 78: LUCY ARCHER – Artist statement “Lucy is a multimedia artist aiming to construct landscapes, interiors and imagined spaces through drawing and installation. Inspired by Chinese calligraphy, her lexicon of lyrical and seductive marks ultimately seek resolution through geometry and formal composition. Each mark is a reaction, and this abstracted representation relates to the collective expectation of what a landscape is–linear with layers and movement”. Website –


81: MARINA BROWNLOW – LL – Flax, fiber, thread, rice, pantyhose, wool and wood – 45″ x 14″ x 9″ (2017)

82; MARINA BROWNLOW – Artist statement “I remember my childhood, the women in Cyprus in the afternoon, sewing on the front steps of their homes: working, watching, attending to some deeper and essential parts of themselves. As I work, I become those women and know they are within me, moving through my hands. In some small way I attempt to tell their stories, intertwining theirs with mine. I carve, cut, chop, stitch and unstitch from the inside, so to speak – from that raw and honest aspect of our essential human selves. I allow the work process to lead me as much as I lead it. Depending equally on my intuition and deliberation. I engage the forms, materials and presence of my work with all my human capabilities: mind, body and heart. There is no separation between art making and my daily life; they are bound together. The finished work is a language that is beyond words. The making, the act itself, is the language for that deeper aspect of humanity that cannot be conveyed in words” –

83 – 86: MINGYI WANG – Artist statement “Mingyi was born in Jilin,China.She lives and works in the UK. The artist graduated at the Chongqing university,China,and also studied at the Glasgow School of Art. Her works aim to visualize Claustrophobia.Within such places, time, space, and all elements are stationary forever and collectively form a horrifying world of despair.The artist believe claustrophobia is not just a fear of trapped in a closed space,it’s a loneliness since we born”. Website –

87: MARNIE SCARLET: A photo shot of performance artist Marnie Scarlet leaving a previous Cultivate show after her performance (photo credit Emma Harvey)

88 – 93: MAX ADRIAN – Artist statement: “My soft sculpture studio practice is essentially a big playroom I use to investigate notions of queer identity. I’m greatly inspired by drag, radical street theatre, and puppetry. I often use materials like faux-fur, pleather, and spandex, which nod to my influences and have connotations of costume, nightlife, and sexual scenarios. I’m interested in the restraint we exhibit in artspaces, and I’m even more interested in the secret act of touching art when nobody is looking, which my work encourages and usually rewards. I’ve recently expanded my practice into inflatables, which alternate between periods of inflation and deflation”. Website

94 – 95: MIA JANE HARRIS – Hearts and chains (2017) – Vintage porcelain and taxidermy

96: MIA JANE HARRIS – Viva (2017) – Vintage porcelain and taxidermy

Mia Jane Harris artist statement: “My work delves into the curious, fascinatingly odd and morbidly beautiful. The idea of intriguing the viewer and pulling them in to my world with strange objects and morbid curios to manipulate the viewers emotions on the subject of mortality – life, death & resurrection. I wish to challenge the inevitability of our disappearance after death by preventing decay and rescuing ‘junk’. Giving a second life, an artistic resurrection, to deceased animals and second hand objects I hope that in return this second chance I give them will help me live on through these creations when I am gone”.-

97; EMMA HARVEY – A shot of two of the untitled series of circles (oil of board, 55cm) at an installation at an Edwardian dress making show in Hackney called Wall & Jones.

98 – 106: PHILL HOPKINS – About the artist “Phill Hopkins was born and raised in Bristol, UK. He studied sculpture at Goldsmiths College, London and was taught by Michael Craig-Martin, Carl Plackman, and Richard Wentworth. Whilst at Goldsmiths, Hopkins was included in the ‘New Contemporaries’ show at the ICA, London. After graduating from Goldsmiths in 1985, Hopkins was chosen to exhibit in the ‘Whitworth Young Contemporaries’, Whitworth Art Gallery, Manchester, UK. The same year, he relocated to Leeds, UK.

In 1987, Hopkins was one of the three major prizewinners of the ‘Showcase Summer ’87’ at the Elizabethan Gallery, Wakefield, UK. In 1988, St. Paul’s Gallery in Leeds showed ‘The Little Naturalist’; a collection of his welded steel sculptures. In 1989, Hopkins curated ‘Exchanges’ at the Kunstlerhaus in Dortmund, Germany, which included some of the work from the ‘Little Naturalist’. In 1991, Leeds City Art Gallery staged Hopkins’ first major solo exhibition, ‘Flyers – Recent Drawings and Sculpture’. The gallery consequently acquired Hopkins’ work for their permanent collection, along with acquisitions by the Henry Moore Centre for the study of Sculpture, the Imperial War Museum, London and many private collections including that of Dr Jeffrey Sherwin. In 1993, at Kettle’s Yard, Cambridge, UK, the curator Charles Esche, included Hopkins’ sculpture in ‘Declarations of War: Contemporary Art from The Imperial War Museum’. From 1993-1995, Hopkins’ work was included in ‘Four Centuries of Sculptors’ Drawings from the Collection of Leeds City Art Galleries from Mistodrzitelsky Palace, Moravska Galerie and Bruno, Czechoslovakia. Hopkins was also included in ‘Sculptors’ Drawings’ – Cornerhouse, Manchester UK, and ‘Sculptors’ Drawings’ at John Hansard Gallery, Southampton, UK. In 2003, to celebrate the 10th anniversary of the Henry Moore Institute in Leeds, Hopkins’ work was included in their ‘Other Criteria’ show.

For a period Hopkins concentrated on workshops and educational projects, and then in 2008 Greenbelt Festival presented ‘Seven Drunken Nights’, an exhibition of innovative drawings, sculpture and a striking performance piece. In 2012, Hopkins was included in ‘Vollendet – Unvollendet’ at Galerie Pack of Patches, Jena, Germany and has consequently shown with the gallery at Galerie Root, Berlin. In 2013, the artist, Becky Beasley, included a work by Hopkins in her show ‘I fall to Pieces’, which was named after the eponymous title of his piece, at Leeds City Art Gallery.

Since 2012, Hopkins has shown consistently with BasementArtsProject: firstly at ‘Supermarket’, Stockholm Art Fair, Sweden, and then in ‘INHOSPITABLE 1.1’ at 64 Wellington Street, Leeds; ‘INHOSPITABLE’ at Independents Liverpool Biennial; and ‘COLONIZE’ at 3rd on 3rd Gallery & Dykeman-Young Gallery, Jamestown, New York, USA. In 2015, Hopkins presented ‘Daily’ at BasementArtsProject base in Leeds. This included his ‘Daily’ newspaper publication as part of ‘About Time’ which was a satellite programme coinciding with British Art Show 8.

In 2013, Hopkins joined PAPER Gallery, Manchester, UK, and was subsequently included in their ‘End of the Line’ exhibition. PAPER has continued to represent Hopkins in varied international locations, including: Macclesfield Barnaby Festival, UK; Peek-a-Boo Gallery, Perth, Australia; Manchester Contemporary Art Fair, UK; Schema Projects Brooklyn, New York, USA ; London Art Fair; Leeds Contemporary Artists Book Fair; KÖLNER LISTE Art Fair, Cologne, Germany; Sluice_2015 Art Fair, London; Dean Clough, Halifax, UK and CHARLIE SMITH, London. In 2015, Hopkins showed alongside James Moore in ‘Generation Loss’ at PAPER Gallery in Manchester.

In 2015, Hopkins represented the UK in ‘A Beautiful New World’ at the 2nd Nanjing International Art Festival, China. Following this show, 6 of Hopkins’ paintings were acquired for the exhibition’s sponsor’s collection. The following year, 108 Fine Art staged a large exhibition of over 100 of Hopkins’ drawings, paintings and sculpture at their Harrogate Gallery. . –

107: QbA – Still Fumin’, 2017 – Enamel paint on aluminium panel 33 cms x 43 cms (framed) – Website:

108: QbA – Fumin’, 2017 – Distressed silver leaf & enamel paint on aluminium panel 33 cms x 43 cms (framed) – Website:

109: WENDY HELLIWELL – Smudged My Lipstick

110: WENDY HELLIWELL – Crushed Already

111: WENDY HELLIWELL – Rushing

112: WENDY HELLIWELL – Rushing (detail)

Wendy Helliwell, artist statement: “Aiming to depict the pressure many of us experience with keeping up appearances amongst friends and even trying to outdo the last amazing outfit pulled together for a night out. The intensity is furthered by increased choices and advertisements that we are surrounded by daily everywhere we look, we are almost drowning in them, they just cannot be escaped. 
I grew up in the 80’s surrounded by pop culture transmitted through the growing trend in mass media, the instant skin deep pleasure of consumerism quickly engulfed me. But now as an artist I am in the same relationship interrogating the motives of these advertisements, ripping and disassembling glossy magazines, packaging, tags, receipts and even unnecessary purchases. Deconstructing and reassembling these to provide the viewer with the same powerful, immediate impact and arresting visual aesthetic that the original media message delivered-but rather than seduce the viewer I want to leave them questioning the original purpose and whether it is a healthy relationship that many of us hold or a controlling and manipulating life long love affair that we can’t bear to break away from” –

113 – 114: VERITY NEWMAN – Pink Houses (from the Architecture Series: 2014-2017) – Investigations into architectural structures, in both urban and rural landscapes, where nostalgia and progress juxtapose. These interchanges are sometimes harmonious, but occasionally clash.

115: VERITY NEWMAN – one of the Formal Elements’ Series: 2016-17 – A series made in many layers, applied over and over again, then washed back and reapplied. Emphasis on pattern, colour and composition – a kind of ‘organised chaos’. Acrylic on canvas, various sizes.

Verity Newman Artist statement: “My texturally layered, semi-abstract paintings, mixed media drawings and constructions often reflect three broad themes: transient journeys, fading memories and personal environments. The rituals and imagined – or reconstructed – histories we create around these fascinate me, as well as an increasing need to pin down what ‘home’ might be. More recently, I have been trying to work more intuitively, without ‘intent’, in an attempt to unveil the truth about myself. As a new life grows inside me, the energy of this new and unpredictable internal environment and its fleeting moments, are hard to capture. Nothing stays still for long. I live and work in Norwich, teach in Suffolk and exhibit my work everywhere” –

116 – 119: SHARON DREW – Artist statement “It is primarily the sensation of light, space and movement in landscape I wish to create rather than a sense of place and colour, process and the physicality of paint are central elements. I aim to find the point where I am on the edge of control … as paint leaves the brush in drips and trails a brush-mark may hold or dissolve, colours separate or blend. I want to let it behave in ways that surprise me”. This work was produced during a UEL residency at Trinity Buoy Wharf on the River Thames, also shown at WVWG East London, the first shot is from one of the shows.. Website – /

120: SUSAN BANKS – Evidence Four, 40 x 40 cm, oil on deep canvas

121: SUSAN BANKS – Mysteries Four, 60 x 60 cm, oil on deep canvas

122: SUSAN BANKS – Mysteries Six, 76 x 76 cm, oil on deep canvas

123: SUSAN BANKS – Realities Three, 76 x 76 cm, oil on deep canvas

Susan Banks statement: “My intentions are super complicated and accumulative; I find damaged ancient paintings have a particularly alluring aesthetic and in response my current painting practice is a quest for the indefinable frisson of visual pleasure in something not really understood and not entirely seen. I am a painter and former art lecturer with a studio in rural Lincolnshire. I studied painting at Croydon College of Art and Hull School of Art. My work includes abstract re-workings of popular myths, exploring the symbolic and metaphoric attributes of art of the past and has a recent focus on Roman wall paintings” –

124: SEAN WORRALL – Silent Sorrow in Empty Boats (2016) – Acrylic on canvas (120cm x 150cm)

125: SEAN WORRALL – Silent Sorrow in Empty Boats (2016) – Acrylic on canvas (120cm x 150cm) detail

126: SEAN WORRALL – 283/365 The notion of a painting brought to a conclusion on everyday of the year in 2017, 21cm x 21cm acrylic on cardboard

127: SEAN WORRALL – 290/365 The notion of a painting brought to a conclusion on everyday of the year in 2017, 21cm x 21cm acrylic on cardboard

128: SEAN WORRALL – 292/365 The notion of a painting brought to a conclusion on everyday of the year in 2017, 21cm x 21cm acrylic on cardboard

129: SEAN WORRALL – The notion of a painting brought to a conclusion everyday (2017)

130: SEAN WORRALL – A Leaf, East London (2016)

131: SEAN WORRALL – “Leafscrapings” – Acrylic, brushwork, spray paint, marker pen, screen print on canvas (50cm x75cm), Nov 2017

132: SEAN WORRALL – A Leaf, East London (2016)

133: SEAN WORRALL – Sometimes They Have Thorns Part 19” – (60cm x 80cm), acrylic on canvas, (Feb 2016)

134: SEAN WORRALL – “Sometimes They Have Thorns Part 26”, acrylic on board in found frame, 55cm x 65cm (March 2016)

135: SEAN WORRALL – A Leaf, London (2016)

For more about Sean Worrall head to

136: JULIE UMERLE – Monochrome (2016) – acrylic on canvas, 34″ x 38″

137: JULIE UMERLE – Rewind III (Red) 2015 – acrylic on canvas, 22″ x 22″

138: JULIE UMERLE – Buff Titanium (2013) – acrylic on canvas, 43″ x 60″

139: JULIE UMERLE – Naples Orange (2013) acrylic on canvas, 54″ x 54″

140: JULIE UMERLE – Rewind III (2014) – acrylic on canvas, 22″ x 22″

For more information about Julie Umerle and her art head to

141: SALLY JONES – Almost a Little Nostalgic – oil on canvas 50 x 60cm

142: SALLY JONES – Forever Changed – , oil on canvas 40 x 40cm

143: SALLY JONES – Why Did You Do It? Oil on canvas 100 x 70cm

For more information about London-based artist Sally Jones head for

That’s all, until next time….

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